视频库 / NO.043
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第 43 期 · 回应 Ⅱ·07「语言还承载意义吗？」
Reflections on Human Translation // Douglas R. Hofstadter
节目发布 2018-08-03章节 · 点击跳转视频
0:12
开场与献给赫尔加的歌德译诗
6:43
帕特农之问：译本是否即原作
12:57
王维《鹿柴》：二十音节的形式实验
23:39
摩根施特恩：「不可译」的德语诗
31:21
纳博科夫与奥涅金诗节的结构
40:44
纳博科夫的「伪信条」及其动机
46:51
第五章第一节：五种诗体译本比较
58:18
霍夫施塔特自译与田纳西朗读
64:30
翻译是重生：斯坦纳与双重标准
67:38
约束解放心灵：人工翻译的结论
本期小问 · 档案清单
40:44
语言还承载意义吗？
67:38
思考需要工具吗？
6:43
翻译带过来的是什么，又留下了什么？
23:39
「不可译」是语言的事实，还是译者的借口？
本期讲者
道格拉斯·霍夫施塔特美国认知科学家、印第安纳大学教授，1980年以《哥德尔、埃舍尔、巴赫》获普利策奖；著有翻译专著《Le Ton beau de Marot》，并于1999年出版《叶甫盖尼·奥涅金》诗体英译。中文世界通行译名「侯世达」。
01开场与献给赫尔加的歌德译诗
0:12
okay yes thank you for turning out to my second lecture I would like to just open with one brief explanatory comment which is you might be asking yourselves and I would certainly ask it if I were in the audience why is he if he's speaking about translation and so forth why is he speaking in English and not in German and I'll give you a simple answer I guess it's a very simple answer your English is better than my German is yeah I can speak some German I I lived in Regensburg for six months I had studied German for a couple of years before that and I worked very hard on my German and I got reasonably good when I lived in the vacants book and then I lived another three months just recently in Vienna and my German got even better but that doesn't mean it's great it's reasonable okay my English is a lot better than my German is and your English is probably on the average better than my German is so that's a simple explanation I don't want to make you suffer along with my medium medium good German in them might as well go
好，是的，谢谢大家来听我的第二场讲座。开场我想先做一个简短的说明，就是——你们可能会问自己，我如果坐在听众席上也一定会问：既然他讲的是翻译之类的话题，为什么他用英语讲而不用德语讲呢？我给你们一个简单的答案，我想这是个非常简单的答案：你们的英语比我的德语好。是的，我会说一些德语，我在雷根斯堡住过六个月，在那之前我已经学了几年德语，我在德语上下过很大功夫，我住在雷根斯堡的时候德语说得还算不错，后来最近我又在维也纳住了三个月，我的德语变得更好了，但这并不意味着我的德语很棒，只能说还过得去。好吧，我的英语比我的德语好得多，而你们的英语平均而言大概也比我的德语好，所以这就是个简单的解释。我不想让你们跟着我那不上不下的德语一起受罪，那还不如用我非常流利的英语讲。所以这就是那个问题的简单答案，
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with my very fluent English so that's a simple answer to that that question hopefully satisfactory answer the other thing that I wanted to do before the actual elektra starts is I wanted to repeat what I said yesterday about had got Thomas Keller who was some of you were here yesterday and some of you were not I'm sure Helga was the woman who worked in at my side at the Center for research on concepts and cognition in Bloomington Indiana for 22 years as my administrative assistant and she was a very very lively and into and spirit who did a lot of wonderful things and then she died unexpectedly in 2011 and it was a very sad event and I wanted to make she grew up in the cone area and so I feel like I'm in Helga's territory here and so I wanted to make these lectures dedicated to her memory or in her honor and I thought that a nice gesture would be to take the end of what when she died I was asked to be one of the I think three speakers at the memorial service in her name and I decided that Helga so deeply loved her
希望是个令人满意的答案。在正式开讲之前我还想做的另一件事，是我想重复一下我昨天说过的关于赫尔加·凯勒的话。你们有些人昨天在场，有些人不在。我确认一下，赫尔加是在印第安纳州布卢明顿的概念与认知研究中心与我共事的那位女士，她做了我 22 年的行政助理，她是一个非常非常有活力、投入的灵魂，做了很多很棒的事情，然后她在 2011 年意外去世了，那是一件非常令人难过的事。我想说明一下，她是在科隆一带长大的，所以我觉得我此刻就身处赫尔加的故土，因此我想把这几场讲座献给她，以纪念她。或者说为了纪念她。我当时想，一个不错的做法是……她去世的时候，我被邀请去做我记得是三位发言人之一，在为她举办的追思会上发言。我想到，赫尔加特别深爱她的母语德语，也非常
3:20
native language German and she deeply loved poetry and so I looked through a lot of German poems to try to find a German poem that could somehow represent my feelings and I found one by Goethe and we had I I knew she would insist that I translated into English because she knew how much I loved the act of translating poetry and so of course I I did that but then just for the fun of it I sent out that same poem to some friends just a couple and I got back some other translations and one was from my friend James Phelan Jim Phelan a professor of Russian at the University of Tennessee retired emeritus and his translation was very beautiful and I decided because Jim knew he'll go quite well and they respected each other very highly I would make a splice a hybrid of gems translation and mine and so I'm going to open with a presentation of the Goethe poem with a hybrid translation by myself and my good friend Jim Phelan so I think we need this and here is the poem itself near desk aletan each thank you dine and
热爱诗歌，于是我翻阅了很多德语诗歌，想找到一首能多少代表我心情的德语诗，最后我找到了歌德的一首。我知道她一定会坚持让我把它翻译成英文，因为她知道我有多喜欢翻译诗歌这件事，所以我当然就翻了。不过后来纯粹是出于好玩，我把同一首诗发给了几个朋友，就两三个人，结果收到了几个别的译本，其中一个来自我的朋友詹姆斯·费伦，吉姆·费伦，他是田纳西大学的俄语教授，现在已经退休、是荣休教授。他的译文非常优美。我又想到，吉姆对歌德很熟悉，而且他们彼此都非常敬重对方，所以我决定把吉姆的译文和我的译文拼接融合成一个混合版本。所以我打算先给大家呈现这首歌德的诗，配上我和好友吉姆·费伦合成的混合译本。所以我想我们需要这个……这就是那首诗本身。（以下为德语原诗朗诵，字幕转写不清）near desk aletan each thank you dine and mute does honor shimmer for me result if stenka diamonds if Desmond is slimmer in
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mute does honor shimmer for me result if stenka diamonds if Desmond is slimmer in Cleland Mart it's 80 when often found in Vega there stops he heaped in Tiffin our van often small and sticks malim stager divan rebuilt her dish then dot madam from ocean devilish tact I'm still in Hainish of sulla and when Alice shrieked ich bin by dear to thy staff nor so Fiona to bismillah dishonest but Royston mere dish Donna over stood ah and now I guess I have to use my little thing forgot so see if this works I don't know where to point it huh it's not working yet maybe it's not turned on or maybe it doesn't have a battery ah there we are in memory of Helga Keller Douglas Hofstadter and James Phelan I'll think of you whenever Sun lights glimmer on ripples breaks I'll think of you whenever moon lights shimmer reflects from lakes I'll see your face when / distant rivers the mist takes flight or when upon a bridge a wanderer Quivers in deepest night I'll hear your voice when harking to the surging of waves that
（德语原诗朗诵续）Cleland Mart it's 80 when often found in Vega there stops he heaped in Tiffin our van often small and sticks malim stager（德语原诗朗诵续）divan rebuilt her dish then dot madam from ocean devilish tact I'm still in Hainish of sulla and when Alice shrieked（德语原诗朗诵续）ich bin by dear to thy staff nor so Fiona to bismillah dishonest but Royston mere dish Donna over stood ah……好，现在我想我得用一下我这个小玩意儿了，看看能不能用。我不知道该往哪儿指……嗯？没反应啊。不过也许它没开机，或者没装电池——啊，好了。谨以此献给赫尔嘉·凯勒的纪念，道格拉斯·霍夫施塔特与詹姆斯·费伦。每当阳光在粼粼波纹上闪烁，我便会想起你；每当月光摇曳、倒映在湖面上，我便会想起你。当远方的河上雾气升腾，或当深夜里有旅人在桥上瑟瑟发抖时，我会看见你的脸；当我倾听浪涛在静谧的林间奔涌澎湃时，我会听见你的声音；我会听见你的
02帕特农之问：译本是否即原作
6:43
rush in peaceful groves I'll hear your voice emerging from midst the hush you may be far but still I am attendant I hold you near The Sun has set the stars are now ascendant were you but here so that's in honor of Helga Keller Helga Thomas Keller and now we move my new title haha exactly as andreas anticipated a different title from the land on that I originally said the Parthenon wrong way Morgan Stone Nabokov Pushkin and the beauty of beauty [Laughter] okay so we'll begin a little bit like yesterday as some of you weren't here yesterday I'll open with some sort of the same opening but will quickly diverge from yesterday's talk but it's good to begin with something with a very simple true or false question and another one just like it did you read Romeo and Juliet when you were at the gym nauseam well I'll say for you of course I don't know if you did or not but I'll pretend that you did of course although you read it in German have I ever been in the Parthenon of course although I was in it in Tennessee
声音从这片寂静中浮现。你也许在很远的地方，但我依然守候着，我把你留在身边。太阳已经落下，星辰此刻升起，若你还在这里就好了。这是献给赫尔嘉·凯勒——赫尔嘉·托马斯·凯勒的。现在我们进入我的新标题，哈哈，正如安德烈亚斯所预料的那样，是一个跟原来不同的标题。我原本把帕特农神庙那个说法讲错了。摩根施特恩、纳博科夫、普希金，以及美之美。[笑声] 好，我们开场会跟昨天有点像，因为有些人昨天不在，所以我会用差不多的方式开头，但很快就会跟昨天的演讲岔开。不过用一个非常简单的判断题开场总是不错的，然后再来一个类似的：你在读中学的时候读过《罗密欧与朱丽叶》吗？我替你回答：当然读过。我其实不知道你读没读过，但我就假定你读过。当然啦，你读的是德语版。我去过帕特农神庙吗？当然去过——虽然我去的是田纳西州的那座。希腊有帕特农神庙，
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and there's the Parthenon in Greece and there's the Parthenon in Tennessee dare I say there is the Parthenon is that the Parthenon of course the word the phrase the Parthenon is a little blurry you could say this is the dahle Parthenon in Tennessee as opposed to the Parthenon in Greece but if I just say there is the Parthenon is that the Parthenon interesting question if I visit a Parthenon reconstructed halfway around the globe can I validly claim I've been in the Parthenon probably not and if you have read a translation of Romeo and Juliet into German can you validly claim I've read the play itself hopefully so but why what's the difference what is translation bringing across just etymologically across bringing what can or cannot bringing across accomplish now some negative views of translation and believe me there are many I've just selected a few literacy Oh son come May Pharma los del sambal El Meson toffee del lol so Fidel and the soap bubble Thomas man well I would say this is a negative views of women not of
田纳西也有帕特农神庙。我敢说：那就是帕特农神庙。那真的是「那座」帕特农神庙吗？当然，「帕特农神庙」这个词、这个说法本身就有点模糊。你可以说这是田纳西的那座帕特农神庙，区别于希腊的那座。但如果我只是说「那就是帕特农神庙」，那它算是帕特农神庙吗？这是个有意思的问题。如果我参观的是在地球另一端重建的帕特农神庙，我能不能名正言顺地宣称我去过帕特农神庙？大概不能。那么如果你读过《罗密欧与朱丽叶》的德译本，你能不能名正言顺地说「我读过这部剧本身」？但愿可以吧。可是为什么？区别在哪儿？翻译究竟「带过来」了什么？从词源上说就是「带过去、带过来」。这种「带过来」能做到什么、又做不到什么？现在来看一些对翻译的负面看法——相信我，这类说法多得很，我只挑了几条：「翻译就像女人：漂亮的不忠实，忠实的不漂亮。」还有肥皂泡、托马斯·曼。我得说，这与其说是对翻译的负面看法，不如说是对女人的负面看法。它多少也说明了为什么会有这种负面看法——因为说这话的人是那种人。所以这条我们就
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translation and it sort of says why they might be negative views cuz this was among speak and speaking so let's not worry about this one another one what a translator tries for is no more than the best possible failure by an American poet a very successful poet who also translated John chardee that's so pessimistic then we have the famous Italian saying product or a predatory and I'll just if you don't mind translate it into English translator traitor now the funny thing about this is that the English translation is perfect there is no betraying whatsoever of the Italian and it contradicts this translation in the English completely contradicts and undermines and blows out of the water the claim of the the Italian phrase it makes no sense it's a perfect translation this phonetic echo is just as much just as strong in English as it is in Italian so I decided that really the appropriate way to think of this is not as translator traitor but as translator traitor you when you do translation you
别太较真了。再来一条：「译者所能追求的，不过是尽可能漂亮的失败。」这出自一位美国诗人、一位非常成功的诗人，他也做翻译，约翰·恰尔迪。这话真是够悲观的。然后是那句著名的意大利谚语「traduttore, traditore」，如果你们不介意，我把它译成英文：translator, traitor（译者即叛徒）。有趣的地方在于，这个英文翻译堪称完美，对意大利原文没有任何背叛可言——于是这个翻译本身就彻底反驳、拆穿并彻底击碎了那句意大利谚语的主张。它讲不通了：这是一个完美的翻译，那种语音上的回响在英文里和在意大利文里一样强烈。所以我觉得，真正合适的想法不是 translator, traitor（译者即叛徒），而是 translator, trader（译者即交易者）。做翻译时，你是在拿一种语言里的东西去交换
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trade things in one language for things in the other language you make sent you get some advantages and you get some disadvantages and on the if you're good enough it balances out and it comes out about even so I like this phrase and in fact I wrote a book or 1/2 a book you might say I'll explain it I translated a novel by falsified going from French and on the the back side of it this is not actually accurate this should be upside down really because if you flipped the book you get another book and the other book is called translator trader all show you this this is what it's called translator trader an essay on the pleasantly pervasive paradoxes of translation and it's about what I did when I translated the novel and by francois saigon i always like to see when translators write preface 'as to their books or afterwards just as i like to see notes by a performer of music when they perform a piece on a record and then they comment on it or if they get up on the stage and they play it and they give you some comments
另一种语言里的东西。你有所得，也有所失；如果你足够高明，两边就能扯平，大致收支相抵。所以我喜欢这个说法。事实上我还写过一本书，或者说半本书，可以这么讲——我解释一下：我翻译了弗朗索瓦丝·萨冈的一部法语小说，而在这本书的背面……其实这么放不太对，应该是倒过来的，因为你把书翻转过来，就会得到另一本书，另一本书叫做《Translator, Trader》。我给你们看看，就是它——《Translator, Trader：论翻译中那些令人愉快而又无处不在的悖论》。它讲的是我翻译弗朗索瓦丝·萨冈那部小说时都做了些什么。我一向喜欢看译者为自己的译作写序或写后记，就像我喜欢看演奏者在唱片里演奏一首曲子之后附上自己的说明，或者他们上台演奏，在演奏前后跟你聊几句。我总是很享受这种东西，所以我就放任自己也这么干了。
03王维《鹿柴》：二十音节的形式实验
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before or after I always enjoy the that and so I I indulged myself in doing that and this is it says it's an essay by a translator trader who believes in the reality of high quality translation why are there so many cynical negative skeptical pessimistic views of the art of translation I do not know that's all there is to it I don't know so we'll now go to to begin with looking at some translations we'll go back to the thing we began with yesterday that poem by Wang Wei poet from a long long time ago Tong dynasty Liu ji and I'll read it once again I'll just show it to you once again or in some people's case the for the first time so here it is written out vertically mm-hmm in that manner Lu Chi meaning essentially something like deer park or deer manner this is Lu Jai and okay so I'll read it in Chinese and then we'll talk about what it means and then we'll talk about translations okay Kong Shan boo children done well then you Xiang finding rushan lien Fujio ching hai Xiang so let's look at what it
上面写着：这是一篇由一位「译者即交易者」所写的文章，此人相信高质量的翻译确实存在。为什么关于翻译这门艺术，会有那么多犬儒、负面、怀疑、悲观的看法？我不知道，就这么简单，我真不知道。那么我们现在开始看一些翻译。我们回到昨天开头讲的那个东西，就是王维的那首诗，很久很久以前唐代的诗人，《鹿柴》。我再念一遍，或者说再给你们看一遍——对有些人来说是第一次看。就是这个，竖着排出来的，就是那种排法。《鹿柴》，字面意思大概就是「鹿园」或者「鹿的居所」，这是《鹿柴》。好，我先用中文念一遍，然后我们谈谈它是什么意思，然后再谈翻译。好：空山不见人，但闻人语响。返景入深林，复照青苔上。我们来看看它逐字、逐个音节在英文里是什么意思。哎呀，噢
14:33
means one character at a time one syllable at a time in English oops oh yes I forgot I want to point out something that I very much liked about this poem in the when you print it out like this isn't that pretty it just struck me this means person Ren it's also here and this means to enter or in rule so Ren Andrew they make a nice little symmetry right at the very center of the poem and I really like that ok so here is the one word for one word rendition in English oops empty he'll not see person but here person language sound return shadow enter deep forest again shine green moss on doesn't maybe make a whole lot of sense this way but in order to make it make more sense let me show you a very nice translation by Vikram sait he translated it into what he thought was an equivalent poem in the English language they from sait who here it is empty hell's no man in sight just echoes of the voice of men in the deep wood reflected light shines on the blue-green Moss again and I guess I yesterday I showed I think six or so
对，我忘了，我想指出这首诗里一个我特别喜欢的地方。当你像这样把它印出来，是不是很漂亮？这一点让我印象很深：这个字是「人」，这里也有一个「人」；而这个字是「入」，进入的意思。所以「人」和「入」在整首诗的正中央形成了一个漂亮的小小对称，我真的很喜欢这一点。好，下面就是逐字直译成英文的版本：空、山、不、见、人，但、闻、人、语、响。返、景、入、深、林，复、照、青、苔、上。这样看也许不太说得通，但为了让它更好懂一点，我给你们看一个非常漂亮的译本，出自维克拉姆·塞思。他把它译成了他认为在英语中对等的一首诗。塞思的译本在这儿，就是这样：空山之上不见人影，只有人声的回响；深林之中，返照的光再次照在青碧的苔上。昨天我在讲座开头大概展示了六种不同译者的译本，而这
16:13
translations at the beginning of the lecture by different people and in this case I'm just showing you one because maybe it's my favorite although I have to say just as I said yesterday that I'm annoyed at this X is an inherent in this use of the word man and men it doesn't correspond to sexism any sexism in the Chinese version which is not to say that the Chinese language is absent has no sexism in it it's filled to the brim with sexism just as almost all languages are but in this particular poem there is no sexism and but there is in the English version on unfortunately in this particular English version so I was I liked it in some ways but I had a strong reaction to or against it as well as to or against many other versions of this poem and I said this yesterday namely why not pay attention to the poems form meaning why not make an English poem with exactly 20 syllables four lines with five syllables each that's what I thought was screaming out as the natural thing to do especially after I saw so many
一次我只给你们看这一个，因为它也许是我最喜欢的。不过我得说，就像我昨天说过的，我对这里用 man 和 men 这个词所带来的性别偏见感到不舒服。中文原文里并没有对应的性别色彩，这倒不是说中文没有性别歧视——中文里满是性别歧视，几乎所有语言都是如此——但在这首诗里并没有，而在英译本里却有了，很遗憾，至少在这个英译本里是这样。所以我在某些方面喜欢它，但同时也有很强烈的反应，既有赞同也有反对；对这首诗的其他许多译本也一样。我昨天说过：为什么不多留意这首诗的形式呢？也就是说，为什么不做一首恰好二十个音节的英文诗——四行，每行五个音节？我当时觉得这简直是在向你大喊「这才是自然该做的事」，尤其是在我看到那么多译本根本没这么做、
17:44
translations of this poem that didn't do that or didn't even make the slightest attempt to do it and I thought how weird so here is what I came up with after a lot of hard work and I showed this yesterday bleak peak spino folk but hark hush like talk son flex pierce dark Bosque flicked back off green bark and as I said yesterday just in case you don't know this unusual word it means a grove of trees or a little forest and so you if I color in some of the words you can see all of the words that I use that end in the K sound bleak peak folk hark like talk flecks dark Bosque flick back bark there's even a pretty geometry to it two one one two one two two one it's got a lot of interesting kind of structural properties why did I do that well because as it says here I'm tipping my hat to the very limited number of distinct syllables in Chinese and the extremely tiny set of final consonants in Chinese in Mandarin there's basically N and ng you can also have R under certain circumstances but essentially
甚至连一点尝试都没有之后。我心想这太奇怪了。所以，经过一番苦功，我做出了这个，昨天也给大家看过：bleak peak / spy no folk / but hark, hush-like talk / sun flecks pierce darkbosque / flick back off green bark。就像我昨天说的，万一你不认识 bosque 这个不常见的词，它的意思是小树林、小片森林。如果我把其中一些词标上颜色，你们就能看到我用的所有以K 音结尾的词：bleak、peak、folk、hark、like、talk、flecks、dark、bosque、flick、back、bark。它甚至还有一种漂亮的几何结构：二、一、一、二、一、二、二、一。它有很多有趣的结构性特征。我为什么要这么做？因为正如这里写的，我是在向汉语中数量非常有限的不同音节、以及极其少量的韵尾辅音致敬。普通话里基本上只有 n 和 ng，某些情况下还可以有 r，但基本上
19:16
anyway the number of final consonants in Mandarin is tiny and it in any version of Chinese whether it's Mandarin or Cantonese or any other version it's a tiny and so I was sort of tipping my hat to that fact about Chinese and having a lot of fun at the same time but I felt also my my I had a friend who critiqued my translation this one and he felt that it didn't quite do it for him I mean he speaks Chinese very fluently and he had some complaints about it and he thought it wasn't as as easily understandable or I don't know I can't remember what his complaints were but it made me go back to the drawing board and try again 20 syllables and so I simplified the vocabulary a little bit and explored further and here's what I came up with bleak peak no one's seen but here snips of voice late light spins through woods shines back on green moss and as you will see that I got a little bit of a sort of a rhyme here voice and moss not here and I had some nice little alliterations bleak peak and late light and it was simpler
总之，普通话里韵尾辅音的数量非常少；而且不管是哪种汉语，普通话也好、粤语也好或者别的方言，都很少。所以我算是在向汉语的这个特点致敬，同时自己也玩得很开心。不过我也觉得——我有个朋友批评过我这个译本，他觉得它对他来说还不太到位。他中文说得非常流利，对这个版本有些意见，他觉得它不够好懂，或者……我也说不好，我记不清他具体的意见是什么了，但这让我又回到起点重新来过：二十个音节。于是我把用词稍微简化了一些，继续摸索，最后得到了这个：bleak peak / no one's seen / but here snips of voice / late light spins through woods / shines back on green moss。你们会看到我在这里弄出了一点韵：voice 和 moss，虽然不完美；还有一些不错的头韵：bleakpeak、late light。它更简单，但也许更清晰，在某些方面也许更好。不过接下来我又忍不住做了一件我
20:48
but maybe clearer maybe better in some ways but I then couldn't help but do something that I thought would bring it closer to the original Chinese I said to myself Wang Wei didn't use punctuation marks one way didn't use capital letters so let me take those punctuation marks out and the capital letters out and then I get this bleak peak Wow you've already heard it so I don't need to read it again but that's what I got and then I thought wait a second this doesn't have anything like the geometry of his poem his poem was like you know the words were in a very nice array so I decided I should really put them into an array so here I have a nice column a column a column a column a column so bleak peak no one's seen at cetera but then I said to myself wait a minute this wasn't how it was done in Chinese originally it was originally vertical not horizontal so I rearranged it bleak peak no one seen but here's snips a voice late light spins in etcetera so that was happy but then I thought this doesn't look like
觉得能让它更接近中文原作的事。我对自己说：王维没有用标点符号，王维也没有用大写字母，那我就把标点和大写都去掉。于是我得到了这个：bleak peak……哇，你们已经听过了，我就不再念一遍了，反正就是这个结果。然后我又想，等等，这跟他那首诗的几何形状完全不一样啊。他的诗，你知道，那些字排成一个非常漂亮的方阵。所以我决定真该把它们也排成一个方阵。于是这里我有了一列、一列、一列、一列、一列。bleak peak / no one's seen 等等。但接着我又对自己说，等一下，中文原本可不是这么排的，原本是竖排而不是横排。于是我重新排了一遍：bleak peak / no one seen / but here snips a voice / late lightspins in……等等。这下我挺高兴了，但接着我又想，这看上去还是不像原作。我想起，
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the original the and I remembered you know I was thinking the this it is this is a you know a night Baskerville typeface and I thought well why not use a typeface that has brushstrokes in it and there's a typeface called brush script so I decided I would do that so I changed it all into brush script and then I started to feel a little bit happier and now I want to point something out to you spins and snips I was very pleased with that and don't think it's an accident moreover I have no and on I decided to go a little further so it's a complete palindrome on spins snips no on spin snips no I was really having fun but then I went a little further I said gee you know Chinese characters are supposed to fill up a square they're supposed to be square and form they're not supposed to be horizontal things like that that doesn't look like a Chinese character so I took each mono syllable and broke it up into two pieces and put them vertically like that well there's the original poem there it is there they are
你知道，我用的是 Baskerville 这种字体，我心想，为什么不用一种带毛笔笔触感觉的字体呢？正好有一种字体叫 Brush Script，于是我决定这么干，把它全都换成了 Brush Script，然后我开始感觉好一点了。现在我想再给你们指出一处：spins 和 snips，我对这个非常得意，别以为这是偶然。而且我还有 no、on——我决定再往前走一步，让它成为一个完整的回文：no on spins snips no on spinssnips no。我真是玩得不亦乐乎。但接着我又更进一步，我想，哎，你知道，汉字应该填满一个方块，它们在字形上应该是方的，不该是那种横长条的东西，那看着不像汉字。所以我把每个单音节词都拆成两半，把它们竖着这样摆。喏，这是原诗，就在这儿，它们又并排放在一起了，这是我的诗，
04摩根施特恩：「不可译」的德语诗
23:39
together again and there's my poem and that's what I settled with that was my solution so you can ask yourself would an English language reader of this translation have stood in the original Parthenon of long ways original poem who knows but it's an interesting question bleak peak no one's seen that's a bleak peak actually there is somebody right there ha ha ha what is translation bringing across what can or cannot bringing across accomplish more negative views of translation we're going to have a bunch of them great original shine even through awkward translations Christian Morgan's down by the way I have only seen this in English I assume he didn't say it in English so there is no such thing as a good or a better translation of poetry from another language there are only poor and less poor renderings Christian Morgan stone so let's take Christian Morgan's down well I'm sorry I guess it why are there so many cynical negative skeptical plasmas news there are two translation I do not know anyway let's take Christian
这就是我最后定下来的样子，这就是我的解法。所以你可以问问自己：一位读了这个译本的英语读者，算不算站在过王维原诗那座「原版帕特农神庙」里？谁知道呢，但这是个有意思的问题。bleak peak（荒凉的山峰）、no one's seen（不见人影）——这确实是一座荒凉的山峰，不过其实那儿正好有个人，哈哈哈。翻译究竟「带过来」了什么？这种「带过来」能做到什么、又做不到什么？再来一些对翻译的负面看法，我们会看好几条。「伟大的原作，即使透过笨拙的译文也依然闪光。」——克里斯蒂安·摩根施特恩。顺便说一句，这句我只见过英文版，我猜他原话不是用英文说的。还有：「诗歌从一种语言译成另一种语言，根本不存在什么好的或更好的译本，只有糟糕的和不那么糟糕的转述。」——克里斯蒂安·摩根施特恩。那我们就来看看摩根施特恩。呃，抱歉，我想它……为什么关于翻译会有那么多犬儒、负面、怀疑的看法？我不知道。总之，我们来看看摩根施特恩，看他的一首诗。我要说的是，很多很多年
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mortgage down and look at a poem by him I I will comment that many many years ago I had a very close friend who is still a very close friend whose father was a professor of German and he had in his library a volume of Christian mortgage done poems which he said were untranslatable because they were so wonderfully deeply married to the German language and then one day I don't remember how I came across it but somebody I think sent me I don't know a book of Christian Morgan some poems translated into English that it was a two language volume it had the originals and the translations and the translations were by somebody I had never heard of named max night so I'm going to show you this poem in the original German and then a translation by max night the Latin song s VAR einmal ein Latin song with swishing arm endorsed souchong an architect the DZ's Zaha stunt - Armin split / da unarmed insufficient harm her house on pouted house and horses house dat sound indocin stunt can stoom meet Latin universe Haram an ambiguously
以前，我有一个非常要好的朋友，现在依然很要好，他父亲是德语教授，他家的藏书里有一本克里斯蒂安·摩根施特恩的诗集，他说这些诗是不可译的，因为它们与德语结合得太美妙、太深了。后来有一天，我不记得是怎么碰上的，反正好像有人寄给我，我也说不清，一本摩根施特恩的诗集，译成了英文，是双语对照本，既有原文也有译文，译者是一个我从没听说过的人，叫马克斯·奈特。所以我要给你们看这首诗的德语原文，然后是马克斯·奈特的译文。《Der Lattenzaun》（篱笆）：Es war einmal ein Lattenzaun, mit Zwischenraum, hindurchzuschaun. Ein Architekt, der diesessah, stand eines Abends plötzlich da – und nahm den Zwischenraum heraus und baute draus ein großes Haus. Der Zaun indessen stand ganz dumm,mit Latten ohne was herum, ein Anblick grässlich und gemein. Drum zog ihn der Senat auch ein. Der Architekt jedoch entfloh
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on mine don't Sookie there's a not how I earn their architect yeah door and floor nah-ah free autonomy Rico very cute and I'm sure most of you are native speakers and you are enjoying it maybe you've read it before hopefully you have now of course everybody would agree that this is very closely married to the German language does that mean though necessarily that it is untranslatable and I would answer no it does not mean that you have to marry it equally well to the English language that's all let's look at what max Knight did with it the picket fence max night there used to be a picket fence with space to gaze from hence to thence an architect who saw this sight approached it suddenly one night removed the spaces from the fence and built of them a residence the picket fence stood there dumbfounded with pickets holy unser and obscene the Senate had to intervene the architect however flew to Africa or America now I hope you like that I I think it's charming delightful and you know it's on the same level I
nach Afri- od- Ameriko. 太妙了。我相信你们大多数人是德语母语者，一定听得津津有味，也许你们以前就读过，希望你们读过。当然，大家都会同意，这首诗跟德语结合得极其紧密。但这是不是就必然意味着它不可译？我的回答是：不是。那并不意味着不可译，你要做的是把它同样紧密地跟英语结合起来，就这么简单。我们来看看马克斯·奈特是怎么处理的：《The Picket Fence》（栅栏）,马克斯·奈特译。从前有一道栅栏，栏板之间留着空隙，可以从这头望到那头。一位建筑师看见了这景象，某天夜里忽然走上前去，把栅栏里的空隙全都取走，用它们盖起了一座宅子。栅栏就那么傻站在那儿，只剩下光秃秃的栏板，那模样丑陋又不成体统，参议院不得不出面干预。而那位建筑师却逃到了非洲，或者美洲去了。我希望你们喜欢这个译本。我觉得它很迷人、很讨人喜欢，而且它是在同一个水准上的。我
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won't say it's worse or better I'll say it's roughly at the same level as the original that's my opinion that's my personal opinion you of course have the right to disagree now I'm a person who I guess loves to compete and so once I had seen this I felt I had to get into the game myself and I had to do my own translation of the Christian Morgenstein of course I had the benefit of having already seen a very good English translation but nonetheless benefit or not it doesn't mean that I'm gonna use the English translation it just means I've been shown that it can be done the the this act can be done once you know it can be done maybe that gives you a little bit more confidence that you can do a good job so here's what I did a picket fence low many a year had pickets dents between which to peer an architect who this did spy one Eve out of the clear blue sky stole all the space betwixt its sticks and built there with a house such bricks this fact our fence did sadly stun it now had slats but slits had none twas such an
不会说它更差或更好，我会说它跟原作大致处在同一个水准上。这是我的看法，这是我的个人观点，你们当然有权不同意。我这个人吧，大概天生喜欢较劲，所以一旦我看到了这个译本，我就觉得自己也得下场试试，我得自己译一遍克里斯蒂安·摩根斯特恩的这首诗。当然，我占了便宜——我已经看过一个非常好的英译本了。但不管占不占便宜，这并不意味着我会去用那个英译本，它只意味着有人向我证明了这件事是能做到的，这个动作是可以完成的。一旦你知道它能做到，也许你就多了一点信心，相信自己也能做好。所以下面就是我译的版本：有道栅栏立了许多年，板条之间留着缝，正好可以往里瞧。一位建筑师瞧见了这景象，某个傍晚，晴天里忽发奇想，把板条之间的空隙统统偷走，拿它们当砖，就地盖起一座房子。这件事把我们那道栅栏惊得目瞪口呆：如今只剩板条，一条缝也没了。它实在碍眼，成了一处败笔，市议会便下令
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eyesore and a blight town council beamed it dynamite the architect though up and flew to Africa or America you so that's my version again I think it's about at the same level if I don't if you allow me to pat myself on the back and I'm very fond of it and I translated two or three other Christian Morgan stone poems and they're my translations as well as max nights and some by volta aunt another German who translated into English are these are all found in my book Luton Buddha Mahal which I don't think is available outside ironically nor is the other one that I just showed translator traded they got a bunch of books by me out there but they didn't bother to get the ones on translation ironically pretty weird oh well I didn't know there would be any books for sale at all if they had asked me I would have said make sure you get loot on Buddha Maho and translator trader and the Tran of course was Sagan's novel but they didn't ask me so would an english-language reader of either max nights or my own English translation
把它炸掉。至于那位建筑师，早就溜之大吉，飞去了非洲还是美洲。这就是我的版本。我觉得它大致在同一个水准上——如果你们允许我自吹自擂一下的话。我很喜欢它。我还译了两三首别的克里斯蒂安·摩根斯特恩的诗，那些也是我的译文，此外还有马克斯·奈特（Max Knight）的译文，以及沃尔特·阿恩特（Walter Arndt）的几首——他是另一位把德语诗译成英语的德国人。这些都收在我那本《Le Ton beau de Marot》里，而讽刺的是，我觉得外面（会场）买不到这本书，我刚才展示的另一本《Translator, Trader》也买不到。外面倒是摆了我不少书，可他们偏偏没想到把讲翻译的那两本弄来，挺讽刺的，挺奇怪的。唉，算了，我原本压根不知道会有书卖，要是他们问过我，我一定会说：千万记得把《Le Ton beau de Marot》和《Translator, Trader》弄来，还有《That Mad Ache》——那当然是萨冈的小说。可他们没问我。那么，一位只读了马克斯·奈特的译文、或者我自己的英译的英语读者，
05纳博科夫与奥涅金诗节的结构
31:21
have stood in the true Parthenon of Morgenstern's German poem I'm not going to answer that question I'm just asking it can you say at least without talking about parthenons can you say can an English reader who has never learned a word of German except gesundheit which we all know and kindergarten maybe a few others but not very many um can an English reader who has read only max nights translation or my translation say oh yes I read Christian Morgenstern's poem I really like it very very fun very charming use of language what a master of language Christian Morgenstern is can you say that if you've read only the English interesting question what is translation bringing across what can or cannot bringing across accomplished now we will take up the case of Sodom it Nabokov and Eugene Onegin this is a very long and complicated case and I will only be scratching the surface nonetheless let's go ahead let me explain you may or may not know that Eugene onion or give gain young again in Russian is well you
是否算是站进了摩根斯特恩那首德语诗真正的帕特农神庙里？这个问题我不打算回答，我只是提出来。至少可以这样问：先不提什么帕特农神庙——你能不能说，一位英语读者，一个德语一个词都没学过的人，除了gesundheit（我们都会说这个）和 kindergarten，也许还有另外几个词，但真的不多——这样一位英语读者，只读过马克斯·奈特的译文或我的译文，他能不能说：噢对，我读过克里斯蒂安·摩根斯特恩的诗，我非常喜欢，太有趣了，语言用得太妙了，克里斯蒂安·摩根斯特恩真是语言大师。如果你只读过英文，你能这么说吗？有意思的问题。翻译到底是什么？「搬运过去」是什么？「搬运过去」能做到什么、又做不到什么？接下来我们要来谈谈弗拉基米尔·纳博科夫和《叶甫盖尼·奥涅金》这个案例。这是一个很长、很复杂的案例，我只能蜻蜓点水地讲一讲。不过还是开始吧。我来解释一下。你们可能知道也可能不知道，《叶甫盖尼·奥涅金》，在俄语里叫 Евгений Онегин。你们大概知道，《叶甫盖尼·奥涅金》是柴可夫斯基的一部歌剧——嗯，是也不是。在俄罗斯之外，
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probably know that yevgenia negan or organ onion is an opera by Tchaikovsky well yes and no that's what it has become mostly associated with outside of Russia inside Russia it's quite another story inside Russia Eugene Onegin is thought of as the greatest work of all of Russian literature has nothing to do with an opera of course the Russians are very familiar with the Opera but it's a completely different thing for them Pushkin is the greatest Russian who ever lived he is the founder of their language and of their literature and his greatest work is Eugene Onegin which is a novel in verse and it consists of roughly three hundred and eighty so-called onion stanzas which have a very particular form which I'm just about to illustrate now it has always of course because this poem this novel inverse is so profoundly wedded to the Russian language people have said for a very long time that it is untranslatable and certain people have made their practically their reputations on saying that it is untranslatable and
它主要是以歌剧的身份被人知道的；但在俄罗斯国内完全是另一回事。在俄罗斯，《叶甫盖尼·奥涅金》被视为全部俄国文学中最伟大的作品，跟歌剧毫无关系。当然俄国人对那部歌剧也很熟悉，但对他们来说那完全是另一码事。普希金是有史以来最伟大的俄国人，他是他们语言和文学的奠基者，而他最伟大的作品就是《叶甫盖尼·奥涅金》——一部诗体小说，大约由三百八十个所谓的「奥涅金诗节」组成，这种诗节有非常特定的形式，我马上就要给大家演示。当然，正因为这首诗、这部诗体小说与俄语血肉相连、密不可分，人们很久以来一直说它是不可译的。有些人几乎就是靠宣称它不可译而成名的。我要讲的就是其中一位——这当然不是他唯一的名声，但也是
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I'm going to tell you about one of them it's not his only reputation but it's one of his claims to fame and that person is Vladimir Nabokov Nabokov decided after struggling for a little while I don't know how long with trying to Versa fie Eugene Onegin the original in English that it was as he put it mathematically impossible a curious phrase as if he could prove a theorem that it said it was mathematically impossible but I'm not going to go into that he claimed that it was impossible and he then decided for reasons of his own that he was going to render the poem the novel in verse in English by making a word-for-word translation dropping all of the meter or rhythm and dropping all of the rhymes and so forth and so on and just giving a very very very literal word-for-word translation and then musingly enough he wrote to onion stanzas about this fact and these two stanzas in which he apologizes to Pushkin for doing this were published in The New Yorker magazine roughly in 1964 I don't remember maybe it was earlier in
他的名声之一，这个人就是弗拉基米尔·纳博科夫。纳博科夫在挣扎了一段时间之后——我不知道具体多久——试图用英语把《叶甫盖尼·奥涅金》原作以诗体译出，最后断定，用他的话说，这在「数学上不可能」。这个说法很古怪，好像他能证明一条定理，说明这在数学上不可能似的。这个我就不细讲了。总之他宣称这不可能，然后出于他自己的理由，他决定要把这首诗、这部诗体小说用英语逐字直译出来，抛弃全部格律或节奏，抛弃全部的韵脚等等，只给出一个极其极其字面的逐字译本。而且有趣的是，他就这件事写了两个奥涅金诗节。这两节向普希金道歉的诗发表在《纽约客》杂志上，大概是1964年，我记不清了，也许更早。总之是在他正在做、或者刚刚
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any case when he was working on or had just finished his word-for-word translation of Eugene Onegin into English so I'm going to show you the first of them I'm gonna show them both to you but I'm first gonna show you one of them because it illustrates beautifully what an onion stanza is and I'm gonna be talking about onion stanzas so you need an example so let's use vladimir nabokov sahagun stanza in which he apologizes to Pushkin for not using onion stanzas in his translation a little bit tricky complicated Oh what is this negative fuse ah well here it is yeah this is just the beginning of it it's 14 lines long I'm just showing it bit by bit what is translation on a platter a poet's pale and glaring head a parrot's street a monkeys chatter and profanation of the dead the parasites you were so hard on are pardoned if I have your pardon Oh Pushkin for my stratagem I traveled down your secret stem and reached the root and fed upon it then in a language newly learned I grew another stalk and
做完《叶甫盖尼·奥涅金》英语逐字译本的时候。我先给大家看第一节——两节我都会给你们看，但我先看其中一节，因为它非常漂亮地示范了什么是奥涅金诗节，而我接下来要一直谈奥涅金诗节，所以你们需要一个例子。那就用弗拉基米尔·纳博科夫的这一节吧——他在里面为自己的译本没有采用奥涅金诗节而向普希金道歉。有点难弄……哦，这是什么？嗯，好，在这儿了。对，这只是开头部分，整节有14行，我一点一点地给你们看：什么是翻译？盘子上盛着一颗诗人惨白、圆睁着眼的头颅；鹦鹉的尖叫，猴子的聒噪，还有对死者的亵渎。你当年痛斥的那些寄生虫，如今得到宽恕——只要你也宽恕我。哦普希金，原谅我的诡计：我顺着你隐秘的茎干往下走，抵达根部，以之为食；然后用一门新学的语言，我长出了另一根茎，把你那仿十四行诗构造的诗节
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turned your stanza patterned on a sonnet into my honest roadside prose all thorn but cousin to your rose Nabokov now I want to tell you something about this on let's I color-coded it and let me explain what the color coding is the color coding well let me first say that well I'll go ahead for a moment and just go on to the next thing where I explain it and then I'll go back and what this is a lovely on you against answer what is an onion stanza it's 14 lines of iambic tetrameter so da-dum da-dum da-dum da-dum that's iambic tetrameter 14 lines of that it has a very fixed rhyme scheme always this a b a b c c d d e FF e GG always exactly that rhyme scheme Anja ghen stanzas are like that moreover lines AC E and E which I've color-coded in green here AACC EE have so-called feminine rhymes which means they have one extra unstressed syllable at the end dum dum dum dum da they have one extra duh duh duh duh duh duh duh duh duh at the end so they have nine syllables so six of these lines have nine syllables and the others have
变成了我诚实的路边散文——通身是刺，却是你那朵玫瑰的表亲。——纳博科夫。现在我想说说这一节，我给它做了颜色标记。让我解释一下这些颜色代表什么。呃，我先说……好吧，我先往下翻一页，到我解释的那一页，然后再翻回来。这是一个可爱的奥涅金诗节。那么什么是奥涅金诗节呢？它是14行抑扬格四音步，也就是「哒-当 哒-当 哒-当 哒-当」，这就是抑扬格四音步，14行都是这样。它有一个非常固定的韵式，永远是 ababccddeffegg，永远一模一样就是这个韵式。奥涅金诗节就是这样。而且，A、C、E 这几行——我在这里用绿色标出的 AA、CC、EE——押的是所谓的阴性韵，也就是说结尾多出一个非重读音节：当-当-当-当-哒，末尾多出一个轻音节，所以这些行有九个音节。也就是说其中六行是九个音节，其余的押阳性韵，也就是八个
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masculine rhymes which means eight syllables that's my little lesson on what an onion stanza is and now we'll go back sorry I have to do this bit by bit okay here's the onion stands and let's just look at it so here we have platter and chatter this is a two syllable rhyme platter chatter this is identical syllable or er and this distressed syllable plat and chat are not identical they rhyme that's a feminine rhyme a similar one hard on part on upon it sonnet so pawn it sonnet those are feminine rhymes AACC EE then we have BB d DF f GG and these are masculine rhymes head dead gem stem learn turned prose rose and so that is a nice example as I said of onions come on stanza let me now show the second of Nabokov's two stanzas that he wrote in apology apologizing to the great Pushkin with whom Nabokov so identified reflected words can only shiver like elongated lights that twist in the blank mirror of a river between the city and the mist elusive Pushkin persevering I still pick up your damsels earring still travel
音节。这就是我关于奥涅金诗节的小课堂。现在我们翻回去——抱歉，我只能一步一步来。好，这就是那个奥涅金诗节，我们来看看。这里有 platter 和 chatter，这是双音节韵：platter、chatter，后面这个音节 -er 是完全相同的，而重读音节 plat- 和 chat- 并不相同，它们押韵——这就是阴性韵。类似的还有 hard on / pardon，upon it / sonnet，这些都是阴性韵，即 AA、CC、EE。然后是 BB、DD、FF、GG，这些是阳性韵：head/dead，gem/stem，learned/turned，prose/rose。所以正如我说的，这是奥涅金诗节的一个很好的例子。现在我给大家看纳博科夫这两节中的第二节——他写这两节是向伟大的普希金道歉，而他本人与普希金有极深的自我认同：倒映的词语只会颤动，像被拉长的光影，在城市与雾霭之间那面空白的河镜中扭曲。难以捉摸的普希金啊，我仍执着地拾起你笔下少女的耳环，仍与你那阴郁的浪子同行；我发现另一个
06纳博科夫的「伪信条」及其动机
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with your sullen rake I find another man's mistake I analyze alliterations that grace your feasts and haunt the great fourth stanza of your canto 8 this is my task of poets patients and scoliotic passion blent dove droppings on your monument I'm not going to try to explain all of this for those of you who know what this means you can appreciate it and it certainly is he's humbling himself he's prostrating himself in front of the great Pushkin and it's an interesting thing very interesting now he had this weird translation philosophy that I already described which was respect only content never respect form now I don't believe that he really meant this I think it was a fake act that he put on and the reason I think he faked this act is complicated I'm not going to go into it in great length but basically it was that he felt he was a failure at translating it and he wanted thereby to state that nobody could do it if he the great vladimir nabokov couldn't do it then certainly nobody could do it and so he set out to
人的错误；我分析那些为你的盛宴增色的头韵，它们萦绕在你第八章第四节那伟大的诗节里。这就是我的任务：诗人的耐心与经院注疏者的热情交融——落在你纪念碑上的鸽粪。我不打算逐句解释这一切。你们当中懂得它含义的人自会欣赏。这确实是他在自谦，他在伟大的普希金面前五体投地。这是件有意思的事，非常有意思。他有一套我刚才描述过的古怪翻译哲学：只尊重内容，绝不尊重形式。可我并不相信他真是这么想的。我认为这是他摆出来的一副姿态。我认为他装出这副姿态的原因很复杂，我不打算展开讲太多，但基本上是因为：他觉得自己在翻译这部作品上失败了，于是他想借此宣称谁也做不到——如果连他弗拉基米尔·纳博科夫这样的大家都做不到，那当然没人能做到。于是他决心……换个说法吧：那些尝试过
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do he didn't want to let's let me phrase it another way people who had tried to translate it he put into a circle he said oh here are the you know here is this translator and this translator in this translator they all belong in this circle of failures I'm not going to enter into that circle and people who have tried to do it into verse you know rhyming and metrically I'm not gonna do that I'm I stand apart I'm not in their circle I won't be compared with them I did only this modest act of translating it literally and if anybody wants to really appreciate it well let them go and learn Russian that's it it can only be read in Russian really that was his put on pseudo credo you don't believe me well let's take a look at what Nabokov himself wrote about his version of onion I've taken this from his own writings just quoting him in transposing Eugene Onegin from Pushkin's Russian into my English I have sacrificed to completeness of meaning every formal element including the iambic rhythm whenever its retention hindered fidelity
翻译它的人，他把他们圈进一个圈子里，说：瞧，这位译者、那位译者、还有这位译者，他们统统属于这个失败者的圈子；我可不要踏进那个圈子。那些试图用诗体去译的人——押韵、合格律的那种——我不干那个，我要与他们区分开，我不在他们的圈子里，我不接受和他们相提并论。我只做了字面直译这么一件谦逊的事；如果谁真想欣赏这部作品，那就让他们去学俄语好了。就是这样：它真的只能用俄语读。这就是他装出来的伪信条。你们不信？那我们来看看纳博科夫本人是怎么写他那个版本的《奥涅金》的。我是从他自己的文字里摘出来的，只是原样引用：在把《叶甫盖尼·奥涅金》从普希金的俄语移译成我的英语时，我为了意义的完整而牺牲了一切形式要素，包括抑扬格节奏——只要保留它妨碍了我对
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to my ideal of literalism I sacrificed everything elegance euphony clarity good taste modern usage and even grammar that the dainty mimic prizes higher than truth he used these words of scorn to describe anyone who would have the audacity to try to render it as verse in English because he of course had proven mathematically it was mathematically impossible is that not enough let's if you don't think it's enough let's take a look at more by Nabokov my own Eugene Onegin falls short of the ideal crib crib meaning literal translation it is still not close enough and not ugly enough his goal was to make it ugly in future editions I plan to devour eyes it still more drastically in case that word is not familiar to you he invented the word it came from the fact that there was at that time a very famous manual of English usage by Fowler and it said what is good usage of English and so 2d Fowler eyes something is to have bad usage so that's what he meant by that I think I shall turn it entirely into
字面主义理想的忠实。我牺牲了一切：优雅、谐音、明晰、品味、现代用法，甚至语法——所有那些「装模作样的摹仿者」看得比真理还重的东西。他用这些鄙夷的字眼来形容任何胆敢把这部作品译成英语诗体的人，因为他当然已经「用数学证明了」这在数学上不可能。这还不够？如果你们觉得还不够，我们再看纳博科夫的更多说法：我自己的《叶甫盖尼·奥涅金》仍未达到理想的 crib（crib 意思就是逐字直译本），它仍然不够贴近，也不够丑陋——他的目标就是要让它丑。在未来的版本中，我打算把它「去福勒化」得更加彻底。万一你们不熟悉这个词——这个词是他自造的，来源是当时有一本非常有名的英语用法手册，作者是福勒（Fowler），书里讲什么才是好的英语用法；所以把某样东西「去福勒化」，就是让它变成糟糕的用法。他就是这个意思。我想我要把它彻底变成实用主义的散文，用一种更加坑坑洼洼的
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utilitarian prose with a still bumpier brand of English rebar 'but of barricades of square brackets and tattered banners of reprobate words in order to eliminate the last vestiges of bourgeois posey and concession to rhythm this is something to look forward to so I think this is a bunch of malarkey to put it politely which means hogwash horsefeathers balderdash poppycock moonshine claptrap baloney hokum twiddle tripe trash and nonsense and since it's so much malarkey let's celebrate it in verse and this was done by a student of mine in a course that I taught on verse translation and it's a really a brilliant piece of work by Bradley Richie as you will see at the bottom volodymyr new nabokov pseudo credo onion eyes onion mine still fails to render great Pushkin's words in perfect prose to truth must beauty yet surrender before my efforts reach a close my future drafts must capture meaning without sweet meters intervening from bumpy prose there shall arise forbidding ramparts in the guise of
英语，配上方括号砌成的路障、以及不入流词语构成的破烂旗帜，以便清除最后残留的资产阶级诗意和对节奏的迁就。这可真让人「翘首以待」啊。所以我认为这全是一派胡言——说得客气点的话。所谓 malarkey，也就是废话、鬼话、瞎扯、胡诌、空话、噱头、扯淡、蒙人、瞎掰、垃圾、烂货，总之就是胡说八道。既然这么荒唐，那我们就用诗来庆祝一下吧。这是我的一个学生写的，出自我教过的一门诗歌翻译课，是一件真正出色的作品，作者是布拉德利·里奇（Bradley Ritchie），你们在底下能看到署名：《弗拉基米尔·纳博科夫的伪信条，奥涅金体版》——我的奥涅金啊，仍无法把伟大普希金的词句化作完美的散文；在我收工之前，美必须向真投降。我未来的草稿只捕捉意义，不让甜美的格律插足；从坑洼的散文中将升起森严的壁垒，以方括号为形；塔楼上飘扬着
07第五章第一节：五种诗体译本比较
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brackets and from towers flying old tattered banners all composed of thorny words shall be disclosed that bourgeois palsy lies dying no content changed for Grace's sake this quest I crave to undertake Bradley Ritchie marvelous onion stanza mocking Nabokov stance now many people heroic people decided that Oh my usual question you know what I say okay many people decided that they wanted to tackle the challenge of translating Eugene Onegin into languages other than Russian because after all it is the greatest work according to Russians of Russian literature and it would be quite ridiculous if it were not available in any other language so I'm going to talk about some of the translations that I have seen and that I deeply appreciate that I really think are marvelous and you will see that one of them probably the greatest into English was done by my great friend James Phelan and we'll take a look at this but we're going to begin Eugene young Hagen Ramon ste ha Eugene Onegin novel inverse with one stanza
破旧的残旗，全由多刺的词语织成，昭示着资产阶级的柔媚正在死去。绝不为优雅而改动内容——这就是我渴望承担的使命。——布拉德利·里奇。一个绝妙的奥涅金诗节，讥讽了纳博科夫的立场。后来有很多人、很多英雄般的人决定——噢，我那个惯常的问题，你们知道我会怎么说——好吧，很多人决定，他们要迎接把《叶甫盖尼·奥涅金》译成俄语以外语言的挑战。毕竟按俄国人的说法，它是俄国文学中最伟大的作品，如果任何其他语言里都读不到它，那也太荒唐了。所以我要讲一讲我见过的、我深深欣赏的、我真心认为非常出色的几个译本。你们会看到，其中一个——大概是英语中最出色的——出自我的挚友詹姆斯·法伦（James Falen）之手。我们会来看看它。不过我们先从《叶甫盖尼·奥涅金：诗体小说》的一个诗节开始，
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that I chose it by Pushkin in Russian it happens to be at the dead center of the novel the novel consists of eight chapters and I happen to be particularly in love I love so many of the stanzas I mean I've devoted a great deal of my life to this book but I particularly love this particular stanza number chapter five number one right in the middle right in the exact middle of the book so let's go through it in Russian not that I'm gonna I'm not going to do anything what I'm just going to pronounce it so you can hear a nagging stanza in Russian and then we'll look at some translations of toad court asana parkour de style a doggonit very a Zimmer's dollah dollah priyada snake ripple tall cave in very notorious B naught plus new fish Rana vacuole vigil attacks IANA poetry pub alleged war curtsy knee gruffly is abour nasty okhla Yogi's or a dear via Jim nem cerebra Sarek visually not very innocently gory simplistic anemic of wrong Sayaka so below crew gone by the way I just want you to see this word below
这一节是我挑的，普希金的俄语原文。它恰好位于全书的正中心。全书共八章，而我特别钟爱……我喜欢的诗节太多了，我这辈子在这本书上花了极多的心血，但我尤其喜欢这一节：第五章第一节，正好在中间，正好在全书的正中央。我们来用俄语过一遍——我不做别的，只是把它念出来，让你们听听一个奥涅金诗节用俄语是什么样，然后我们再看几种译文。（以下为俄语原文朗读）（俄语原文朗读继续）（俄语原文朗读继续）（俄语原文朗读继续）……顺便说一句，我想请大家注意 бело 这个词，
50:04
which means white in Russian it occurs I think elsewhere in here but I just want you to remember this word white here I've decided why not tip my hat once more to in a book of give you his rendering of this literal in English notice that I did not indent because these lines are not separate into masculine and feminine limes they're just ordinary English prose so just let's read it so that you know what the content is in this awkward rendition that year autumnal weather was a long time abroad which means it took a it lasted for a long time nature kept waiting and waiting for winter snow only fell in January on the night of the second waking early Tatiana from the window saw at morn the whitened yard flowerbeds roofs and fence delicate patterns on the panes that is the window panes the trees in winter silver gay Magpies outside and the hello the hills mellow Li spread over with the resplendent rug of winter all is brilliant all is white around now that's fine it gives you a sense of what it is about
它在俄语里是「白」的意思。我想这段里别处可能也出现过，但我只想请你们记住这里的这个「白」字。我想，不妨再向纳博科夫致意一次，把他对这一节的英译、那种字面直译给你们看看。注意我没有做缩进，因为这些行并没有按阳性韵和阴性韵区分开来，它们就是普通的英语散文。我们读一读，好让你们知道内容是什么——在这个别扭的译法里：那一年秋日的天气久久不肯散去，意思就是它持续了很长时间。大自然一直在等啊等，等着冬天。雪直到一月才落下，在初二那天夜里。塔季扬娜早早醒来，从窗口望见清晨里发白的院子、花坛、屋顶和篱笆，还有玻璃上精致的花纹——就是窗玻璃上的。窗玻璃上的冰花，冬日里的树银装素裹，外面是欢快的喜鹊，还有你好，那些柔和的丘陵，铺满了冬天绚烂的地毯，一切都是璀璨的，四周一片洁白。这翻译还行，它让你大致明白这段在讲什么，但它完全没有传达出
51:39
but it doesn't give you any sense at all of the beautiful magic that makes Russians fall in love with this novel gives you zero sense of that and I'm going to start out with a translation that I greatly loved by an American translator named of all things Babbitt Deutsch and she did her translation in 1936 and Nabokov in his translation he wrote critical commentaries about all translations into English that had preceded his and he tore them to shreds as much as he possibly could with the nastiest language that you can imagine and I'm not going to reproduce that language because it's not even worth it if you're interested you can go look it up yourselves it's easy to find but my point is I think but that Deutsch did a magnificent job in conveying the beauty of this stanza and of most of the stanzas in the book in her wonderful verse translation and so let's look at it Babette Deutsch 1936 that year was extraordinary the autumn seemed so loath to go upon the 3rd of January at last by night arrived the snow
那种让俄罗斯人爱上这部小说的美妙魔力，一点都没有。我打算先从一个我非常喜欢的译本讲起，译者是位美国人，名字很特别，叫巴贝特·多伊奇，她的译本完成于1936年。而纳博科夫在他的译本里，对在他之前所有的英译本都写了批评性评注，他用你能想象到的最刻薄的语言把它们批得体无完肤，能批多狠就批多狠。我不打算复述那些话，因为不值得。如果你感兴趣可以自己去查，很容易找到。但我的意思是，我认为多伊奇出色地传达出了这一节诗的美，以及书中大部分诗节的美，她的诗体译文非常精彩。我们来看看吧。巴贝特·多伊奇，1936年。那一年格外反常，秋天似乎迟迟不肯离去，直到一月三日夜里，雪终于来了。塔季扬娜一向起得早，看到一幅雪白的画面，惊喜不已：庭院是白的，花坛是白的，
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Tatjana still an early riser found a white picture to surprise her the courtyard white a white parterre the roofs the fence all molded fair the frost work or the panes was twining the trees in wintery silver gleamed and in the court gay Magpies screamed while winters carpet softly shining upon the distant hills lay light and all she looked on listen Dwight it's perfect in almost any way that you could consider it to be it's just as good as the original in my opinion and um well let's go on and look at a translation into German done by Elvita Eckert skal back in 1947 in unum yah bleep slung Annie place on 12 intelligent Clow this hostess Hartmann forgave leash a Schneider El simian wha the Tsar a Morgan foodist written Tatiana and Lizzy in mitten the Carlton on top Vicent hard decision faulted you were not on toasty iced gluten Sheridan jaws Eva's for her cow and pound - Islander in Alton Sun fazil bird from them flock entire des Belges unfertile English dragged on bomb install bye sugah decked
屋顶、篱笆都塑上了精美的形状，窗玻璃上霜花缠绕，树木在冬日的银光中闪耀，庭院里喜鹊欢叫，冬天的地毯柔柔生辉，轻轻铺在远处的山丘上。她所看到的一切，听着，太美了——从任何角度看都近乎完美，它跟原作一样出色，在我看来。嗯，我们继续，来看一个德语译本，译者是埃尔维拉·埃克特·斯卡尔，1947年。（德语诗节朗读）（德语诗节朗读）（德语诗节朗读）（德语诗节朗读）（德语诗节朗读）在我看来，这是一段很美的奥涅金诗节。我还要再给你们
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that's a beautiful onion stanza my opinion and I'm going to give you some others in German as well so that you can get a feeling for the variety and it's a remarkable variety of how one can do how come how one can translate a beautiful poem in many different ways but my next contribution is from my great friend Jim Phelan 1990 the fall that year was in no hurry a nature seemed to wait and wait for winter then in January the second night the snow fell late next day as dawn was just advancing tatiana woke and idly glancing be held outdoors a wondrous sight the roofs the yard the fence all white each pane a fragile pattern showing the trees in winter silver died gay Magpies on the lawn outside and all the hilltops soft and glowing with winters brilliant rug of snow the world all fresh and white below below remember that word he was playing a little game I think it was quite charming below and Russian means white but here it is below in any case let me say a couple of things about this it was through Jim Valens translation
看几个德语译本，好让你们感受一下其中的多样性——那种多样性非常了不起，同一首优美的诗可以有多少种不同的译法。不过我下一个要介绍的，来自我的好朋友吉姆·法伦，1990年。那一年秋天迟迟不走，大自然仿佛在等啊等，等着冬天，然后到了一月的第二个夜里，雪才姗姗落下。第二天黎明初现，塔季扬娜醒来，随意一望，就看见屋外一派奇景：屋顶、院子、篱笆全白了，每一块窗玻璃上都是精致的花纹，树木在冬日的银色中隐没，草坪上喜鹊欢跳，所有的山顶都柔和地闪着光，覆着冬天璀璨的雪毯，底下的世界一片清新洁白。注意最后那个词，我觉得他玩了个小把戏，相当巧妙——below（在下面），而在俄语里 бело 是“白”的意思，这里却是 below。总之，关于这个译本我想说几句：正是通过吉姆·法伦的译本，我才认识了《叶甫盖尼·奥涅金》，并且彻底爱上了它。我
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that I came to know Eugene Onegin and I fell head over heels in love with it I felt and this you can consider paradoxical or nonsensical but I don't think of it that way I felt that I was reading Pushkin and I would say Pushkin what a fantastic user of language he used language so wonderfully and yet whose language was I actually talking about well it's hard to say isn't it in some sense it's Pushkin in some sense it's Jim Phelan and which I mean Jim Phelan was profoundly inspired by by Alexander Pushkin extraordinarily profoundly it's hard to say how deeply he loved this work and still loves it it's hard to explain it I might comment that the Russians many many Russians memorize the entire book and they don't do it because they're told to do it in school they do it effortlessly because they so profoundly love it and the all I can say is I felt that way about Jim Valens translation I think I loved his translation as much as any Russian loved the original now we'll go on to Ulrich Bush 1981 also pure garnished and in
当时觉得——你可以说这自相矛盾或者荒唐，但我不这么看——我觉得我读的就是普希金，我会说：普希金真是语言大师啊，他把语言用得太妙了。可我说的到底是谁的语言呢？这很难讲，对吧。某种意义上是普希金的，某种意义上是吉姆·法伦的。我是说，吉姆·法伦受到了亚历山大·普希金极其深刻的启发，深到难以形容。很难说清他有多爱这部作品，而且至今仍然爱着，很难解释。我或许可以提一句：很多很多俄罗斯人能把整本书背下来，而他们背并不是因为学校要求，他们是不费力就记住了，因为他们太爱它了。我只能说，我对吉姆·法伦译本的感情就是这样。我觉得我爱他的译本，不亚于任何俄罗斯人爱原作。现在我们来看乌尔里希·布施的译本，1981年。（德语诗节朗读）
08霍夫施塔特自译与田纳西朗读
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volta though long a bleep there helps dis young thus endless winter Verdun Salter for Langton in at war doc ah miss Nora knocking Schnee Gavilan s - Morgan's us for Allen Tatyana Allen's Fall Apart unfenced at heart la ilaha this dentist's for your Oscar baited deer hoof did a show on that sound in de Morgan Morgan gone fazil Burt and him uninvited al Milly Zetas guns at all - I'll invest leash Helens al so I think this is a very elegant another beautiful onion stanza quite different from the one we saw just a moment ago in German now the next one I'm going to show is as you might be anticipating by myself because I fell in love with Eugene Onegin in the early nineteen so profoundly that it's too long a story to tell I gradually found myself being dragged kicking and screaming you might say into the act of translating it I never intended to do it but one thing led to another and to my own enormous surprise I wound up translating the entire novel myself and curiously enough my translation was published in the year
（德语诗节朗读）（德语诗节朗读）（德语诗节朗读）我觉得这也是一段非常优雅、非常美的奥涅金诗节，跟刚才那个德语译本很不一样。接下来我要展示的，你们大概已经猜到了，是我自己的译本。因为我在1990年代初深深爱上了《叶甫盖尼·奥涅金》，那故事说来话长。我渐渐发现自己被连拖带拽、又哭又闹地卷进了翻译它这件事里。我本来完全没打算这么做，但一件事引出另一件事，让我自己都无比惊讶的是，我最后把整部小说都翻译了出来。而且很巧的是，我的译本出版于
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1999 which by coincidence or maybe not by coincidence was Pushkin's 200th birthday just a nice fact so I'm going to show you my translation of this stanza which is somewhat different from the two earlier ones you saw in English that year autumnal weather hated to take its leave from Mead and Dell the world air air for winter waited twas January air snow fell the third by night by dawn light waking Tatiana by her cell was taking the moon the morons white farmyard in the sheds the fence the roofs the flowerbeds the glasses faint fantastic tracery the trees with wintery silver decked the court with merry Magpies flecked the mountaintops light lucid lay Surrey their dazzling glistening wintry shawl the air was crisp bright white was all and now I have to show you something again pardon me for doing this but I have a weakness I like structure I like playing with structure why did I do this when Pushkin didn't do it well I'll tell you it's very simple when I had translated this stanza into English I
1999年，那一年恰好——或者也许不是巧合——是普希金诞辰200周年，挺美妙的一件事。所以我要给你们看我翻译的这一节，它跟前面那两个英译本有些不同。那一年，秋天迟迟不肯从草地和山谷离去，大地苦苦等着冬天，直到一月三日夜里雪才落下。天亮时醒来，塔季扬娜从窗边望见月亮，望见雪白的农家院子，望见棚屋、篱笆、屋顶、花圃，望见玻璃上淡淡的奇幻纹路，树木披着冬日的银装，庭院里点缀着欢快的喜鹊，山顶轻盈澄澈地披着耀眼闪亮的冬日披肩，空气清冽明净，四下皆白。现在我又得给你们看点东西了，请原谅，因为我有个毛病：我喜欢结构，我喜欢玩结构。普希金没这么做，我为什么要这么做呢？我告诉你，很简单：当我把这一节译成英语之后，我注意到，出于某种偶然或命运的巧合，大概九个还是八个，我记不清了
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noticed that by some chance or a quirk of fate roughly 9 or 8 I don't remember of the lines began already with the letter T and I just thought wow 8 out of 14 lines already begin with T I wonder if I can't just kind of adjust it a little bit and I did and I worked like a devil mayor say should say vita tyfa since it begins with T but I I really worked extremely hard and I will tell you one of the greatest experiences of my life was going to Tennessee I went many times sometimes with my children and sometimes alone to visit Jim and Eve falen in their house while before I was working on my translation and then after I had just barely finished it but it wasn't yet completely cast in concrete and I went down on I spent I drove down to Tennessee 6 hours drive through beautiful mountains and I arrived at their house and I spent 3 hours with them reading three hours I'm sorry three days with them reading aloud my translation we all sat in their living room or on their porch and we read aloud my translation Eve would read
有些诗行本来就已经是以字母 T 开头的，我当时就想，哇，14 行里已经有 8 行以 T 开头，我在想我能不能干脆稍微调整一下呢？我真这么做了，而且干得像个魔鬼一样——或者该说 wie ein Teufel（德语「像魔鬼一样」）因为它是以 T 开头的。总之我真的下了极大的功夫。我要告诉你们，我这辈子最美好的经历之一就是去田纳西。我去过很多次，有时带着孩子，有时一个人去，去 Jim 和 Eve Falen 家里拜访他们。那是在我还在做翻译的时候，还有刚刚勉强完成翻译之后，但那时译文还没有完全定稿。我开车南下去田纳西，开了六个小时，穿过美丽的群山，我到了他们家，跟他们一起待了三个小时朗读——对不起，是三天，跟他们一起朗读我的译文。我们全都坐在他们的客厅里，或者坐在门廊上，大声朗读我的译文。Eve 读一些，
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some Jim would read some I would read some and of course Jim would every once in a while stop and recite Estanza his own truck of his own translation that he had committed to memory and we would have lots of fun you can't imagine how many laughs we had we had the greatest ton and when we came to this particular stanza they enjoyed this and and Jim helped me rewrite one of the lines I don't remember any longer which one it was but he helped me rewrite one of the lines to make it flow a little better so I really thought that was a nice touch so I guess we move on now to one more German translation which is my favorite not being a native speaker I'm not sure whether my taste is coincides with that of a German speaker but anyway it's by a wolf dietrich i'll i have about four or five german translations at home and this is my favorite of the ones that I own filling our Osmond and Norman Reapers nor help stingy Sowmya the winter vault and vault NIST common on Schnee field esteem y'know our I'm
Jim 读一些，我读一些。当然 Jim 时不时会停下来，背诵他自己译本中的一节，那是他自己翻译并且背下来的。我们玩得非常开心，你无法想象我们笑了多少次，我们过得太快活了。当我们读到这一节时，他们很喜欢，而且 Jim 还帮我重写了其中一行——我已经不记得是哪一行了——但他帮我重写了其中一行，让它读起来更顺畅一些。所以我真觉得那是个很棒的点睛之笔。那么我们现在再看一个德语译本，这是我最喜欢的一个。我不是母语者，所以不确定我的品味是不是跟德语母语者一致，不过不管怎样，这个译本出自Wolf Dietrich。我家里大概有四五个德语译本，这是我所拥有的译本里最喜欢的一个：「filling our Osmond and Norman Reapers nor help stingy Sowmya the winter vault and vault NIST common on Schnee field esteem y'know our I'm
09翻译是重生：斯坦纳与双重标准
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fightin arts tatiana market info hung of alsea varta Anza ganz face sting hostess paid the Shonan da who - the kid - Ivan followed Sauter tation De Palma vinta silver claw imhoof there Elston mantra Shah on right so vital - does vinta techie husky glaze on Alice Alice blend and advice I think is extremely beautiful and I just wanted to share these with you because I am a firm believer that translation can carry across almost anything and this is an example of that what a reader of any of these translations have stood in the original Parthenon of Pushkin's novel in verse I'm not gonna answer that question but I guess you know what my intuition is why are there so many cynical negative skeptical pessimistic views of the art of translation I do not know here is a positive view of translation at last a translation is good only when it is better than the original this is by an Austrian Aleksandr Oda wadda who died the year I was born some literary critics have exalted translation as a rebirth or even as a first to birth and
fightin arts tatiana market info hung of alsea varta Anza ganz face sting hostess paid the Shonan da who - the kid - Ivanfollowed Sauter tation De Palma vinta silver claw imhoof there Elston mantra Shah on right so vital - does vintatechie husky glaze on Alice Alice blend」——我觉得这非常美。我之所以想跟你们分享这些，是因为我坚信翻译几乎可以传达一切，而这就是一个例证。那么，读过这些译本中任何一个的读者，是否算是站在过普希金那部诗体小说的原初帕特农神庙里呢？我不打算回答这个问题，不过我想你们大概知道我的直觉是什么。为什么会有那么多对翻译艺术的愤世嫉俗的、否定的、怀疑的、悲观的看法呢？我不知道。这里终于有一个对翻译正面的看法：一个译本只有在它胜过原作时才算好。这话出自奥地利人 Alexander Roda Roda，他去世的那一年正是我出生的那一年。有些文学评论家把翻译推崇为一次重生，甚至是真正意义上的第一次诞生。我要引用美国文学评论家乔治·斯坦纳（George Steiner）
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I will give you a quote from a very famous book by the American literary critic George Steiner who wrote a famous book on translation called after Babel here is what he says I'll just put the bottom here he's summarizing some remarks by Friedrich gundog in Shakespeare on Ted Archer Geist written in 1911 this is what essentially goon Dolph said Shakespeare was somehow hidden inside the accidental husk of English the teleology of his full meaning of the meaning of his meaning the realization of his complete historical spiritual historical spiritual presence lay with German not with English in other words could it be that I never actually read Romeo and Juliet when I was in high school because the real deal was written not in English but in German and could it be that the residents of Athens have never visited the Parthenon because true Parthenon 'ti resides not in Athens but only in Nashville Tennessee is that possible just wondering like the Germans the Russians also claim that Shakespeare is
一本非常著名的书里的话，他写过一本关于翻译的名著《巴别塔之后》(After Babel)。他是这么说的，我就把下面这段放上来。他在概述弗里德里希·贡多尔夫（Friedrich Gundolf）1911 年所写的《莎士比亚与德意志精神》中的一些论点。贡多尔夫的意思大致是：莎士比亚不知怎的被藏在英语这层偶然的外壳里；他全部意义的目的论，他那意义之意义的目的论，他完整的历史-精神性存在的实现，属于德语而不属于英语。换句话说，会不会我高中时其实从来没有真正读过《罗密欧与朱丽叶》，因为真货并不是用英语写的，而是用德语写的？会不会雅典的居民其实从来没有参观过帕特农神庙，因为真正的帕特农神庙性并不在雅典，而只存在于田纳西州的纳什维尔？这可能吗？只是随便想想。跟德国人一样，俄国人也宣称莎士比亚
10约束解放心灵：人工翻译的结论
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better in their tongue than in the original indeed that all poetry when translated into Russian is better than the original however at the same time they insist that their greatest national hero alexander sergeyevich pushkin cannot possibly be reproduced in any other language so that's a bit of a double standard in other words there exists one and only one Pushkin on and it is in Russia and it will forever defy rebuilding on any other soil well that's quite a claim now I turn again to james Phelan my great friend and Jim has the belief as I do that is completely the opposite to the fake pseudo Creed credo professed by Nabokov which is content and form play equal roles in the original and so they should play equal roles in the translation Revere the constraints of form that's his and my philosophy and so Jim wrote and it's in my book Lu Tombo Tombo de novo it's in the book he wrote it specially for my book as soon as it happens an outlet two constraints in so let me read it to you every task involves constraint solve the
在他们的语言里比原文更好，甚至宣称所有诗歌译成俄语之后都比原文更好。然而与此同时，他们又坚持认为，他们最伟大的民族英雄亚历山大·谢尔盖耶维奇·普希金绝无可能在任何其他语言里被再现出来。所以这多少有点双重标准。换句话说，普希金只有一个，而且他就在俄罗斯，他将永远拒绝在任何别的土壤上被重建。这可真是个大胆的说法。现在我再回到 JamesFalen，我的挚友。Jim 和我一样，抱有一种跟纳博科夫所鼓吹的那套虚假伪信条完全相反的信念，那就是：内容和形式在原作中扮演同等重要的角色，因此它们在译作中也应当扮演同等重要的角色。要敬重形式上的约束——这就是他和我的理念。所以 Jim 写了一首诗，收在我的书《Le Ton beau de Marot》里，就在那本书里，他是专门为我的书写的，题目就叫《Constraints》（约束），是一首八行诗。让我读给你们听：每项任务都带着约束 / 别抱怨，把它解决就是 / 世上有神奇的环扣与锁链 / 锻造出来正是为了松开
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thing without complaint there are magic links and chains forged to loose our rigid brains structures strictures though they bind strangely liberate the mind now this is a wonderful poem and I could not help but decide that I had to translate it into other languages so here's the original and here's my Italian translation he crea David King Cole RC fr lo st. Solomon tarsi Kotani permit gia school a fun fluid a lamented hooray Oh VIN color said been chilly chilly berra joe mellows Peggy and then I had to do it in the French as well shock defeat Vern cantando metal news II saw news or plant company in a schenke sir you served assorted no Sonya Korea may we la forcing we the former key Lily Bell l'esprit well how about translating Jim Valens outlet into the German language in order to realize its complete historical spiritual presence hmm thus via Toya Alf gaba film organ in my first Albertus Magnus talked I exposed the emptiness of Mt in my second Albertus Magnus talked I extolled the beauty of UT and I submit
我们僵硬的头脑 / 结构、限制，虽然捆住了你 / 却奇妙地解放了心灵。这是一首美妙的诗，我忍不住决定，我一定要把它翻译成其他语言。所以这是原文，这是我的意大利语译文：「he crea David KingCole RC fr lo st. Solomon tarsi Kotani permit gia school a fun fluid a lamented hooray Oh VIN color said been chilly chillyberra joe mellows Peggy」。然后我还得用法语也来一遍：「shock defeat Vern cantando metal news II sawnews or plant company in a schenke sir you served assorted no Sonya Korea may we la forcing we the former key LilyBell l'esprit」。那么，把 Jim Falen 这首八行诗译成德语怎么样呢？好让它实现自己完整的历史-精神性存在。嗯——「thus via Toya Alf gaba film organ」。在我第一场 Albertus Magnus 讲座里，我揭露了MT（机器翻译）的空洞；在我第二场 Albertus Magnus 讲座里，我盛赞了 UT 的美。而我要说，结论就是：根本
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that the bottom line is there ain't no comparison thank you [Applause]
没得比。谢谢大家。[掌声]
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[Applause]
[掌声]
视频总结 · 一句话概括与核心要点
一句话概括
侯世达在第二场 Albertus Magnus 讲座中，用王维《鹿柴》、摩根斯特恩《栅栏》与普希金《叶甫盖尼·奥涅金》的多语言译本，论证"高质量翻译是真实存在的"，反驳纳博科夫"只译内容、放弃形式"的伪信条，主张形式与内容在翻译中应享有同等地位。
核心要点
- 翻译不是"背叛"而是"交易"：意大利谚语 *traduttore, traditore*（译者即叛徒）被完美译成英文 *translator, traitor* 后语音呼应丝毫不损——这本身就反驳了它的论断。侯世达改造为 *translator, trader*：译者用一种语言的东西换另一种语言的东西，有得有失，功力足够即可打平。他为萨冈小说所写的翻译随笔即以此命名。
- "帕特农神庙"隐喻贯穿全场：田纳西州纳什维尔有一座复制的帕特农神庙。去过复制品能否说"去过帕特农"？读了德译《罗密欧与朱丽叶》能否说"读过原作"？他反复提出这个问题却拒绝作答，用以逼问翻译"跨越"（translation 的词源）究竟能带来什么。
- 《鹿柴》译法：向形式致敬：他不满现有英译（含 Vikram Seth 版）忽略原诗 4 行×5 字=20 音节的形式，且引入原诗没有的 man/men 性别指涉。他的第一版全部押 -k 尾音（bleak/peak/folk/hark…）以致敬汉语极少的韵尾辅音；第二版简化为 "bleak peak no one's seen / but here snips of voice / late light spins through woods / shines back on green moss"，随后去标点、竖排、改用毛笔字体、把每个单音节拆成上下两半凑成"方块字"，还发现 spins/snips/no on 构成回文。
- "深度植根母语"≠不可译：摩根斯特恩《栅栏》（Der Lattenzaun）曾被一位德语教授断言不可译，但 Max Knight 的英译水准与原作相当；侯世达受此激励也作了自己的版本（结尾 "to Africa or Ameriku" 保留原作韵味）。他的论点：只需把译作同样深植于目标语言即可。
- 纳博科夫的"数学上不可能"是一种姿态：纳博科夫尝试用韵文译《奥涅金》失败后，宣称此事"数学上不可能"，转而做逐字直译，并公开表示要牺牲优雅、音韵、清晰、语法，甚至计划在再版时把译文改得"更丑"、塞满方括号。侯世达判断这是伪信条：他不愿被归入"失败者圈子"，于是把自己置于圈外——"若我做不到，则无人能做到，想读就去学俄语"。讽刺的是，纳博科夫自己却用两首完美的奥涅金体诗节向普希金道歉。
- 奥涅金体的规格：14 行抑扬格四音步，韵式固定为 ABAB CCDD EFFE GG；A、C、E 行为阴韵（9 音节，多一个无重音尾音节），其余为阳韵（8 音节）。全书约 380 节，俄国人视其为俄语文学之巅，许多人自发背诵全书。
- 同一诗节的多译本证明"跨越几乎无所不能"：以第五章第一节（塔吉雅娜清晨见雪）为例，展示 Babette Deutsch（1936，被纳博科夫恶毒批评，侯世达却认为"几乎各方面都完美"）、James Falen（1990，末行 "the world all fresh and white below" 用 below 暗合俄语 бело"白"）、三种德译（Eckert 1947、Ulrich Busch 1981、Wolf Dietrich）以及侯世达本人 1999 年版（恰逢普希金 200 周年）。他发现自己译文 14 行中有 8 行已以 T 开头，便硬改成全部 T 起首。
- 翻译可以"胜过原作"的传统观点：奥地利作家 Alexander Roda Roda 称"翻译只有比原作更好时才算好"；乔治·斯坦纳引 Gundolf 1911 年的说法——莎士比亚的完整精神只存在于德语而非英语；俄国人也声称一切诗译成俄语都更好，却坚持普希金绝不可译，侯世达指出这是双重标准。
- Falen 的《约束》诗与"结构解放心灵"：Falen 为侯世达的书写了短诗 *Constraints*——"structures, strictures, though they bind / strangely liberate the mind"，侯世达将其译成意、法、德三语，作为两人共同哲学的宣言：敬畏形式约束，内容与形式在译文中同等重要。
结论与值得注意的细节
- 结论性金句：第一讲揭示了 MT（机器翻译）的空洞，第二讲颂扬 UT（人译）的美，"两者没有可比性"。
- 讲座献给 Helga Keller——他在印第安纳大学概念与认知研究中心共事 22 年的行政助理，2011 年去世，出身科隆地区。开场朗读歌德《Nähe des Geliebten》及他与 Falen 合作的"拼接"英译。
- 讲座用英语而非德语的理由很直白："你们的英语比我的德语好"——他曾在雷根斯堡住 6 个月、维也纳 3 个月。
- 他抱怨会场书摊没进他两本谈翻译的书《Le Ton beau de Marot》和《Translator, Trader》，"讽刺得很"。
- 学生 Bradley Ritchie 用一首标准奥涅金体诗节戏仿纳博科夫的信条，被他称为"绝妙之作"。
- 他曾多次驱车 6 小时赴田纳西，与 Falen 夫妇在门廊连读三天他的全书译稿，Falen 时而背诵自己的译节，还帮他改了本节中的一行。
核心句型 · 8
1. It's not X, it's Y (语音双关式重述)
“The appropriate way to think of this is not as translator traitor but as translator trader”
用「不是A而是B」推翻既有说法并提出替代框架，A、B读音相近时效果更强。适合演讲中提出核心隐喻的转折句。
2. Can one validly claim …? Probably not / Hopefully so. But why?
“Can I validly claim I've been in the Parthenon probably not and if you have read a translation … can you validly claim I've read the play itself hopefully so but why”
先自问自答两个对照案例，再用 but why 追问差异，是引出核心论题的经典结构。仿写：并列两个直觉不同的例子后追问原因。
3. That doesn't mean … ; it just means …
“It doesn't mean that I'm gonna use the English translation it just means I've been shown that it can be done”
先否定强解读，再给出弱解读，精确限定一个事实的含义。学术讨论中澄清「先例」「证据」作用时很好用。
4. I'm not going to answer that question, I'm just asking it
“I'm not going to answer that question I'm just asking it”
把结论留给听众而立场已暗含，是演讲中「引导而不说教」的手法。可搭配 but I guess you know what my intuition is。
5. X, to put it politely, which means …
“This is a bunch of malarkey to put it politely which means hogwash horsefeathers balderdash …”
先给委婉说法，再用 which means 引出一串更直白的同义词，制造幽默递进。口语演讲表达强烈否定时可用。
6. I found myself being dragged kicking and screaming into …
“I gradually found myself being dragged kicking and screaming you might say into the act of translating it”
描述「本无此意却不由自主地投入」，find oneself + being + 过去分词强调被动与意外。适合讲述个人经历的转折。
7. in some sense it's X, in some sense it's Y
“In some sense it's Pushkin in some sense it's Jim Phelan”
承认某问题无法简单归属时的平衡表达，配合 it's hard to say, isn't it 缓和语气。适合讨论归属、作者身份等模糊问题。
8. Not X but Y — that's my (personal) opinion; you have the right to disagree
“I won't say it's worse or better I'll say it's roughly at the same level … that's my personal opinion you of course have the right to disagree”
作主观评价时先界定尺度（不说好坏，只说同级），再明示这是个人看法并留出反对空间，是英语学术演讲中的礼貌立场声明。
生词精讲 · 114 · 按出现顺序
explanatory
/ɪkˈsplænəˌtɔri/
adj.
0:12
解释性的，说明性的
administrative assistant
n. phr.
1:34
行政助理
memorial service
n. phr.
1:34
追思会，追悼仪式
emeritus
/ɪˈmɛrɪtəs/
adj.
3:20
（教授）荣休的，退休后保留头衔的
splice
/splaɪs/
n. / v.
3:20
拼接（物）；把两段接合起来
glimmer
/ˈɡlɪmər/
v.
5:01
发微光，闪烁
harking to
phr.
5:01
倾听（hark 为古雅用法）
groves
/ɡroʊvz/
n.
6:43
小树林，树丛
attendant
/əˈtɛndənt/
adj.
6:43
在旁守候的，随侍的（此处为诗歌用法）
ascendant
/əˈsɛndənt/
adj.
6:43
上升的，正在升起的
validly
/ˈvælɪdli/
adv.
8:14
有效地，名正言顺地
etymologically
/ˌɛtəməˈlɑdʒɪkli/
adv.
8:14
从词源上说
traitor
/ˈtreɪtər/
n.
9:52
叛徒，背叛者
undermines
/ˌʌndərˈmaɪnz/
v.
9:52
暗中削弱，破坏（论点的）基础
blows out of the water
idiom
9:52
彻底击溃、完败（某论点或对手）
phonetic echo
n. phr.
9:52
语音上的回响，读音呼应
balances out
phr. v.
11:38
相互抵消，扯平
pervasive
/pərˈveɪsɪv/
adj.
11:38
无处不在的，弥漫的
paradoxes
/ˈpɛrəˌdɑksɪz/
n.
11:38
悖论，自相矛盾之事
preface
/ˈprɛfəs/
n.
11:38
序言，前言
indulged myself
phr.
12:57
放纵自己（做某事），尽情享受
cynical
/ˈsɪnɪkəl/
adj.
12:57
愤世嫉俗的，冷嘲的
rendition
/rɛnˈdɪʃən/
n.
14:33
翻译版本；演绎，表演
symmetry
/ˈsɪmətri/
n.
14:33
对称
inherent
/ɪnˈhɪrənt/
adj.
16:13
固有的，内在的
filled to the brim with
idiom
16:13
满满都是，充斥着
screaming out
phr. v.
16:13
（某事）显而易见、迫切需要（做）
hark
/hɑrk/
v.
17:44
（古/文）听，倾听
flecks
/flɛks/
n. / v.
17:44
斑点；使有斑点
bosque
/ˈbɑsk/
n.
17:44
小树林（源自西班牙语的罕用词）
tipping my hat to
idiom
17:44
向……致敬，向……表示认可
critiqued
/krɪˈtikt/
v.
19:16
评论，批评（尤指专业性评价）
go back to the drawing board
idiom
19:16
从头再来，重新设计
snips
/snɪps/
n.
19:16
碎片，片段（此处指零星的人声）
alliterations
/əˌlɪtəˈreɪʃənz/
n.
19:16
头韵（相邻词首辅音重复）
array
/əˈreɪ/
n.
20:48
阵列，方阵排列
typeface
/ˈtaɪpˌfeɪs/
n.
22:11
字体
palindrome
/ˈpælɪnˌdroʊm/
n.
22:11
回文（正读反读相同）
bleak
/blik/
adj.
23:39
荒凉的，萧瑟的
awkward
/ˈɔkwərd/
adj.
23:39
笨拙的，别扭的
renderings
/ˈrɛndərɪŋz/
n.
23:39
译文，演绎版本
untranslatable
/ˌʌntrænzˈleɪtəbəl/
adj.
25:09
不可译的
married to
phr.
25:09
与……紧密结合、密不可分
picket fence
n. phr.
26:53
尖桩栅栏，木条篱笆
dumbfounded
/dʌmˈfaʊndɪd/
adj.
26:53
目瞪口呆的
obscene
/əbˈsin/
adj.
26:53
不雅的，有伤风化的
intervene
/ˌɪntərˈvin/
v.
26:53
介入，干预
get into the game
idiom
28:29
下场参与，加入竞争
betwixt
/bɪˈtwɪkst/
prep.
28:29
（古）在……之间（= between）
slats
/slæts/
n.
28:29
板条
slits
/slɪts/
n.
28:29
细缝，狭缝
eyesore
/ˈaɪˌsɔr/
n.
29:58
碍眼之物，难看的东西
blight
/blaɪt/
n.
29:58
破坏景观之物；枯萎病
pat myself on the back
idiom
29:58
自我表扬，自夸
scratching the surface
idiom
31:21
只触及表面，浅尝辄止
novel in verse
n. phr.
32:52
诗体小说
stanzas
/ˈstænzəz/
n.
32:52
诗节
wedded to
phr.
32:52
与……紧密结合；固守
claims to fame
n. phr.
34:36
成名之由，出名的原因
versify
/ˈvɜrsəˌfaɪ/
v.
34:36
写成诗体，把……改为韵文
meter
/ˈmitər/
n.
34:36
（诗歌）格律
profanation
/ˌprɑfəˈneɪʃən/
n.
36:14
亵渎
parasites
/ˈpɛrəˌsaɪts/
n.
36:14
寄生虫；（喻）靠他人为生者
stratagem
/ˈstrætədʒəm/
n.
36:14
计谋，策略
iambic tetrameter
n. phr.
37:35
抑扬格四音步（每行四个「轻-重」音步）
rhyme scheme
n. phr.
37:35
韵式，押韵格式
feminine rhymes
n. phr.
37:35
阴性韵（重读音节后多一非重读音节）
unstressed
/ʌnˈstrɛst/
adj.
37:35
非重读的
masculine rhymes
n. phr.
39:03
阳性韵（只押末尾重读音节）
elusive
/ɪˈlusɪv/
adj.
39:03
难以捉摸的，难以企及的
persevering
/ˌpɜrsəˈvɪrɪŋ/
adj.
39:03
坚持不懈的
sullen
/ˈsʌlən/
adj.
40:44
阴郁的，愠怒的
rake
/reɪk/
n.
40:44
浪子，放荡者（文学用语）
canto
/ˈkæntoʊ/
n.
40:44
（长诗的）章，篇
prostrating himself
phr.
40:44
俯伏在地，五体投地（表示极度谦卑）
credo
/ˈkridoʊ/
n.
42:20
信条，信念
transposing
/trænsˈpoʊzɪŋ/
v.
42:20
移译，转换（到另一媒介/语言）
retention
/rɪˈtɛnʃən/
n.
42:20
保留
fidelity
/fɪˈdɛləti/
n.
42:20
忠实度
literalism
/ˈlɪtərəˌlɪzəm/
n.
43:43
直译主义，拘泥字面
euphony
/ˈjufəni/
n.
43:43
谐音，悦耳的音调
dainty
/ˈdeɪnti/
adj.
43:43
精致的；（贬）矫揉造作的
audacity
/ɔˈdæsəti/
n.
43:43
大胆，厚颜
crib
/krɪb/
n.
43:43
逐字直译本（供学习用的对照译文）
utilitarian
/juˌtɪləˈtɛriən/
adj.
45:17
实用主义的，只求功用的
reprobate
/ˈrɛprəˌbeɪt/
adj.
45:17
堕落的，不入流的
vestiges
/ˈvɛstɪdʒɪz/
n.
45:17
残余，痕迹
malarkey
/məˈlɑrki/
n.
45:17
胡说，废话（口语）
balderdash
/ˈbɔldərˌdæʃ/
n.
45:17
胡言乱语
poppycock
/ˈpɑpiˌkɑk/
n.
45:17
废话，胡扯
ramparts
/ˈræmˌpɑrts/
n.
45:17
壁垒，城墙
tackle the challenge
phr.
46:51
迎接挑战，着手解决难题
resplendent
/rɪˈsplɛndənt/
adj.
50:04
光辉灿烂的
tore them to shreds
idiom
51:39
把……批得体无完肤
loath
/loʊθ/
adj.
51:39
不情愿的（be loath to do）
parterre
/pɑrˈtɛr/
n.
53:17
花坛，花圃
idly
/ˈaɪdli/
adv.
54:56
随意地，漫不经心地
head over heels in love
idiom
56:32
深深地坠入爱河，神魂颠倒
effortlessly
/ˈɛfərtləsli/
adv.
56:32
毫不费力地
dragged kicking and screaming
idiom
58:18
被连拖带拽、极不情愿地卷入
one thing led to another
idiom
58:18
一件事引出另一件事，事情自然而然发展
tracery
/ˈtreɪsəri/
n.
60:00
窗花格，精细的纹饰
lucid
/ˈlusɪd/
adj.
60:00
清澈的，明晰的
quirk of fate
n. phr.
61:30
命运的偶然，造化弄人
cast in concrete
idiom
61:30
板上钉钉，最终定稿
committed to memory
phr.
63:12
背下来，记熟
husk
/hʌsk/
n.
66:10
外壳，皮壳
teleology
/ˌtɛliˈɑlədʒi/
n.
66:10
目的论
double standard
n. phr.
67:38
双重标准
defy
/dɪˈfaɪ/
v.
67:38
抗拒，使……不可能
Revere
/rɪˈvɪr/
v.
67:38
敬重，崇敬
strictures
/ˈstrɪktʃərz/
n.
69:20
限制，约束；严厉批评
extolled
/ɪkˈstoʊld/
v.
69:20
盛赞，颂扬
the bottom line
n. phr.
71:12
结论，最关键的一点
理解自测 · 11 题 · 是真懂了，还是以为自己懂
1. 讲者为什么选择用英语而不是德语做这场关于翻译的讲座？
因为他的英语远好于德语，而听众的英语平均水平大概也比他的德语好。他在开场解释：自己曾在雷根斯堡住六个月、学过几年德语，最近又在维也纳住了三个月，德语「还过得去」但算不上好；用「不上不下的德语」讲会让听众跟着受罪，不如用流利的英语。这一自嘲式开场也暗合全讲主题——语言能力的高低直接决定「带过来」多少内容。
2. 「Traduttore, traditore」这句谚语，讲者是如何用翻译本身来反驳它的？
讲者把它译成英文「translator, traitor」，指出这个译法既保留了意思，又保留了两个词语音相近的双关效果，是一个完美的翻译，没有任何「背叛」——于是翻译本身就否定了「译者即叛徒」的主张。他进而把谚语改为「translator, trader」（译者即交易者）：翻译是拿一种语言里的东西换另一种语言里的东西，有得有失，高明的译者能让两边大致持平。这一节在第二章（帕特农之问之后、王维诗之前）。
3. 奥涅金诗节的形式要求是什么？阴性韵与阳性韵的区别在哪里？
奥涅金诗节共14行，抑扬格四音步，韵式固定为 ababccddeffegg。其中 a、c、e 三组押阴性韵：重读音节后再多一个相同的非重读音节，如 platter/chatter、upon it/sonnet，因此这些行有9个音节；b、d、f、g 四组押阳性韵，只押末尾重读音节，如 head/dead、prose/rose，为8个音节。讲者用纳博科夫在《纽约客》发表的道歉诗节作为示例，并用颜色标出两类韵脚（第五章）。
4. 讲者为何认为纳博科夫「只重内容不重形式」的翻译哲学是一种「伪信条」（pseudo-credo）？
讲者的判断是：纳博科夫并不真信这套说法，而是一种姿态。推理链：第一，纳博科夫自己能写标准的奥涅金诗节（《纽约客》上的两节道歉诗就是证明），说明「数学上不可能」并非他真正的信念；第二，他在译本序言中公然宣称要牺牲优雅、谐音、明晰甚至语法，目标是让译文「不够丑」，这种极端姿态更像表演；第三，动机分析——他在诗体翻译上失败了，于是把所有诗体译者圈进「失败者圈子」，自己站在圈外做直译以免被比较，并暗示「连我都做不到就没人能做到」。（第六章）
5. 讲者展示王维《鹿柴》的多个自译版本，逐步做了哪些改动？这些改动说明他对「形式」的理解有什么特点？
第一版让所有词以 /k/ 音结尾，向汉语韵尾极少的特点致敬；第二版简化用词、保留头韵和近韵以提高可读性；之后去掉标点和大写、排成方阵、改为竖排、换成毛笔风格字体、最后把每个单音节拆成两半以填满「方块」，并让 spins/snips、no/on 构成回文。这说明他理解的「形式」不仅是格律押韵，还包括音系特征、排版、书写系统和视觉几何——翻译可以在多个层面选择「带过来」什么，而「不可译」的边界取决于译者愿意在多少层面上下功夫（第三章）。
6. 讲者为什么说法伦译本末尾的「below」是一个「小把戏」？这体现了翻译的哪一个层面？
普希金原文第五章第一节的末词是「бело」（白），发音与英语 below 几乎相同；法伦译文以「The world all fresh and white below」收尾，既在意义上保留了「白」，又在声音上复现了原文末尾的音。这体现了超出「内容 vs 形式」二分的第三个层面：听觉印记的忠实。讲者在朗读俄语原文时特意让听众记住这个词，正是为这一细节铺垫（第七章）。它也印证了讲者的立场：好的译者能同时在多个维度上「交易」而不必全盘牺牲。
7. 讲者说「我读的是普希金」却又承认「说的到底是谁的语言很难讲」，这一悖论在他的论证中起什么作用？
这是全讲最具哲学性的追问。他通过法伦译本认识《奥涅金》并深深爱上它，感受到「普希金真是语言大师」——但那些英语句子是法伦写的。讲者不把这视为荒谬，而是把它作为「译本可以等价于原作」的经验证据：如果一个读者对译本的爱可以与俄国人自发背诵全书的爱同等强烈，那么译本就传递了原作最核心的东西。这直接回应开头的帕特农之问，并为结尾引用「翻译是重生」的论断做铺垫（第七章末）。
8. 讲者指出俄国人在翻译问题上的「双重标准」是什么？这一观察对「不可译」论有什么启示？
俄国人宣称所有外国诗译成俄语都比原文更好（莎士比亚亦然），却又坚持普希金绝不可能在任何其他语言中再现。讲者据此暗示：「不可译」往往不是对语言的客观判断，而是民族文化对「唯一性」的自我认同需求——普希金只有一个，他就在俄罗斯，「永远拒绝在别的土壤上重建」。结合前文对纳博科夫的动机分析，讲者把不可译论还原为心理与文化因素，而非语言学事实（第九章）。
9. 讲者在自译奥涅金诗节时刻意让14行全部以字母T开头，而原文并无此特征。这与他批评塞思英译添加性别色彩的立场是否矛盾？他会如何辩护？
表面上确有张力：两者都是译者「添加」了原文没有的形式特征。但讲者可能这样辩护：塞思添加的 man/men 引入了原文没有的语义（性别），改变了内容；而 T 头韵是纯形式的游戏，不改变意义，且对应他一贯的信条「约束解放心灵」——自设约束能激发更好的措辞。他也坦承这是「我有个毛病，喜欢玩结构」，并强调译文经法伦夫妇朗读检验和修改，读起来是顺畅的。不过讲者的辩护并不完全消除张力：判断「添加」是否可接受，最终取决于它是否损害原作效果，而这需要具体评判（第八章）。
10. 如果有人反驳说：「你讲的都是诗歌翻译，散文、法律或技术文本根本不存在形式问题，纳博科夫的直译路线在那里是对的」，讲者会如何回应？
讲者大概会部分让步、部分坚持。让步之处：他讨论的确实是形式高度凝结的诗体作品，法律和技术文本中内容优先是合理的。但他会坚持两点：第一，他的批评对象是纳博科夫在《奥涅金》这种「形式与内容同等重要」的作品上抛弃形式，而非主张所有文本都要押韵；第二，即使散文也有节奏、语域、幽默和声音（他自己译过萨冈小说并写了《Translator, Trader》讨论其中的悖论），「交易」的逻辑依然适用——译者仍要决定牺牲什么、换取什么。他的底线是「敬重形式约束」适用于原作形式承担意义的所有场合。
11. 讲者的结论是「机器翻译空洞、人工翻译美，根本没得比」。把这一判断放到今天的大语言模型语境下，还成立吗？他的核心论据会受到怎样的挑战？
讲者的判断作于大语言模型出现之前，核心论据是：翻译是内容与形式之间的整体性「交易」，需要译者在音、形、义多个层面同时权衡，并带着对原作的热爱反复迭代——这是当时的机器完全做不到的。今天的模型已能生成押韵合律的诗体译文，这在表面上挑战了「空洞」的判断。但讲者可能坚持：能生成格律不等于理解了为什么在这一行牺牲这个换取那个；他所珍视的「与朋友三天朗读、改一行」的社交性与热爱，以及「below/бело」那种跨语言的听觉巧思，仍需要判断力。这个问题最终取决于我们如何定义「理解」，而非仅看输出形式——这也是霍夫施塔特在其他场合对 AI 的一贯立场。
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