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翻译的酒神精神 (3)

翻译的酒神精神 (3)
翻译的酒神精神 (3)

翻译中的阿波罗精神和狄奥尼索斯精神

Abstract: Apollo symbolizes “dream”, rules, self-control and order. Dionysus symbolizes “drunkenness”, indulgency, fusion and removal of bounds. The spirits of Apollo and Dionysus are two indispensible factors in ancient Greek arts. Currently, with the translation activities being at a wider range and function of translation being increasingly considerable, translators and scholars in translation fields have put forward and perfected multiple translation theories from perspectives of translation aesthetics, translation sociology and so on. The paper combines the relation between Apollo and Dionysus, and discusses the necessity, dialectical relationship and reflection of the two spirits in the process of translation.

Key words: translation; Apollo; Dionysus; source text; target text Translation: The Combination of Apollo and Dionysus

摘要:阿波罗象征“梦”,象征规则、自制和秩序。狄奥尼索斯象征“醉”,象征纵情、融合以及界限的去除。阿波罗精神和狄奥尼索斯精神是古希腊艺术中不可或缺的要素。今日,翻译活动愈加广泛、翻译的作用日益突显,翻译界的译者和学者们从翻译美学、翻译社会学等角度提出并完善了多种翻译理论。本文结合了阿波罗精神和狄奥尼索斯精神的关系,浅谈了两者在翻译过程中的重要性、辩证关系与体现。

关键词:翻译;阿波罗;狄奥尼索斯;原文;译文

希腊神话是古希腊艺术取之不尽的源泉。神话是古希腊人民丰富的精神文明的体现,神话承载了他们的情感与世界观。阿波罗和狄奥尼索斯是希腊神话中重要的两位艺术之神,他们在古希腊人们心中的地位在艺术创作上有所体现。国内外不少学者将阿波罗精神和狄奥尼索斯精神应用于多个领域。其实,这两者在翻译的过程中也起着不可或缺的作用。

阿波罗与狄奥尼索斯

阿波罗,古希腊神话中十二主神之一,宙斯和暗夜女神勒托所生之子,意为“光明”或“光辉灿烂”。狄奥尼索斯,古希腊色雷斯人信奉的葡萄酒之神。《悲剧的诞生》中,尼采对希腊悲剧和艺术文化的哲学与美学思考,围绕阿波罗精神和狄奥尼索斯精神展开。阿波罗是“梦”,是造型艺术之神,是自制、静穆的秩序和有着明晰轮廓的光明的喜悦。狄奥尼索斯是“醉”,是丰收后的纵情歌舞,是界限的去除,是融合。阿波罗属于现象世界。叔本华在《作为意志和表象的世界》里所描述的“喧腾的大海横无际涯,翻卷着咆哮的巨浪,舟子坐在船上,托身于一叶扁舟;同样的,孤独的人平静的置身于苦难世界之中,信赖个体化原理”,正是阿波罗梦幻世界给与人们的温婉平和的精神。狄奥尼索斯呢,将个体化、自觉的意识通通摒除,而是用生命的本能去感受“太初”的真实。

艺术能在那个沿海的民主城邦制国家达到高峰并永葆魅力,与德尔斐神庙里供奉的阿波罗神与狄奥尼索斯神不无关系,与这两者在古

希腊人们心中的尊贵地位不无关系。古希腊艺术不仅透露着理性的力量,也当然能让我们感受到感性的抒发。艺术是美,美是和谐。只有阿波罗精神的作品,一如文艺复兴早期巴奥洛·乌切洛的绘画,线条符合透视而造型呆板,而倘若一味跟从狄奥尼索斯,则如同法国弗拉戈纳的油画,除了情感本能和欲望,别无其他价值体现。只有阿波罗和狄奥尼索斯的和谐,才能有美的艺术。

翻译的阿波罗精神

译文首先是对原文的继承。好的译文不仅需要继承原文的意思,还要继承原文的形式,原文的意境。中国有道安的“五失本三不易”,彦琮的“十条八备”,玄奘的“五不翻”,赞宁的译经“六例”,马建忠的“善译”,严复的“信达雅”,傅雷的“形似、神似”说,钱种书的“化境”说,另外,许渊冲先生则从诗学的视角提出“意美、形美、音美”的翻译标准。在西方,以奈达的翻译理论最具代表性,英国翻译理论家泰特勒(Tytler)也提出了三条翻译原则:一是要将原作的意思全部转移到译文上来;二是译文应当具备原作的风格和文体,而且要保全原作的真实;三是译文和原作要同样的流利自如。这些都是给翻译活动提出了一些可以遵循的标准和规范。也就是说,翻译仍旧需要标准,需要规范,需要阿波罗的照耀和指引。

翻译的狄奥尼索斯精神

翻译所涉及的媒介---语言---本身具有任意性。不同的译者,具有不

同的文化素养和语言水平,对原文也有着不同层次的理解,因此,不同的译者会赋予译文不同的阐释。另外,每个译者都有自己的语言风格和表达方式,那么,这也注定了翻译的过程充满了译者的主观因素。哲学家贺麟曾表示:“就文字而言,译文诚是原著之翻抄本;就义理而言,译文与原著皆系同一客观真理之不同语文的表现。故译文表达同一真理之能力,有时同于原著处;但译文表达同一真理之能力,有时同于原著,甚或胜于原著亦未尝不可能也。”那么,也就是说,翻译需要狄奥尼索斯精神带领,以此完成创造。没有狄奥尼索斯精神,就不可能使译作变为“新作”。

阿波罗精神与狄奥尼索斯精神在翻译中的结合

那是不是说翻译是一种纯粹的创造性活动呢?翻译就该随着狄奥尼索斯沉醉、畅饮、狂舞呢?并非如此。英国文学家、翻译家德莱顿(Dryden)将翻译比喻成“戴着脚镣在绳索上跳舞”,这就生动地表现出了阿波罗精神和狄奥尼索斯精神的统一。译者没有资格在翻译过程中为所欲为,而必须抑制自己不恰当的写作冲动,做到与原文的统一。好的译者,可以使原作重获新生,但也只能是对原作艺术的逼近,而不是脱离。翻译首先必须具有阿波罗精神,只有如此,才能体现忠实,才能体现对原作者以及对读者的负责。但是,没有了狄奥尼索斯精神,翻译便将成为一潭没有活力的死水。

应用

对于阿波罗精神和狄奥尼索斯精神在翻译过程中的统筹,许渊冲先生的译本可对此进行印证。

许渊冲,我国著名的诗歌翻译家,提出了翻译的“三美论”,即意美、音美、形美。在他的许多作品中,通过运用“三美论”,恰到好处地演绎了翻译的阿波罗精神和狄奥尼索斯精神。如:

毛泽东的两句诗:

高天滚滚寒流急,大地微微暖气吹。

In the steep sky cold waves are swiftly sweeping by;

On the vast earth warm winds gradually growing high.

译文不仅在阿波罗精神的引导下做到了忠实地表达原文的意思,而且形式上,整齐对等,音律上相得益彰。非常巧妙地发挥了狄奥尼索斯精神,不仅不失原文之美,而且让人拍案称奇。

参考文献

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我基本是一个空想社会改良家,在教这门课之前,我将孩子们 的学力能力差归咎于毒品、离婚和其它妨碍注意力集中的东西,要想学习好就必须集中注意力。但是,我每一次走进教室都会再度发现,一个老师在期望学生全神贯注之前,他必须先吸引学生的注意力,无论附近有什么分散注意力的东西。要做到这点,有很多种办法,它们与教学风格有很大的关系。然而,单靠风格无法起效,有另一个办法可以显示谁是在教室里掌握胜局的人。这个办法就是亮出失败的王牌。 我永远也忘不了一位老师亮出那张王牌以吸引我的一个孩子的 注意。我的小儿子是个世界级的万人迷,学习不怎么动脑筋却总能蒙混过关,直到施蒂夫特夫人当了他的老师,这种局面才彻底改变了。 当她教我儿子英语时,我儿子是一个高中高年级学生。他坐在 后排和他的朋友说话。她告诉我。你为什么不把他换到前排来?我恳求道,我相信令他难堪的做法会让他安心学习。史蒂夫特夫人从眼镜上方冷冷地看着我。我不会换高年级学生的座位。她说,我会给他们不及格的成绩。我大感紧张。我们儿子的学习生涯在我的眼前闪现。之前,没有老师以此威胁过他。我恢复镇定,艰难地表示我认为她是对的。到家时,我对此感觉良好。目前这是一种激进的做法,但是,嗯,为什么不这么做呢?她要给你不及格。我告诉我的儿我没有再多说什么。突然英语就在他的生活中成了头等大事。他期末得了一个A。 我知道一个例子不能说明问题,但我在夜校中看见了一群愤怒、怨恨的学生,他们愤恨的原因是学校让他们一路混,直到他们甚至都无法再假装跟得上。这些学生智力水平至少也算中等,但最终都退学

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