『譯聞 · Stephen Lucas與演講的藝術 』

来自美国威斯康星大学麦迪逊总校传播艺术学院的Stephen E. Lucas教授被誉为“演讲之父”，他所出版的The Art of Public Speaking（《演讲的艺术》）一书，在26年中已连续再版10次，成为了美国最权威，最受欢迎的公共演讲教材。

此次有幸邀请到了这位美国顶尖传播学者，再次来到上海外国语大学，并举行讲座：奥巴马与公众演讲的力量，让我们这37位APS小朋友得以目睹了大师的风采。而我额外地又协助了Lucas教授讲座中的技术支持，并且在Grace的指导下制作了两个视频来Pay Tribute，让我自己都爱不释手。

JOURNAL: BEHIND THE LECTURE

NEVER would I forget the memorable moment when I shook hands with Professor Stephen E. Lucas, the author of the Art of Public Speaking and of course, one of the most distinguished speakers of our time.

Since I started on the journey of APS this semester, I’ve desired to meet him in person. I felt quite honoured to be the assistant to him when he paid a visit to SISU on April 14 to give us a lecture on Barack Obama and the power of public speaking. Two weeks before his actual arrival, under Grace’s guidance, I started to prepare for this lecture.

One of my tasks was to produce two videos, one was to warn up the audience with selected historical and impressive speeches which were delivered by orators of note, and the other aimed to pay tribute to Professor Lucas. The former one would be played repeatedly before the lecture started, while the latter would be played once only to all the present at that time, especially to Professor Stephen Lucas.

Although it was quite time-consuming to produce videos for I was not specialized in that, but I enjoyed myself during the exploration in "the world of eloquence". There I was impressed by Aristotle and his Rhetoric, touched by Ronald Regan and his eulogy to Challenger, and deeply encouraged by Douglas MacArthur with his motto “duty, honour, country”.

It seemed that public speaking held the power to make all of these resonates with me. And it did remind me of Pietro Mascagni’s Cavalleria Rusticana, a classical opera by which I was attracted at the first listening. So I made up my mind to combine the picture of speeches and the music of this opera. In addition, thanks to Mozart’s concerto and photos of high quality, the videos turned out to be dramatically harmonious. Even I myself was admiring when they were finally played in the West Hall. The applause from the audience witnessed the success and at that time I was delighted to hear the voice from Professor Stephen Lucas, “Thank you, Jeremy.”

The two videos heralded a good beginning of the lecture and undoubtedly the lecture itself was the most impressive and exceptional one that I had ever been given. His every act and every move were natural and unrestrained. From the Debut Speech to “Yes We Can” Speech, from “Just Word” Speech” to Victory Speech, he presented us a vivid and glamorous Barack Obama.

Now, when I read again the farewell words the Master gave me, with a sense of honour, I know that I have benefited a lot from this lecture, not only the art of public speaking, but also the essence of communication. Listening and being listened to, both of them are necessary, and the key to realizing the potential of the communication is in achieving balance in our daily life.

That day is still vivid in my mind, and I'm sure I will treasure it all my life long. ♦

Jeremy Gu

◎ 延伸阅读：

Stephen E. Lucas教授讲座侧记 （上外新闻网）

『譯聞 · 篇章結構與翻譯視角 』

今天的英语语法课上，Gloria谈及了被动态（Passive Voice）转换主语视角的句法功能以及英语结构的两个重要原则：End-focus（末尾中心）与End-weight（末尾重心），颇有启迪。

END WEIGHT & END FOCUS

The general order of elements in a sentence is:

subject - verb - object/complement/adverbial(s)

Sometimes the subject is a very long phrase explaining an idea and would make a sentence difficult to understand (the subject is marked in bold text):

The fact that many doctors who came to Finland in the 1960's had to start their medical studies over from the beginning in order to be licensed to practice here is unfortunate.

The principle called end weight means that we try to put long "heavy" elements at the end of the sentence, and keep the subject as short as possible. In cases such as the sentence above we often use the "empty subject" it with a complement followed by the "that" clause:

It is unfortunate that many doctors who came to Finland in the 1960's had to start their medical studies over from the beginning in order to be licensed to practice here.

This construction works with several adjectives in addition to "unfortunate".Some others are: amazing, apparent, appropriate, clear, doubtful, essential, evident, extraordinary, important, inevitable, interesting, likely, natural, obvious, odd, plain, possible, probable, surprising, and unlikely

Most reporting verbs can also be used in this type of construction in the passive form:

It was found/felt/agreed that this method had little effect.

Another commonly used construction to avoid front-heavy sentences is the so-called existential sentence, which begins There is/are... and a that-clause.

Thus, instead of:

Many people who believe that the recent warming of the climate is due to the greenhouse effect exist.

English prefers:

There are many people who believe that the recent warming of the climate is due to the greenhouse effect.

Note that in English the verb agrees in number with the noun group used after the verb to be:

There is one thing we can do.

There are three things we can do.

There can also be followed be a few adjectives indicating likelihood or possibility followed by the infinitive to be:

There are unlikely to be any problems.

There seems to have been some negligence.

There tend to be very few failures.

Some reporting verbs can also be used this way:

There is expected to be a report issued next month.

A quite formal usage is such verbs as remain, arise, exist and a few others:

There remain three major problems to solve.

Note also that new information is put at the end of sentences and 'given' information is put at the beginning. This links sentences together more tightly and produces a text that is easier to read.

Adaped from: http://users.utu.fi/micnel/endweight.htm

◎ 译者有心：

这两大原则由当代著名的英语语言学者夸克教授（Quirk et al ）等人首先提出。这回在语法课上，聆听到这个观点倒是挺有启发的。以往的英语写作中，我根本没有对此加以留心，因而写作中多少会有些中文思维的痕迹。有时按照中文的逻辑习惯频繁更迭主语，造成语义不清，结构散漫；有时句末保留了一些看似必要的信息，实则是redundance而应坚决删除之。其实这些问题同样出现在英汉互译的过程中，它反映了两种不同语言间对于信息处理的不同逻辑，因此有必要在翻译的过程中注意源语的结构特点，并根据焦点的分布进行译语调整，我想这便是常说译成中文要断句的缘由吧。

『譯聞 · 淺談唐宋詞中詞牌名的英譯 』

下文选自《英语百人百论》

      词是韵文文体之一，又称“曲子词”，即歌词。它本来是为配乐歌唱而写的诗。由于它是配乐歌唱的，所以每首词都有或至少曾经有过一个乐谱。每个乐谱都必定属于某种宫调（类似今天的C调、G调之类），有一定的旋律、节奏，这些东西的总和就是词调。每种词调都有一个名称（如《西江月》、《清平乐》），这个名称就叫词牌。

      词始于唐，盛于宋，是一种脍炙人口的文学表达形式，历来为人们所钟爱。为把中华文化中这一绮丽的瑰宝译介到国外，不少译者已进行了大量开拓性的艰辛劳动，其中不乏精美传神叹为观止之作。然而，词的翻译比之散文小说确似更难，尤其是词牌名的翻译。

      尽管就大多数词作来说，词牌与音乐或词中的内容关系不大，作者填词时，只视哪种词调形式更符合自己的需要，完全可以不去考虑词牌名称的原有含义和原来词曲的内容。因此词牌在一般意义上不过是标明作者依哪一种现成的曲谱进行填词而已。然而将词牌名译成英文时就不能不在传达词牌的神韵和美感的同时考虑它的历史来源和反映在其中的格律了。

      下面试就词牌的几种常见的英译方法略抒浅见。

一、一般性词牌名的译法

      一般性词牌名没有什么历史典故，或有，但已无从考证，或取自前人的某个词句，或只是一个风雅的名词而已。在这种情况下，按字面意思直译成英文，即可较好地保留原文的风格，传达原文的神韵和美感形象。例如：

      鹧鸪天 Partridge Sky
      踏莎行 Treading On Grass
      相见欢 Joy At Meeting
      点绦唇 Rouged Lips
      满江红 The River All Red
      模鱼儿 Groping For Fish
      最高楼 The Highest Tower
      疏（疎）影 Space Shadows
      玉楼春 Spring In Jade Pavilion
      昼夜乐 Joy Of Day And Night
      西江月 The Moon Over The West River
      风入松 Wind Through Pines
      双双燕 A Pair Of Sparrows

二、“歌”、“词”、“歌头”、“吟”等词牌名的译法

1．常带“歌”、“词”、“子”的词牌，不妨直译成 "Song"，既简单明了，又贴切自然。例如：

      子夜歌 Midnight Song
      洞仙歌 Song Of A Fairy In The Cave
      柳枝词 Willow Branch Song
      卜算子 Song Of Divination
      天仙子 Song Of Immortal
      更漏子 Song Of Water Clock At Night
      南歌子 A Southern Song

2．词牌子带“吟”一类的较“歌”、“词”更为典雅，是一种便于吟诵、格调高雅、节奏舒缓的诗体，译成"Chant"，可以显得庄重端方，因为英语中的"Chant"多指宗教中的赞美诗或圣歌，意思与“吟”很相近。例如：

      水龙吟 Water Dragon Chant
      瑞龙吟 Auspicious Dragon Chant

3．“歌头”意即前奏或序曲，可译成"Prelude"。例如：

      水调歌头 Prelude To Water Melody

三、“令”、“引”、“近”、“慢”等词牌名的译法

      有一些词牌末带有“令”、“引”、“近”、“慢”等术语。“令”与酒令有关，是一种比较接近民歌的抒情小曲；“引”集歌体与诗体于一身，也是这类诗歌诗曲调的演化；“慢”有篇幅较长、语言节奏舒缓、韵脚间隔较大等特点；“近”有亲昵、浅显的意思，可能与令、引等一样与曲调有关，指一种篇幅较“令”长而又不如“慢”曲那么典雅庄重的曲调。从字数上讲，大体上说，“令”多半属于“小令”范围，“引”、“近”多半属于“中调”范围，“慢”则绝大多数是“长调”。所以译成英文时可视具体情况译成"Song", "Slow Song", "Slow Tune"或"Slow, Slow Song"。例如：

      调笑令 Song Of Flirtation
      唐多令Tang Duo Song
      祝英台令Slow Song Of Zhu Ying Tai
      扬州慢 Slow Tune Of Yangzhou
      声声馒 Slow, Slow Song

四、“摊破”、“促拍”、“减字”、“偷声”等词牌名的译法

      “摊破”(又名“摊声”、“添字”)和“促拍”这两个术语都表示在原调基础上加了字、句。而“减字”、“偷声”则是在原调基础上减少了字句，而另成新调。“摊破”和“减字”是就字数而言，而“促拍”和“偷声”是就调而言。所以“摊破”可译成"Lengthened Form"，“促拍”可译成"Quickened Tune"，“减字”则可译成"Shortened Form"，“偷声”则可译成"Slowed Tune"。例如：

      减字木兰花 Shortened Form Of Lily Magnolia Flowers
      摊破浣溪沙 Lengthened Form Of Silk-Washing Stream

五、根源于历史掌故的词牌名的译法

      据考证，词调有五种来源：

      1. 边疆民族曲调或域外音乐传入内地的；

      2．内地民歌曲调；

      3．乐工歌妓们创制或改制的曲调；

      4．宫廷音乐机构或词曲家根据古曲、大曲改制的；

      5．文人创作的曲子。

      正因为词调来源广泛，所以词牌的意思也很复杂。因此，有些词牌是不能根据字面直译的，而应在考释它的来历后再行动笔。 例如：

      《苏幕遮》原本是指从今天新疆吐鲁番(古高昌)传来的“浑脱”舞曲。“浑脱”是“囊袋”的意思。据说，舞时舞者用油囊装水，互相泼洒，所以唐人又称之为“泼寒胡戏”。表演者为了不使冷水浇到头面，就戴上一种涂了油的帽子，高昌语叫“苏幕遮”，因而乐曲和后来依曲填出的词就被称为《苏幕遮》了。有人将它译成"Screened By Southern Curtain"．就是没考虑到它的来源而望文生义译出来的，尤其是"Southern"一词不知从何而来。据此，我以为直译成"Oiled Hat"未免太俗，不如译成"Water-bag Dance"。这样既点明了是舞曲，又可使读者领略到舞蹈的内容和形象。

      《菩萨蛮》据考证原是今缅甸境内古代罗摩国的乐曲，后经汉族乐工改制而来的。唐苏鹗从《杜阳杂编》说：“大中(唐宣宗年号)初，女蛮国贡双龙犀……其国。人危髻金冠，缨珞被体，故谓之菩萨蛮。当时倡优遂制菩萨蛮曲；文人亦往往声其词。”可见《菩萨蛮》中的菩萨与我们的佛祖菩萨（Buddha或Buddhist Idol）并无关系，词牌的意思是“象菩萨似的蛮国人”。有人将其译成"Buddhist Dancers"，真是差之毫厘失之千里！因为形容词"Buddhist"是“佛的，佛教的”意思，译回成中文就是“佛的舞者”，佛教中有没有舞者尚且不论，光意思就南辕北辙。如译成"Dancers Like Buddha"或"Buddha-like Dancers"还勉强过得去，或干脆译为"Song Of The Country Norm"，既简单又明了，只是失去了菩萨这个形象。

      又如《念奴娇》，念奴为唐玄宗天宝年间一著名歌妓，玄宗时常诏见命歌，曲名本此。如果不知此曲底里，将它译成"Dreaming Of Her Charm"那就令人捧腹了。有人将它译成"Charm Of A Maiden Singer"，“歌手”和“娇”都译出来了，可我认为Maiden一词用得不恰当。"Maiden"一词在英文中是“处女”或“未婚女子”的意思，把它用在古时的歌妓身上未免太圣洁了，不如去掉"Malden"，译成"Charm Of A Singer"。"Charm"多指女子的妩媚，所以大可不必担心读者会弄错。"Singer"的性别。从这个意义上讲，"Maiden"也可删去，当然若将其换译成"Woman"也未尝不可。这里还牵涉到专有名词的译法，“念奴”这个名字对于大多数中国人尚且陌生，更不用说外国人了，译出来也不一定知道，反而妨碍意思的理解，故此处可撇下不管，用"A Singer"代替即可。类似的情况都可如此处理：如《昭君怨》就可译成"Lament Of A Fair Lady"。也可用加注的办法，如《虞美人》就可译成"The Beautiful Lady Yu"，这样外国人就知道是一个姓虞的美人了。

      《忆秦娥》，唐曲，始自传为李白所作之“秦娥梦断秦楼月”词，故名《忆秦娥》。“秦娥”指的是古代秦国的女子弄玉。传说她是秦穆公嬴任好的女儿，爱吹萧，嫁给仙人萧史。在李白词中指的是秦地（今陕西省一带）的女子。词中写的是当时一个京城里的女子，自从爱人出了远门，她夜里睡不安稳，春天望到秋天，一年年下去，总是音信杏然。在失望、痛苦中什么乐游原、汉朝陵墓的好景致，她都感到一派凄凉。有人将它译成"Dream Of A Palace Maid"，"Palace Maid"是宫女的意思，尤其是"Maid"表示“少女、未婚女子或处女”，与李白的原词意思相去甚远。也许是将“素娥”误当成了“宫娥”吧，应该译成"Dream Of A Qin Woman"。

      再如《临江仙》，乍一看以为是讲江畔的仙人，其实它是唐代教坊曲，原为赋水仙花而作，故名临江仙。所以译成"Immortal At The River"，就与原词牌名貌合神离。最好译成"Daffodils By The Riverside"，这样既照顾到了其本来的含义，又保留了词牌现有的神韵。“仙”即“水仙”。

      《鹊桥仙》以牛郎织女鹊桥相会的神话得名，故此曲亦常咏牛郎织女之事，所以不妨将"Immortal At The Magpie Bridge"改成"Immortals Meeting On The Magpie Bridge",这样更显得生动贴切。

      又如《破阵子》，唐教坊曲，截取龟兹部大型舞曲《秦王破阵乐》片段而成，多写豪壮之情。译成"Dance Of The Cavalry"，完全传达了原文的神韵，尽管原文并没有'舞'字。

      综上所叙，词牌名翻译虽属小节，却颇费斟酌，译者除了需要很深的汉语和英语根底以外，还得有丰富的文史知识以为铺垫。否则，不仅会影响对原文的理解，而且会闹出些噱头来。


◎ 延伸阅读：

《我们为什么不活在宋朝》