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诗歌翻译理论精选

诗歌翻译理论精选
诗歌翻译理论精选

诗歌翻译理论精选

诗人和本民族的语言结合得最紧密,诗人帮助本民族完善它的语言,使之更准确,更淳美。诗人比小说家对本民族语言建设的贡献更大一些,但诗人却不能使自己像小说家一样流通出去,因为诗歌属于感觉和情绪,对语言的依赖感极强,语言在转述的过程中,必然丧失掉它的部分微妙和韵味,而这些却关系着诗歌是否成立的根本。艾略特既是一位卓越的诗人,又是一位具有高度素质的文学批评家,他在《诗的社会性》一文中写道:“诗不同于其他艺术,它对于和诗人同族以及使用相同语言的人们具有一种价值,而对其他种族的人们则没有这一价值。”艾略特在表述上也许有些极端,但却道出了诗歌的实质。艾略特还举例说明道:“散文作品也确实具有只存在于原先语言中而一经翻译便会失去的意义;但我们都感觉得到,读一部翻译小说要比读一首译诗损失小得多;而读翻译过来的某种科学著作,也许实际上就没有损失。”艾略特的意思再明确不过了,对于叙事性和那些具有扎实内容的文体,是可以转述而不至于损害原意的,但诗歌却是一个例外,它是属于民族的,从某种意义上说,诗歌拒绝翻译。

诺贝尔文学奖并没有因为诗歌对翻译的拒绝性而冷落了诗人。翻开诺贝尔文学奖获奖的纪录,一个典型的例子是

———1996年瑞典文学院把当年度诺贝尔文学奖授予了波兰女诗人希姆博尔斯卡。为什么在诗人希姆博尔斯卡身上,诺贝尔文学奖评委的判断力如此坚决?

让我们看一看颁奖词中的一段:“希姆博尔斯卡的诗歌创作是完美的言语客体,是精雕细刻的思想形象。”我们注意到里面的一个关键词:“思想形象”。“思想形象”是希姆博尔斯卡作为诗人受到诺贝尔文学奖肯定的重要原因之一。诺贝尔文学奖评委会看重希姆博尔斯卡,因为她是一个思想和诗意二者结合得非常好的诗人。在《任何情况》一诗中,希姆博尔斯卡写道:“你得救因为你是第一个,/你得救因为你是最后一个,/因为你是独自一人,/因为那里有许多人,/因为向左,因为向右,/下雨,因为有阴影,/因为天气好,阳光普照。……”她把一个人在困境中得救,归功于偶然的力量和细节的存在,最初和最后,独自和许多,一左一右,一阴一阳———相反的描述,既体现出思想的深邃,又形成了诗意的张力。

我们不知道,希姆博尔斯卡的诗歌在转换成汉语的时候,它的原始诗意丢失了多少,但有一点可以肯定,她的诗歌的基本内容得以保留了下来。她的诗中形象与思想两个因素综合在一起的效果,使我们感受到一种思维的快意。

希姆博尔斯卡的诗歌在翻译过程中,它的诗意没有消减多少,这和单纯“着迷于词汇”的语言天才狄兰·托马斯的

处境是不同的,各种翻译版本把托马斯弄成截然迥异的形状,这一方面让我们间接体验了托马斯混合着冲天酒气的才思,一方面却相隔着一层模糊的窗纸,无法抵达它的核心。

诗歌史上有一类好诗,正如希姆博尔斯卡的诗歌一样,它们善于通过建构一个完整的意象,传达出一种思想,或者说,自觉用形象来进行思想。史蒂文斯在《宣言的隐喻》中写道:“二十个人走过桥梁,/进入村庄。/那是二十个人走过二十座桥梁,/进入二十个村庄……”前面陈述的是一个基本事实,后面重申的是走过桥梁,进入村庄———这一连续动作,针对“二十个人”中每一个人的重要意义。诗人强调的是,在日常的行为中,包含着个体生命存在的价值,一种人本主义的思想观念,通过诗歌的形式转述出来。弗罗斯特的代表作《林中路》经常被作家诗人引述,它揭示了一个普遍的生命伦理,通过描绘林中两条分岔的小路给人们带来的困顿,预示了人生经常面临的两难抉择和未来呈现的两种可能。因此,上述获得广泛性传播的诗歌,因其思想和诗意的未被损坏而多了一份幸运。

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