England, My England DHL勞倫斯中短篇小說選 4 書

England, My England
by
D.H. Lawrence
Part 1 out of 5


http://www.fullbooks.com/England-My-England1.html

Contents_

ENGLAND, MY ENGLAND

TICKETS, PLEASE

THE BLIND MAN

MONKEY NUTS

WINTRY PEACOCK

YOU TOUCHED ME

SAMSON AND DELILAH

THE PRIMROSE PATH

THE HORSE DEALER'S DAUGHTER



《勞倫斯中短篇小說選》主方等譯 人民文學 2006

乾草垛裏的愛情

狐

瓢蟲

公主

菊花香

玫瑰園中的陰影

隱痛難熬

墜入情網

罷工補貼

群山中的小教堂和小屋

《劳伦斯中短篇小说精选》北京： 清华大学出版社2011

　　春天的陰影

　　鵝市

　　幹草垛裏的愛情

　　公主

　　狐狸

　　菊花香

　　兩隻藍烏

　　玫瑰園中的陰影

　　牧師的女兒們

　　你觸摸了我

　　瓢蟲

　　普魯士軍官

　　生病的礦工

　　施洗

　　太陽

　　如坐針氈

　　英格蘭，我的英格蘭

　　墜入愛河

《英格蘭，我的英格蘭》 上海三聯 2011

這本是 內容已 偷天換日的新包裝 即只兩篇是原集同名的小說 英格蘭，我的英格蘭ENGLAND, MY ENGLAND 你摸過我YOU TOUCHED ME
不過譯者黑馬翻譯過DHL的幾本 算是"小專家" 問題是即使是短篇如菊香的第一二段 都有幾處各譯家自說自話

菊香 乾草垛裏的愛 普魯士軍官 英格蘭，我的英格蘭ENGLAND, MY ENGLAND 你摸過我YOU TOUCHED ME

公主 太陽 愛島的男人 人生之夢 逃跑的公雞

 D.H‧勞倫斯《密愛》梁永安譯北：九歌 2011

這本書雖然導論很外行 原文卻是內行人 它告訴我們菊花香一篇有六稿
(或許這是DHL的生命的故事 所以他許多年來一直不放棄寫好它......) 本書 菊花香的兩版本 都不是中國兩種版本所收的

教區牧師的花園（一九○七年）037

玫瑰園裡的陰影（一九一四年）045

格雷瑟利亞編年史的一頁（一九○七年）065

紅寶石色玻璃（一九○七年）077

白色長筒襪（一九○七年）089

白色長筒襪（一九一四年）105

菊花香（一九一○年　版本二）137

菊花香（一九一一年　版本三）173

密　愛（一九一一年）203

苦惱的天使（一九一一年）229

廉價葡萄酒（一九一三年）259

盲眼男人（一九一八年　版本一）285

冷淡的孔雀（一九一九年　版本一）311

附錄

　菊花香（一九一四年七月版本結局）337

-----

這本是 內容已 偷天換日的新包裝 即只兩篇是原集同名的小說
英格蘭，我的英格蘭ENGLAND, MY ENGLAND
你摸過我 YOU TOUCHED ME

不過譯者黑馬翻譯過DHL的幾本 算是"小專家"
問題是即使是短篇如菊香的第一二段 都有幾處各譯家自說自話

英格蘭，我的英格蘭*︰勞倫斯中短篇小說選 漢、英（附送英文版） 全二冊 作者：(英)勞倫斯出版社：上海三聯書店出版日期：2011年
在20世紀英國文壇上，戴‧赫‧勞倫斯是最有名氣、最富創新和最具爭議的小說家之一。雖然他的生命是短暫的，但是他卻留給了英國乃至全世界的廣大讀者大量 的作品，其中包括10部長篇小說，7部中篇小說，約50篇短篇小說，3卷詩集，大量書信以及劇本、文學評論和雜文。《英格蘭，我的英格蘭》從他的中短篇小 說中遴選了十篇成集，包括︰《菊香》、《乾草垛里的愛》、《普魯士軍官》、《你摸過我》、《愛島的男人》、《人生之夢》等。





“勞倫斯的出現，對于20世紀英國文壇無疑是一場強烈的地震，只是在餘震過後人們才充分認識到它的震動之猛和影響之深。”
錄
序言
菊香
乾草垛裏的愛
普魯士軍官
英格蘭，我的英格蘭( -- ENGLAND, MY ENGLAND
D. H. Lawrence 的" England, My England "短篇小說 這真是篇 民足特性/血性 Englishness 的寓言
你摸過我
公主
太陽
愛島的男人
人生之夢
逃跑的公雞
譯者後記

From Wikipedia, the free encyclopedia

England, My England is the title of a collection of short stories by D. H. Lawrence. Individual items were originally written between 1913 and 1921, many of them against the background of World War I. Most of these versions were placed in magazines or periodicals. Ten were later selected and extensively revised by Lawrence for the England, My England volume. This was published on 24 October 1922 by Seltzer in the USA. The first English edition was published by Martin Secker in 1924.  此選集Penguin 版1960年第22刷
The stories included in the collection are:

• England, My England
• Tickets, Please
• The Blind Man
• Monkey Nuts
• Wintry Peacock
• You Touched Me
• Samson and Delilah
• The Primrose Path
• The Horse Dealer’s Daughter
• Fanny And Annie

The short story, Wintry Peacock tells the story of an English woman who has been left with her husband’s parents for the duration of the war. Shortly before her husband’s return, there is a letter addressed her husband written in French. She asks an man she sees in passing to translate, and though the letter details the her husband had an affair with a young woman whilst away at war, and that this woman has recently delivered a baby by him and plans to come to England, the man translating tells the woman instead that the baby is the young girl’s new born brother and that her parents named the child after the solider for having protected their family during the war. That evening the man finds the woman’s peacock in the cold and takes it in, returning it the following day to find that the husband has returned. When asked in private what the letter had said, the letter having since been burnt according to his wife, the translator tells the man both what the letter said, leaving out that the woman and her child are coming to England, and tells him also what he told the man’s wife. The husband laughs and jokingly berates the man for bringing the peacock home and suggests that, though his wife loves it very much, he will perhaps kill it. The two both laugh, seemingly at the misfortune of both the wife and the mistress, though the translator may be laughing as well at the husband himself.
You Touched Me tells the story of a young boy who is adopted by a family that is without any male children. The mother having passed away, and one sister having been married off, two sister remain with the father and bring the boy up, though the boy is reluctant to embrace the education and lifestyle offered him and opts to leave for Canada. When war breaks out the boy returns as a young man and spends time with the patriarch of the house who is close to death. The sisters believe the young man is in search of a legacy, but when the older of the two sisters mistakenly brushes her hand against the young man, thinking that it is her father in the dark of her father’s bedroom, the young man asks the father for the daughters hand in marriage, even though she is old enough to be his mother. Both daughters are opposed to the proposition and assume the young man is doing this in hopes of inheriting money (though the boy admits to himself alone that this is only part of the reason, as he wants both the money and the daughter). The father redrafts his will, stating that his entire legacy will go to the young man if his daughter refuses to marry him. The daughter eventually gives in and whilst on his death bed the father demands to watch her elder daughter kiss the young man as if asserting his will over his daughter.
Samson and Delilah details the narrative of a woman whose husband had abandoned both her and her new born child to go mining for gold, only to return unannounced some fifteen years later to the lodging where his wife serves as a landlady. Though she at firsts denies being his wife, she eventually admits to it, but only after having he soldiers staying at her lodgings tie up her husband and leaving him outside. He breaks free of the rope under which he has been restrained, and re-enters the lodgings, finding his wife sitting by the warmth of a fire. He takes a seat next to her and admits to his wrong doing, but asks her to take him back, telling her that he has returned with a thousand pounds to his name.
The Primrose Path tells of the youngest sibling of a family, considered to be a black sheep or sorts, who leaves his first wife for a young woman who later, according to him, poisons him. He jumps around from England to Australia and back, where he finally settles in as a taxi-cab driver and takes up with a young woman, living with both her and her mother. A nephew of his reconnects with him and learns that his first wife is dying of consumption, and on her death bed asks that he takes their remaining daughter (the elder of their two daughters was given to a wealthy aunt). He agrees and then returns to his girlfriends home with his nephew to share dinner. At the end of the narrative it is stated that the young girl will leave him, suggesting the fleeting nature of the life he has chosen.

[edit] Standard edition

• England, My England and other stories (1922), edited by Bruce Steele, Cambridge University Press, 1990, ISBN 0-521-35267-3

[edit] External links

• England, My England at Project Gutenberg

双语版《英格兰,我的英格兰》译者后记

(2011-01-08 09:39:37)

岁末年初总有新书的校样看，真是幸福啊。出版社总给我这样的幸福，善莫大焉。继中国书籍社的双语劳伦斯中短篇选后，这是第二本。上次收6篇；此次收10 篇，300页。本来中短篇是我翻译的支流，我是以翻译长篇和散文随笔为主的，但架不住出版社的忽悠，认定劳伦斯的中短篇我也能翻好，就豁出去干了。只要翻 译劳伦斯就是我的本行。我涎着脸硬把他当成是我的精神导师，跟着混准没错。
下面是后记，供同好分享。

双语作品的出版这两年成了流行趋势，说明随着中国大陆读者英文水平的不断提高，他们阅读的口味和习惯也在变化。大家都想在读中文译文时顺便看一眼英文的原文，比较着欣赏作者原文的魅力。而对于劳伦斯这位二十世纪英国最优秀的小说家（之一），大家已经不满足于仅仅读其中文译文了，更要识其庐山真面目。出版社 顺应了这些读者的阅读趋势，开始推出双语版，满足大家更高的鉴赏需求。作为劳伦斯译者，我感到很幸运和幸福，拙译从1986年（那一年末我开始陆续发表出版劳伦斯译文）开始到现在，能伴随许多读者走过不同的历史阶段，从单纯的中文版一直走到双语版，我的译文因为读者的新需求而焕发出新的生命活力，这是一个译者莫大的福分。

感到幸福的同时，责任感和使命感也让我忐忑，那就是我 的译文要对得起原作者劳伦斯大师，也要对得起中文读者。而过去的译文多是弱冠和而立之年的少作，以后再版和选入一些文集时时仅仅是匆忙中把中文捋顺一遍， 或者是增加些注解，没有足够的时间做全面的校正。这两年开始出双语选集，就得从头至尾对照英文疏理一遍方可，一是改正错误，二是润色文体。这个工程应该是 艰巨的。好在出版商很宽容而且不用“时间就是金钱”的时代精神鞭策我，给了我相对宽裕的时间做。

面对少作，时而汗颜，时而惊艳，百味杂陈。

所谓汗颜，是当初暴虎冯河，不知有汉。

如《菊香》，这是开启了我的劳伦斯阅读和研究之门的第一篇小说，那是1980年， 我们的国家刚刚开始改革开放，大学课堂上刚刚开始适度引入一些外国现代作家作品，那之前我们读的多是狄更斯时代之前的作品，现代名家里也只读过萧伯纳的喜 剧。我所就读的河北大学英语系请来了第一位外教，是刚刚在普林斯顿获得博士学位的一位年轻美国学者。他为我们开的英国现代文学课教材里选了四位作家的作 品，有伍尔夫夫人、曼斯菲尔德、乔伊斯和劳伦斯，我偏偏喜欢上了入选的劳伦斯小说《菊香》，有一种震撼的感觉。20岁 的我不满足于阅读，还一定要用中文替劳伦斯表达一遍，这小说让我产生了强烈的创作欲望，一种替人传道当牧师的感觉。后来读了一本劳伦斯的传记，书名是《爱的牧师》，意思是劳伦斯通过自己的文学创作充当爱的牧师角色。就想，我翻译他的作品，不就是要充当劳伦斯作品的牧师吗？即使只是个小小乡村教堂里的牧师， 只要我认真地领会原文，努力用中文再现其魅力，我就是个小牧师---a priest of Lawrence。

还记得那是1981年， 在河北大学老图书馆后面乱石乱瓦堆积的地上，那里有几棵参天大槐树还是老榆树，有阴凉，很僻静，我就坐在小板凳上，膝盖当桌，偷偷地翻译（不敢让别人知道 我有做翻译家的非分企图）。然后投稿给了《译海》还是别的杂志，从此泥牛入海。当时也没复印机，稿子丢了也就丢了。后来是凭着第一遍的记忆，重新翻译一 遍，直到出书时才拿出来修改了一些地方。现在对照英文看，里面有些基本的错误令我汗颜，有些幼稚的句式令人发噱，但有些精彩的句子还很让我“惊艳”，这样 的句子我现在绝对翻译不出来，那是需要青春的冲动才能搜索出来的汉语对应词语。所以我说翻译与创作一样，一定要早点开始，文字错误可以修改，但热情与幻想 是找补不回来的。现在我在给20岁的我当老师，修改那个时候的修辞和文字，但也欣赏自己那个岁数上的冲动。

《英格兰，我的英格兰》一文则是我在福建师大毕业前翻译的，24岁，刚得了硕士学位，离开学校前大家在忙总结，忙鉴定，忙告别，忙整理行囊。12月 的福州阳光很温暖，日子很悠闲无聊。于是我就趁这段空闲，在长安山上面对波光粼粼的闽江，晒着太阳，在野龙舌兰丛中把这个中篇小说的初稿翻译完了，像劳伦斯一样，我也是把我的文字写在横格本上。后来参加工作后，住办公室，晚上空空如也的办公室里只有我一个人，就有了时间抄写出来拿出去发表了。这个东西我感 觉是是硕士水平的了，但现在看还是很幼稚。但那些大段的激情色彩的描写，看起来还是很舒服，估计是我现在翻译不出来的。

于是我用现在的学识和理性纠正当初的错误，但欣赏地保留了很多当年的句子，那是任何学问所不能替代的与青春和热情有关的肉身之道。在这一点上，翻译和创作异曲同工

研 究生毕业后我一直以翻译和文学创作为“己任”，还不时为《文汇读书周报》等几家报纸做一些老翻译家的访谈记者，没想过要努力当学者，因此发表了几篇劳伦斯 研究方面的论文就再也没有尝试进一步做研究。但又要经常读了一些有关专论，那是为了加深自己对劳伦斯文学文本的理解，帮助我翻译得更准确。因此不敢率然作 研究性的序言，只谈些作为译者的阅读经验，没有高屋建瓴的答疑解惑功用，有些见解并非独家，而是多年阅读他的传记和评论过程中积累下的被我认可的别人的论 点，基本上是二手知识综合，仅比直接的编译多了一些自己的“消化”和转述而已。在此我要向很多英语国家的劳伦斯学者致谢，是他们的研究著作滋养了我，培养 了我的文学鉴赏眼光并且在一定程度上决定了我翻译的质量。在劳伦斯研究方面，中国学者的起步已经晚于西方学界半个世纪，西方仍以每年上百部的专著出版速度 刷新着记录，因此作为中国学者要拿出完全独立的见解就难免力有所不逮，我们唯一的优势应该是在劳伦斯与中国文学的比较方面，这似乎是目前西方学者难以企及 的，为此我期待着能有新晋学人在这方面推出自己的独立成果。拙译如果能为这样的研究提供参考则是译者的莫大荣幸。当然，作为艺术品的翻译作品，我所期待的 是更广大的读者的阅读和批评。

黑马

双语版《英格兰,我的英格兰》,上海三联版,2011-3