树 才 中国社会科学院
Shu, Cai, Chinese Academy of Social Sciences
原文Original
译诗：从一个到“另一个”
本文以法国诗人阿波利奈尔（Guillaume Apollinaire，1880-1918）的一首诗《米拉波桥》（Le Pont Mirabeau）的七种汉译作为切入点，来考察“诗歌翻译”这个大问题。
本文认为，为了对卷帙浩繁的译诗文本进行有效的研究和甄别，有必要建立一种“译诗批评”。怎么建立？必须紧紧围绕“译诗”这两个字：从“译”出发，去考察译诗与原诗的关系；从“诗”出发，去感受译者对语言的诗性敏感，去细究译诗中“诗”的“再生”和接受。
译诗译诗，关键是译。译诗的特质，就是依托原诗，这是被翻译的“跨语言性”所决定的，因此，必须研究译诗的过程；同时，译诗译诗，译的是诗。一首诗是由语言做成的一个活的生命，所以，译诗最根本的问题仍然是：一首诗怎样才能在翻译之后还能成为“另一首诗”？最后，诗无达诂，译无定译。一首译诗的生命力究竟有多长？译者自己无法回答。只有读者能够回答。在时间的维度上，翻译的意义最终是过渡，把原文过渡给未来。
《米拉波桥》的七种汉译表明，一首诗和它的译文之间的关系是“从一个到另一个”（而这“另一个”实际上意味着“另一些”，是复数而不是单数），也即原诗与译诗之间是“一与多”的关系。一首诗不管谁来译，不管以什么方法来译，不管译入哪一种语言，也不管译入另一种语言后的结果如何，可以肯定的是，译诗变成了原诗的“另一个”。
本文对《米拉波桥》的七种汉译展开了比较和批评，进而把“译诗成诗”视为译诗的最终目标。诗是语言的艺术，原诗是作者在“出发语”中的创造性写作，那么译诗也一样，译者必须以“译的方式”在“目的语”中进行创造性写作。
本文最后提出了“再生理论”（译者在“目的语”中重新生成“另一首诗”的语言形式和精神意义）。“再生理论”将译诗过程分为三个阶段：阅读一首诗，理解一首诗，翻译一首诗；这三个阶段分别对应三个结果：整体，差异，再生。阅读一首诗时，译者心中必须有一个“整体观”，每一行诗句都应该结合上下文来体验；理解一首诗时，译者应该把它“据为己有”，在自我理解中去领悟一首诗的言外之意；翻译一首诗，实际上是用另一种语言“重新写作（另一首诗）”。
从本质上说，诗歌翻译是一种“跨语言”的诗歌写作。它不只是一项语义转换的工作，更是一项诗意“再生”的工作。“再生”理论强调译诗过程中“译者”的主体性，指出译诗的关键是能否在“目的语”中重新生成另一首诗的语言表达式。当然，这取决于每一个译者的语言敏感性和创造力。
译文Translation
Poem Translation: From One to ‘Another’
Starting from the seven Chinese versions of the poem Le Pont Mirabeau by French poet Guillaume Apollinaire, this paper intends to explore the major problem of ‘poem translation’ in the field.
This paper proposes a necessity of the establishment of a ‘poem-translation criticism’ for the purpose of an effective study and determination of the translated texts of huge numbers of poems. But how? It should be established on the basis of the two words translate and poem. Concerning the word ‘translate’, we need to examine the relationship between the ‘translated version’ and ‘original version’ of a poem. Concerning the word ‘poem’, we ought to think about the translator’s sensitivity to the language, and to investigate the acceptance and rebirth of the poem in the translated versions.
The key issue in poem translation is the act of ‘translating’. The particularity of poem translation is to rely closely on the original poem, which is determined by the characteristics of ‘cross-language translation’ and therefore the translating process must be studied. At the same time, we also need to consider the other issue, the poem itself. A poem is a alive life composed of a certain language, and hence the essence of poem translation is how a poem can still be a poem in a translated version. Finally, a poem can have many explanations and translation may have many methods. What is the life cycle of a translated poem? This question can only be answered by readers rather than by translators. In the dimension of time, translation is just a transition, transferring the original text to the future.
The seven Chinese versions of the poem Le Pont Mirabeau illustrate that the relationship between a poem and its translated version is ‘from one to the other’ (this other is actually others, the plural form), i.e. the relationship between the original poem and translated poem is ‘one to many versions’.
One thing is certain about a poem—the translated poem should be ‘the other one’ of the original no matter who translates it, in what way it is translated, which language it is translated into or whatever result it could lead to in the translated versions.
This paper concentrates on the comparison and criticism of the seven Chinese versions of Le Pont Mirabeau with the aim at ‘translating a poem into a poem in another language’. Poem is the art of language. The original poem is the creative writing in the mother-tongue language. It applies to the poem translation, that is, a translator need to do the same creative writing in the form of translation in the target language.
This paper proposes a ‘rebirth theory’ by the end (the translator recreates the language form and spiritual meaning of ‘another poem’ in the target language). This ‘rebirth theory’ divides the translating process into three stages: reading a poem, comprehending a poem and translating a poem. These three stages correspond to three results: entirety, difference and rebirth. When reading a poem, the translator must have an entire view of the poem, experiencing it line by line in context; when comprehending a poem, he must make it part of himself, sensing the implied meaning of a poem; when translating a poem, he mush recreate it in anther language.
In essence, the poem translation is the poem writing in ‘another language’. It is not only a transition of the semantic meaning but a ‘rebirth’ of poetic utterance. The ‘rebirth theory’ emphasizes on the subjectivity of the translator in the process of translation. It points out that the key issue in poem translation is whether a translator can ‘recreate’ a language formula of ‘another poem’ in the target language. This certainly depends on the language sensitivity and creativity of the translator.