جلسه هشتم _ ترجمه ادبي2

Why is this vicarious torture forced upon us?

We can scarcely feel that the author's purpose was purely literary, that Tolstoy chose his subject as any writer chooses a subject, because it is interesting in and for itself. We cannot doubt that his intention was other than artistic, and we conjecture that it might well be religious, for religion often tries to put us in mind of the actuality of death, not its terrors, to be sure, but in its inevitability, seeking thus to press upon us the understanding that the life of this world is not the sum of existence, and not even its most valuable part. And the circumstances of Tolstoy's life at time he wrote "The Death of Ivan Ilych" confirm our sense of the story's religious inspiration.

چرا اين شكنجه ي نيابتي بر ما تحميل شده است؟

به نظر نمي آيد كه هدف نويسنده صرفا هدفي ادبي بوده است و تولستوي نيز مانند ديگر نويسندگان موضوعش را انتخاب كرده، از اين جهت كه موضوع به خودي خود(في نفسه) جالب است. ترديدي به خود راه نمي دهد كه هدفي غير هنر داشته است و نيتي مذهبي داشته باشد زيرا در مذهب نيز تلاش بر اين است كه كه ما را در معرض واقعيت مرگ قرار داده، مطمئنا نه با وحشت ناشي از آن، بلكه با ناگزيري مرگ ما را توجه مي سازد كه زندگي اين جهان حاصل جمع هستي كه نيست و تازه با ارزشترين جز در زندگي، هستي هم نيست، اين معنا را موكد مي كند كه اين داستان ملهم از مذهب است.

جلسه ششم _ ترجمه ادبي2

This tendency is wholly reserved by "The Death of Ivan Ilych".

Tolstoy does not try to reconcile us to the idea of our extinction and he does not mask the dreadfulness of dying.

اين مقوله بر اساس "مرگ ايوان ايليچ" كاملا متمايز شده است.

تولستوي سعي در آشتي دادن ما بانابودي مان و يا اينكه آن را در پشت نقاب وحشتناك مرگ بپوشاند، ندارد.

Quite the contrary not only does he choose an instance of death that is long drown out not and hideously painful, and dwell upon. It details, but he emphasizes the unmitigated aloneness of the dying man, the humiliation of his helplessness, and his object terror at the proposed of his annihilation, as well as his bitter envy of those who still continue in existence while he is process of becoming nothing.

كاملا برعكس، اين قضيه ي او، مرگ را نه تنها پديده اي خيلي ديرپا و شديدا دردناك انتخاب كرده بلكه هم به جزييات ان مي پردازد و هم به تنهايي لاعلاج انسان محتضر (در حال مرگ)، ذلت و درماندگي او، از چشم انداز نابودي اش و رشك بردن جانسوزش را به وقت سير زندگي به عدم زماني كه به زندگي ادامه مي دهد، موكد مي كند.

Tolstoy is explicit about these aspect of death as no writer before him had ever been, and the effect is excruciating, perhaps no work of fiction is so painful to read as this story.

صراحت بيان تولستوي درباره ي اين جنبه هاي مرگ با نويسندگان قبل از او قابل قياس نيست و شايد هيچ اثر روايتي قبل از او،اينگونه دردناك نبوده است.

جلسه پنجم _ ترجمه ادبي2

We all fear death and our imaginations balk at conceiving its actuality. We say readily enough that "our men are mental", but like Ivan Ilych in Tolstoy's story, we say it as an abstract general proposition and each of one of us finds it hard to believe that generalization has anything to do with him imperticularly with him personally, as we say.

كسي از ما نيست كه از مرگ نهراسد و از تجسم آن سر باز بزند. اگر صحبت مرگ به ميان بيايد بي معطلي ميگوييم " آدمي فاني است" و براي هر كدام از ما سخت است كه اين كلي گويي و تعميم، به طور اخص به خود ما مربوط مي شود و به قولي به شخص ما مربوط مي شود.

And literature tends to encourage us in our evasion. Not that literature avoids dealing with death-on the contrary; there is probably no subject to which it recurs more often. But even very great writers are likely to treat it in ways which limit its fear sameness.

و ادبيات مشوق طفره رفتن ماست. اين چنين نيست كه ادبيات از پرداختن به مرگ اجتناب كند، شايد به هيچ موضوعي به اندازه ي مرگ نپرداخته اند، اما نويسندگان بزرگ هم به شيوه اي به مرگ مي پردازند كه ترسناك بودن ان را محدود كنند،

The death of a hero of tragedy, for instance, seldom seems terrible to us; we often think of it as making a moment of peace and beauty, as constituting the resolution of distressing conflicts.

مثلا مرگ قهرمان تراژدي به نظر ترسناك نمي آيد و به آن طوري نگاه مي كنيم كه لحظه ي آرامش و زيبايي است و گره گشاي جدال هاي مصيبت بار است.

Literature inclines to soften death's aspect by showing it as through a voile, or by suggesting that is sad and noble rather than terrifying or by asking us to accept it as parts of life.

در ادبيات مي خواهند به نوعي از هست مرگ بكاهند و با نشان دادن آن از پشت حجاب يا بگويند به جاي اينكه ترسناك باشد، اندوه بار و محتشم است و از ما بخواهد كه آن را به عنوان جزيي از زندگي بپذيريم.

ترجمه ادبي2 / جلسه چهارم

we observe today not a victory of party, but a celebration of freedom—symbolizing an end, as well as a beginning—signifying renewal, as well as change. For I have sworn before you and Almighty God the same solemn oath our forebears prescribed nearly a century and three quarters ago.

The world is very different now. For man holds in his mortal hands the power to abolish all forms of human poverty and all forms of human life. And yet the same revolutionary beliefs for which our forebears fought are still at issue around the globe—the belief that the rights of man come not from the generosity of the state, but from the hand of God.

We dare not forget today that we are the heirs of that first revolution. Let the word go forth from this time and place, to friend and foe alike, that the torch has been passed to a new generation of Americans—born in this century, tempered by war, disciplined by a hard and bitter peace, proud of our ancient heritage—and unwilling to witness or permit the slow undoing of those human rights to which this Nation has always been committed, and to which we are committed today at home and around the world.

ترجمه به زودي

ترجمه ادبي2 / جلسه سوم

It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.

ترجمه به زودي

ترجمه ادبي2 / جلسه دوم

To begin with I wish to disclaim the possession of those high gifts of imagination and expression which would have enabled my pen to create for the reader the personality of the man who called himself, after the Russian custom, Cyril son of Isidor--Kirylo Sidorovitch-Razumov,

If I have ever had these gifts in any sort of living form they have been smothered out of existence a long time ago under a wilderness of words.

 

ترجمه به زودي

ترجمه ادبي2 / جلسه اول

Young Goodman Brown came forth at sunset into the street at Salem village; but put his head back, after crossing the threshold, to exchange a parting kiss with his young wife. And Faith, as the wife was aptly named, thrust her own pretty head into the street, letting the wind play with the pink ribbons of her cap while she called to Goodman Brown.

ترجمه به زودي