中英文翻譯文章
中英文翻譯文章
語(yǔ)言是人們相互之間溝通交流的最主要的媒介,英文是眾多語(yǔ)言之一，不少中英文翻譯的文章都非常優(yōu)秀。下面就是學(xué)習(xí)啦小編給大家整理的中英文翻譯文章，希望大家喜歡。
中英文翻譯文章篇1：In Praise of the Humble Comma
小小逗號(hào)贊
Pico Lyer
皮科·埃爾
The gods, they say, give breath, and they take it away. But the samesaid-could be said-could itnot?-of the humble comma. Add it to the present clause, and, all of a sudden, the mind is,quite literally, given pause to think; take it out if you wish or forget it and the mind is deprivedof a resting place. Yet still the comma gets no respea. It seems just a slip of a thing, apedant's tick, a blip on the edge of our consciousness, a kind of printer's smudge almost.Small, we claim, is beautiful (especially in the age of the microchip). Yet what is so often used,and so rarely called, as the comma-unless it be breath itself?
人都說(shuō)神仙把氣賜予生靈，又把氣奪走。不過(guò)這話(huà)用在小小的逗號(hào)上，何嘗不是如此?給現(xiàn)在這句加上逗號(hào)，腦子里真會(huì)，突然，停下來(lái)想想;若隨意去掉，或忘了它，就剝奪了腦子休息的空間。盡管如此，逗號(hào)仍然不受人算重。它似乎只是一個(gè)小撇，書(shū)呆子手下的一個(gè)小點(diǎn)兒，是我們意識(shí)邊緣上的一個(gè)記號(hào)，甚至排字工人沾上的一點(diǎn)污。我們好說(shuō)以小為美(尤其在這集成電路時(shí)代)。然而，還有什么東西是像逗號(hào)那樣頻頻使用而又那樣默默無(wú)聞的呢?——不就是氣嗎?
Punctuation, one is taught, has a point: to keep up law and order. Punctuation marks are theroad signs placed along the highway of our communication——to control speeds，providedirections and prevent head-on collisions. A period has the unblinking finality of a red light,the comma is a flashing yellow light that asks us only to slow down, and the semicolon is astop sign that tells us to ease gradually to a halt, before gradually starting up again. Byestablishing the relations between words, punctuation establishes the relations between thepeople using words. That may be one reason why school teachers exalt it and lovers defy it("we love each other and belong to each other let’s don’t ever hurt each other Nicole let's don'tever hurt each other,” wrote Gary Gilmore to his girlfriend )A comma ，he must have known, "separate inseparables" ，in the clinching words of H. W. Fowler, King of English Usage.
我們都學(xué)過(guò)，標(biāo)點(diǎn)有一個(gè)目的：維持法律與秩序。標(biāo)點(diǎn)符號(hào)正是我們交通要道上一路設(shè)置的路標(biāo)——用以控制速度，指示方向，避免迎頭相撞。句號(hào)具有紅燈的一絲不茍，說(shuō)一不二;逗號(hào)是一閃一閃的黃燈，要求我們只是放慢速度;分號(hào)則是停車(chē)標(biāo)記，指示我們緩緩煞車(chē)，然后再緩緩啟動(dòng)標(biāo)點(diǎn)建立起詞與詞之間的關(guān)系，從而建立起用詞人之間的關(guān)系。教師捧它，情人煩它，其原因蓋出于此。(蓋瑞·基爾摩爾給女友寫(xiě)道：“我愛(ài)你你愛(ài)我我是你的你是我的我們永遠(yuǎn)誰(shuí)也別傷誰(shuí)的心科爾我們永遠(yuǎn)誰(shuí)也別傷誰(shuí)的心。”)他一定學(xué)過(guò)英語(yǔ)慣用法大王福勒的斷言：逗號(hào)是“把不可分開(kāi)的東西分開(kāi)”。
Punctuation, then, is a civic prop, a pillar that holds society upright. (A run on sentence, itsphrases piling up without division, is as unsightly as a sink piled high with dirty dishes.)Smallwonder,then,that punctuation was one of the first proprieties of the Victorian age, the age ofthe corset, that the modernists threw off the sexual revolution might be said to have begunwhen Joyce's Molly Bloomis spilled out all her private thoughts in 36 pages of unbridled, almostunperioded and officially censored prose: and another are bellion was surely marked whenE.E.Cummings first felt free to commit "God" to the lower case.
如此說(shuō)來(lái)，標(biāo)點(diǎn)乃是百姓的支柱，是支撐社會(huì)不至于垮掉的棟梁冗長(zhǎng)的句子，詞組堆砌成贅而不分彼此，就好比洗碗槽堆滿(mǎn)了臟碗，很不雅觀。)也難怪在維多利亞時(shí)代，風(fēng)行緊身胸衣的時(shí)代，標(biāo)點(diǎn)是講禮貌的頭等大事，而現(xiàn)代派一概棄之門(mén)外。性的革命可以說(shuō)就是始于喬伊斯筆下的莫莉·布魯姆，她將全部私衷一吐為快，洋洋36頁(yè)文字信口道來(lái)，幾乎沒(méi)有句號(hào)，遭到官家查禁。再就是卡明斯，肯定也算造反，他當(dāng)初為所欲為，擅自將“Cod”貶為小寫(xiě)。
Punctuation thus becomes the signatrire of cultures. The hot-blooded Spaniard seems to berevealed in the passion and urgency of his doubled exclamation points and question marks ( "iCaramba! LQuien sabe?"), while the impassive Chinese traditionally added to his so-calledinscrutability by omitting directions from his ideograms. The anarchy and commotion of the60s were given voice in the exploding exclamation marks, riotous capital letters and Day-Gloitalics of Tom Wolfe's spray-paint prose; and in Communist societies, where the State isabsolute, the dignity-and divinity-of capital letters is reserved for Ministries, Sub-Committeesand Secretariats.
于是，標(biāo)點(diǎn)成了不同文化的標(biāo)志。西班牙人性好激動(dòng)，打驚嘆號(hào)打問(wèn)號(hào)都用雙重的(“jCaramba! LQuiensabe?”見(jiàn)鬼啦!誰(shuí)能明白?)情真意切，如見(jiàn)其人;中國(guó)人則不好動(dòng)聲色，表意字的文言自古就不注標(biāo)點(diǎn)，所謂胸有城府，益見(jiàn)其深。湯姆·沃爾夫那種噴漆式的散文體，驚嘆號(hào)一哄而起，大寫(xiě)字母泛濫成災(zāi)，斜體字像是涂了熒光漆，無(wú)不表達(dá)了60年代的無(wú)法無(wú)天和亂作一團(tuán);而在共產(chǎn)黨當(dāng)政的社會(huì)，國(guó)家至上，大寫(xiě)字母的尊嚴(yán)——與神威——只留給政府各部委和書(shū)記處享用。
Yet punctuation is something more than a culture's birthmark; it scores the music in ourminds, gets our thoughts moving to the rhythm of our hearts. Punctuation is the notation inthe sheet music of our words, telling us when to rest, or when to raise our voices; itacknowledges that the meaning of our discourse, as of any symphonic composition, lies notonly in the units but in the pauses, the pacing and the phrasing. Punctuation is the way onebats one's eyes, lowers one's voice or blushes demurely. Punctuation adjusts the tone andcolor and volume till the feeling comes into perfea focus: not disgust exactly, but distastes; notlust, or like, but love.
然而，標(biāo)點(diǎn)又不僅是某一種文化的胎記;它記下我們心中的樂(lè)曲，指引我們的思想與我們的心聲合拍。標(biāo)點(diǎn)是我們作詞的歌篇上的樂(lè)譜，它告訴我們何時(shí)休止，何時(shí)提高嗓門(mén);它表明，我們說(shuō)話(huà)著文，猶如譜寫(xiě)交響樂(lè)曲，情意所至，不僅見(jiàn)于整體段落，也見(jiàn)于起落有間、快慢有節(jié)以及長(zhǎng)短有致。標(biāo)點(diǎn)就像人眨眨眼睛，低聲細(xì)語(yǔ)，或忸怩作態(tài)。標(biāo)點(diǎn)可調(diào)整音調(diào)、音色和音量，直至找準(zhǔn)了感情，萬(wàn)無(wú)一失：未必是厭惡，而是厭煩;并非情欲之類(lèi)，而是情愛(ài)。
Punctuation, in short, gives us the human voice, and all the meanings that lie between thewords. "You aren't young, are you?" loses its innocence when it loses the question mark.Every child knows the menace of a dropped apostrophe (the parent's "Don't do that" shiftinginto the more slowly enunciated "Do not do that"), and every believer, the ignominy of havinghis faith reduced to "faith." Add an exclamation point to "To be or not to be..." and thegloomy Dane m has all the resolve he needs; add a comma, and the noble sobriety of "Godsave the Queen" becomes a cry of desperation bordering on double sacrilege.
簡(jiǎn)言之，標(biāo)點(diǎn)給我們傳來(lái)話(huà)音，傳來(lái)字里行間的全部含義。“你不小了，是吧?”這話(huà)去掉問(wèn)號(hào)，無(wú)心便成了有意。做父母的先是說(shuō)“Don't do that”(“別做那事”)，轉(zhuǎn)而又慢聲慢氣交代清楚：“Do not.dothat”(不要做那事)，每個(gè)孩子都聽(tīng)得明白，拿掉了撇號(hào)可就把話(huà)說(shuō)絕了。每個(gè)信徒也都明白，把他的信教加上引號(hào)，所謂“信教”，那可是在污辱他。給“生存或者滅亡……”一句添上個(gè)驚嘆號(hào)，那位憂(yōu)心忡忡的丹麥人便是毅然決然萬(wàn)死不辭之士。在“上帝保佑女王”中間加個(gè)逗號(hào)，那崇高的莊嚴(yán)則成了絕望的呼號(hào)，簡(jiǎn)直是對(duì)雙方的褻瀆。
Sometimes, of course, our markings may be simply a matter of aesthetics.Popping in a commacan be like slipping on the necklace that gives an outfit quiet elegance, or like catching thesound of running water that complements as it completes the silence of a Japaneselandscape. When VS.
Naipaul , in his latest novel, writes, "He was a middle-aged man, with glasses," the first commacan seem a little precious. Yet it gives the description a spin, as well as a subtlety, that itotherwise lacks, and it shows that the glasses are not part of the middle-agedness, butsomething else.
當(dāng)然，’有時(shí)我們的標(biāo)點(diǎn)符號(hào)也許只是個(gè)審美的問(wèn)題。插進(jìn)一個(gè)逗號(hào)，猶如給一套服裝悄然配上項(xiàng)鏈，使之顯得嫻靜優(yōu)雅，又如在日本園林的一片幽靜之外還聽(tīng)到潺潺流水聲，使園景更加充實(shí)。奈保爾在他新近的一部小說(shuō)中寫(xiě)道：“他是個(gè)中年人，戴著一副眼鏡。”前一個(gè)逗號(hào)看似有點(diǎn)做作。然而它使描述更為婉轉(zhuǎn)，也更為微妙，否則都顯不出來(lái);它還表明，那副眼鏡并非人到中年就非戴不可，而是別有由來(lái)。
Thus all these tiny scratches give us breadth and heft and depth. A world that has only periodsis a world without inflections. It is a world without shade. It has a music without sharps andflats. It is a martial music. It has a jackboot rhythm. Words cannot bend and curve. Acomma, by comparison,catches the gentle drift of the mind in thought, turning in on itselfand back on itself, reversing, redoubling and returning along the course of its own sweet rivermusic; while the semicolon brings clauses and thoughts together with all the silent discretionof a hostess arranging guests around her dinner table.
可見(jiàn)所有這些小來(lái)小去的一深度。只有句點(diǎn)的世界是個(gè)千篇撇一點(diǎn)都給我們?cè)黾恿藦V度、分量和一律的世界。是個(gè)沒(méi)有差別的世界。它的樂(lè)曲不分升調(diào)降調(diào)。是一首軍樂(lè)曲。是長(zhǎng)筒靴的節(jié)奏。文字不能彎曲。相形之下，逗號(hào)卻能捕捉頭腦里思路的涓涓細(xì)流，任它沿著自己娓娓動(dòng)聽(tīng)的河上樂(lè)曲的航線(xiàn)，自行蜿蜒曲折，倒流，重疊。分號(hào)則將分句與思想融為一體，猶如女主人不露聲色地把來(lái)賓一一妥善安排入席。
Punctuation, then, is a matter of care. Care for words, yes, but also, and more important, forwhat the words imply. Only a lover notices the small things: the way the afternoon lightcatches the nape of a neck, or how a strand of hair slips out from behind an ear, or the way afinger curls around a cup. And no one scans a letter so closely as a lover, searching for its smallprint, straining to hear its nuances, its gasps, its sighs and hesitations, poring over the secretmessages that lie in every cadence. The difference between"Jane (whom I adore)" and "Jane,whom I adore," and the difference between them both and "Jane-whom I adore-" marks all thedistance between ecstasy and heartache. "No iron can pierce the heart with such force as aperiod put at just the right place," in Isaac Babel's lovely words; a comma can let us hear avoice break, or a heart. Punctuation, in fact, is a labor of love. Which brings us back in a way togods.
由此說(shuō)來(lái)，標(biāo)點(diǎn)符號(hào)又是個(gè)要謹(jǐn)慎從事的問(wèn)題。用詞要慎，不錯(cuò)，但更要緊的是對(duì)詞的涵義尤宜慎重。只有情人才注意到這些細(xì)節(jié)：下午的陽(yáng)光如何照在后頸上，一縷發(fā)絲如何從耳后根滑下來(lái)，手指如何勾住杯子。誰(shuí)看信也不會(huì)像情人那般仔細(xì)，苦苦尋覓信中的微小印跡，極力聽(tīng)出其間的細(xì)微差別，其中的喘息、感嘆和猶豫不決，潛心揣摩那抑揚(yáng)頓挫中的秘密信息。“簡(jiǎn)(我深?lèi)?ài)她)”與“簡(jiǎn)，我深?lèi)?ài)她”兩句之間的差別，以及這兩句與“簡(jiǎn)——我深?lèi)?ài)她——”之間的差別，標(biāo)明了醉心與傷心之間的距離。巴別爾有句話(huà)說(shuō)得多好：“句點(diǎn)用得其所，可穿透人心，雖刀槍力莫能及。”逗號(hào)則可使我們聽(tīng)到聲咽或心碎。標(biāo)點(diǎn)符號(hào)其實(shí)是一項(xiàng)心甘情愿而為之的工作。它多少使我們重新成為主宰。
中英文翻譯文章篇2：How Should One Read a Book?
怎樣讀書(shū)?
Virginia Woolf
弗吉尼亞·伍爾夫
It is simple enough to say that since books have classes——fiction，biography，poetry——weshould separate them and take from each what it is right that each should give us. Yet fewpeople ask from books what books can give us. Most commonly we come to books with blurredand divided minds，asking of fiction that it shall be true，of poetry that it shall be false，ofbiography that it shall be flattering，of history that it shall enforce our own prejudices. If wecould banish all such preconceptions when we read，that would be an admirable beginning. Donot dictate to your author;Try to become him. Be his fellow-worker and accomplice. If youhang back，and reserve and criticize at first，you are preventing yourself from getting thefullest possible value from what you read. But if you open your mind as widely as possible，thesigns and hints of almost imperceptible fineness，from the twist and turn of the firstsentences，will bring you into the presence of a human being unlike any other. Steep yourselfin this，acquaint yourself with this，and soon you will find that your author is giving you，orattempting to give you，something far more definite. The thirty-two chapters of a novel—if weconsider how to read a novel first——are an attempt to make something as formed andcontrolled as a building：but words are more impalpable than bricks;Reading is a longer andmore complicated process than seeing. Perhaps the quickest way to understand the elementsof what a novelist is doing is not to read，but to write;To make your own experiment with thedangers and difficulties of words. Recall，then，some event that has left a distinct impressionon you—how at the corner of the street，perhaps，you passed two people talking. A treeshook;an electric light danced;the tone of the talk was comic，but also tragic;a wholevision;an entire conception，seemed contained in that moment.
書(shū)既然有小說(shuō)，傳記，詩(shī)歌之分，就應(yīng)區(qū)別對(duì)待，從各類(lèi)書(shū)中取其應(yīng)該給及我們的東西。這話(huà)說(shuō)來(lái)很簡(jiǎn)單。然而很少有人向書(shū)索取它能給我們的東西，我們拿起書(shū)來(lái)往往懷著模糊而又雜亂的想法，要求小說(shuō)是真是的，詩(shī)歌是虛假的，傳記要吹捧，史書(shū)能加強(qiáng)我們自己的偏見(jiàn)。讀書(shū)時(shí)如能拋開(kāi)這些先入為主之見(jiàn)，便是極好的開(kāi)端。不要對(duì)作者指手畫(huà)腳，而要盡力與作者融為一體，共同創(chuàng)作，共同策劃。如果你不參與，不投入，而且一開(kāi)始就百般挑剔，那你就無(wú)緣從書(shū)中獲得最大的益處。你若敞開(kāi)心扉，虛懷若谷，那么，書(shū)中精細(xì)入微的寓意和暗示便會(huì)把你從一開(kāi)頭就碰上的那些像是山回水轉(zhuǎn)般的句子中帶出來(lái)，走到一個(gè)獨(dú)特的人物面前。鉆進(jìn)去熟悉它，你很快就會(huì)發(fā)現(xiàn)，作者展示給你的或想要展示給你的是一些比原先要明確得多的東西。不妨閑來(lái)談?wù)勅绾巫x小說(shuō)吧。一部長(zhǎng)篇小說(shuō)分成三十二章，是作者的苦心經(jīng)營(yíng)，想把它建構(gòu)得如同一座錯(cuò)落有致的布局合理的大廈?？墒窃~語(yǔ)比磚塊更難捉摸，閱讀比觀看更費(fèi)時(shí)、更復(fù)雜。了解作家創(chuàng)作的個(gè)中滋味。最有效的途徑恐怕不是讀而是寫(xiě)，通過(guò)寫(xiě)親自體驗(yàn)一下文字工作的艱難險(xiǎn)阻。回想一件你記憶憂(yōu)新的事吧。比方說(shuō)，在街道的拐彎處遇到兩個(gè)人正在談話(huà)，樹(shù)影婆娑，燈光搖曳，談話(huà)的調(diào)子喜中有悲。這一瞬間似乎包含了一種完善的意境，全面的構(gòu)思。
But when you attempt to reconstruct it in words，you will find that it breaks into a thousandconflicting impressions. Some must be subdued;others emphasized;in the process you willlose，probably，all grasp upon the emotion itself. Then turn from your blurred and litteredpages to the opening pages of some great novelist—Defoe，Jane Austen，or Hardy. Now youwill be better able to appreciate their mastery. It is not merely that we are in the presence ofa different person—Defoe，Jane Austen，or Thomas Hardy—but that we are living in a differentworld. Here，in Robinson Crusoe，we are trudging a plain high road;one thing happens afteranother;the fact and the order of the fact is enough. But if the open air and adventure meaneverything to Defoe they mean nothing to Jane Austen. Hers is the drawing-room，and peopletalking，and by the many mirrors of their talk revealing their characters. And if，when we haveaccustomed ourselves to the drawing-room and its reflections，we turn to Hardy，we are oncemore spun around. The other side of the mind is now exposed—the dark side that comesuppermost in solitude，not the light side that shows in company. Our relations are nottowards people，but towards Nature and destiny. Yet different as these worlds are，each isconsistent with itself. The maker of each is careful to observe the laws of his ownperspective，and however great a strain they may put upon us they will never confuseus，as lesser writers so frequently do，by introducing two different kinds of reality into thesame book. Thus to go from one great novelist to another—from Jane Austen to Hardy，fromPeacock to Trollope，from Scott to Meredith —is to be wrenched and uprooted;to be thrownthis way and then that. To read a novel is a difficult and complex art. You must be capable notonly of great finesse of perception，but of great boldness of imagination if you are going tomake use of all that the novelist—the great artist—gives you.
可是當(dāng)你打算用文字來(lái)重現(xiàn)此情此景的時(shí)候。它卻化作千頭萬(wàn)緒互相沖突的印象。有的必須淡化，有的則應(yīng)加突出。在處理過(guò)程中你可能對(duì)整個(gè)意境根本把握不住了。這時(shí)，還是把你那些寫(xiě)得含糊雜亂的一頁(yè)頁(yè)書(shū)稿擱到一邊，翻開(kāi)某位小說(shuō)大師，如笛福，簡(jiǎn)·奧斯汀或哈代的作品來(lái)從頭讀吧。這時(shí)候你就能更深刻地領(lǐng)略大師們駕馭文字的技巧了。因?yàn)槲覀儾粌H面對(duì)一個(gè)個(gè)不同的人物—笛福、簡(jiǎn)·奧斯汀或托馬斯·哈代，而且置身于不同的世界。閱讀《魯賓遜漂流記》時(shí)，我們仿佛跋涉在狂野大道上，事件一個(gè)接一個(gè)，故事再加上故事情節(jié)的安排就足夠了。如果說(shuō)曠野和歷險(xiǎn)對(duì)笛福來(lái)說(shuō)就是一切，那么對(duì)簡(jiǎn)·奧斯汀就毫無(wú)意義了。她的世界是客廳和客廳中閑聊的人們。這些人的言談像一面面的鏡子，反映出他們的性格特征。當(dāng)我們熟悉了奧斯汀的客廳及其反映出來(lái)的事物以后再去讀哈代的作品，又得轉(zhuǎn)向另一個(gè)世界。周?chē)Ｃ；囊埃^頂一片星空。此時(shí)，心靈的另一面，不要聚會(huì)結(jié)伴時(shí)顯示出來(lái)的輕松愉快的一面，而是孤獨(dú)時(shí)最容易萌生的憂(yōu)郁陰沉的一面。和我們打交道的不是人，而是自然與命運(yùn)。雖然這些世界截然不同，它們自身卻渾然一體。每一個(gè)世界的創(chuàng)造者都小心翼翼地遵循自己觀察事物的法則，不管他們的作品讀起來(lái)如何費(fèi)力，卻不會(huì)像蹩腳的作家那樣，把格格不入的兩種現(xiàn)實(shí)塞進(jìn)一部作品中，使人感到不知所云。因此讀完一位偉大作家的小說(shuō)再去讀另一位的，比如說(shuō)從簡(jiǎn)·奧斯汀到哈代，從皮科克到特羅洛普，從司各特到梅瑞狄斯，就好像被猛力扭動(dòng)，連根拔起，拋來(lái)拋去。說(shuō)實(shí)在的，讀小說(shuō)是一門(mén)困難而又復(fù)雜的藝術(shù)。要想充分享用小說(shuō)作者，偉大的藝術(shù)家給予你的一切，你不僅要具備高度的感受能力，還得有大膽的想象力。
中英文翻譯文章篇3：In the Pursuit of a Haunting and Timeless Truth
追尋一段永世難忘的史實(shí)
Pauline Kael
波琳·凱爾
Louis Malle's Au Revoir les Enfants" (or "Goodbye, Children") is set in Occupied France in 1944,when Malle was an eleven-year-old at a Catholic boys' boarding school near Fontainebleau thatsheltered several Jewish boys. The Gestapo learned they were there, and sent the ones theyfound to Auschwitz , and the headmaster to a work camp c4J One of the Jewish boyswas inMalle's class, but Malle didn't get to know him well and didn't realizethat he was Jewish. For thedramatic purposes of the movie, he has conceived a close friendship between his alter ego,the fairhaired Julien Quentin(Gaspard Manesse), and the dark boy who is using the false nameJean Bonnet (Raphael Fejto). Malle has every right to fantasize and invent, but I'm puzzled bythe kind of fantasizing he does here. The First half of the film is so hushed and enervated thatI kept peering into the schoolyard looking for signs of life. It's full of wealthy boys at play;they're even there on stilts,battling and falling down. But their games-which might clue us intotheir ruling-class assumptions and their snobbery and the limits of their understanding-areshown at a distance. The camera is so discreet it always seems about ten feet too far away,and the boy who plays Julien is directed so that he never engages us; we can't look into him, orinto anyone else.
路易·馬爾執(zhí)導(dǎo)的《再見(jiàn)，孩子們》以1944年的法國(guó)被占區(qū)為背景，當(dāng)時(shí)他11歲，在楓丹白露附近一所天主教辦的寄宿男校上學(xué)。學(xué)校藏下了好幾個(gè)猶太孩子。蓋世太保探知他們的下落，把搜出來(lái)的送往奧斯維辛，校長(zhǎng)發(fā)配勞動(dòng)營(yíng)。孩子當(dāng)中有一個(gè)就在馬爾班上，不過(guò)馬爾跟他不熟，也沒(méi)看出他是猶太人。在電影里，為求得戲劇性的效果，馬爾虛構(gòu)了自己的化身—金發(fā)少年朱利安·昆廷(加斯帕德·馬內(nèi)斯飾)——和化名讓·博內(nèi)的深膚色男孩(拉斐爾·費(fèi)日托飾)之間的親密友情。馬爾有充分的權(quán)利進(jìn)行想象和虛構(gòu)，但我對(duì)他在這里做出的這種想象大惑不解。影片的前半部抑悶不張，軟弱無(wú)力，我禁不住朝校園里不斷張望，尋找生氣。滿(mǎn)園都是富家子弟在玩耍;他們還踩起了高蹺，互相打斗又摔倒在地。但是，他們的嬉戲——本可以向我們揭示一下他們身上那副統(tǒng)治階級(jí)的裝腔作勢(shì)、那份勢(shì)利眼和見(jiàn)識(shí)短淺——都拍成了遠(yuǎn)景。攝影機(jī)太小心謹(jǐn)慎了，總像是遠(yuǎn)了十來(lái)英尺;飾朱利安的小演員讓導(dǎo)演導(dǎo)得毫不動(dòng)人;我們看不到他的內(nèi)心活動(dòng)，也看不到別人的。
As the story is presented, Julien, who is quick, grasps almost at once that this new boy, JeanBonnet, is an impostor, who isn't really Catholic; Julien catches Jean standing by his bed atnight, praying silently, with two lighted candles, and Julien rummages in Jean's books anddiscovers that his realname is the German-sounding Jean Kippelstein. Julien is the only boy inthe class who offers Jean friendship; the others play tricks on Jean and gang upon him, becausehe's different-he's not one of them. Julien, who knows how different Jean actually is, keeps hisdiscovery to himself. He and Jeanare the two brightest boys in the class; they both love toread, and they become best friends. This is a rather moist fantasy of Julien's virtue; it'seventually mixed with a fantasy self-accusation of guilt. When the Gestapo chief comes intothe classroom asking for Jean Kippelstein, the scared, nervous Julien involuntarily turns andlooks at his friend-it's a Judas kiss ,but an unintentional one. And Jean exonerates him: whenhe is packing his gear to go with the Gestapo men, he tells Julien that it didn't matter, that theNazis would have caught him anyway.
燭，立在床邊默默祈禱;他翻看讓的課本，發(fā)現(xiàn)他的真名叫讓·基普爾斯坦，聽(tīng)音是個(gè)德國(guó)姓。朱利安是班上惟一待他友好的同學(xué);別人都捉弄他，合伙欺負(fù)他，因?yàn)樗灰粯?mdash;—跟他們不一路。朱利安明知這不一樣的真情，把親瞍所見(jiàn)藏在心底。他和讓是班上兩名最聰明的學(xué)生;他倆都喜歡讀書(shū)，還成了最要好的朋友。這里是說(shuō)朱利安的善良，想象中很有幾分傷感;到最后更添了一層，想象他因負(fù)疚而自責(zé)。只見(jiàn)蓋世太保的頭子走進(jìn)教室，來(lái)要讓·基普爾斯坦，張皇失措的朱利安不由自主轉(zhuǎn)過(guò)臉去看了看他的朋友——豈不正是猶大之吻，但并非存心所為。讓并不記恨他：他收拾好東西跟蓋世太保走，一面對(duì)朱利安說(shuō)沒(méi)什么，反正納粹會(huì)抓到他的。
In the finest scene of the movie, Jean shakes hands with the boys near him just before he'staken away; it's a well-brought-up young boy's leavetaking,and nothing has prepared you for it.But throughout Lrean is used as an aesthetic objea-spiritual, sensitive, foreign . He's oftenshot in profile, with his lips parted, and in one scene he goes to Mass with the other boys andtilts his face, open-mouthed-almost yearning-to receive the holy wafer, whichm is denied him bythe Reverend Father, the headmaster. Is the boy merely seeking acceptance by the otherboys-is he just trying to pass as one of them-or is something else implied? The whole movieseems padded and muted, it's designed to make you understand that Julien is stricken by thehorror of what happens to his friend. But nothing in it comes into clear focus-not the boys'attitudes, not even the images (and certainly not a lengthy sequence in which the two boysare on a treasure hunt in Fontainebleau Forest).
影片有一場(chǎng)精彩之至。讓即將被人帶走，他與身邊的同學(xué)一一握手;一個(gè)很有教養(yǎng)的少年跟人話(huà)別的做派，事先未做任何鋪墊。但讓自始至終都用來(lái)充當(dāng)一個(gè)審美的對(duì)象——超凡脫俗，有靈性，希罕。他往往拍成雙唇微啟的側(cè)面形象，有一場(chǎng)戲是他隨同學(xué)去做彌撒，他仰起臉，張著嘴——幾乎是渴望著——去領(lǐng)神父大人即校長(zhǎng)并沒(méi)有賜給他的圣餅。這孩子是否只求同學(xué)收下他——只求把他當(dāng)自己人，還是其中別有寓意呢?整部影片顯得沉悶壓抑，意在要你理解朱利安因見(jiàn)朋友慘遭不幸而深感痛心。不過(guò)，影片中一切都看不真切——同學(xué)的態(tài)度如此，就連圖像也如此(兩個(gè)孩子在楓丹白露森林里尋寶的那一長(zhǎng)段穿插，自然也是如此)。
Malle has said that this is the most personal and important film of his career,and I believe thathe thinks that. I also believe that he's wrong. If "Au Revoir"is very personal to him, this may bebecause as an adult he has felt stricken by the recognition that he wasn't stricken then, and itmay involve his feelings of guilt over his own family's safety and prosperity-everything thatthe film barely touches on.
馬爾曾說(shuō)，這是他導(dǎo)演生涯中最富自傳色彩也是最重要的一部影片。我認(rèn)為他是這樣想的。我又認(rèn)為他并沒(méi)有說(shuō)對(duì)。如果說(shuō)他自認(rèn)《再見(jiàn)》一片極富于自傳色彩，那也許是因?yàn)樗赡旰笳J(rèn)識(shí)到當(dāng)年未感痛心，因而一直深感痛心，其中也許還夾有他自己的家庭當(dāng)年安富尊榮因而每每?jī)?nèi)疚于心——這一切在影片中倒是甚少觸及。
Malle has said of "Au Revoir." "I reinvented the past in the pursuit of a haunting and timelesstruth." Maybe that's why I felt as if I were watching a faded French classic, something I dimlyrecalled. In pursuit of haunting and timeless truth, Malle has gone back to the anti-Nazi moviesof the forties,and polished and formalized the actions until he's turned melodrama into politereverie.
對(duì)《再見(jiàn)》馬爾說(shuō)過(guò)：“我這樣舊事新編，是在追尋一段永世難忘的史實(shí)。”難怪我覺(jué)得像是在看一部退了色的法國(guó)經(jīng)典片，依稀中似曾相識(shí)，恐怕就是這個(gè)緣故。馬爾在追尋永世難忘的史實(shí)中回到40年代那些反納粹的電影，他對(duì)劇情加工潤(rùn)色，自成一格，終于把情節(jié)劇變成了文雅的幻想曲。
Yes, it gets to you by the end. How could it not? But you may feel pretty wom down-by howaccomplished it is, and by all the aching, tender shots of Jean. He's photographed as if hewere a piece of religious art: Christ in his early adolesence. There's something unseemly aboutthe movie's obsession with his exotic beauty-as if the French-German Jews had come from thefar side of the moon. And does he have to be so brilliant, and a gifted pianist, andcourageous? Would the audience not mourn him if he were just an average schmucky kid withpimples?
不錯(cuò)，你看到劇終正是這般感受。豈有他哉?但你也許會(huì)感到疲憊不堪——就為它技法如此精湛，就為讓有那么些凄楚動(dòng)人的鏡頭。他攝下的形象猶如一件宗教藝術(shù)品：少年時(shí)期的基督。影片一味醉心于他的異族情調(diào)之美，總不那么妥當(dāng)吧——仿佛法德兩國(guó)的猶太人都是來(lái)自天外的月球。再說(shuō)，他難道就非如此光彩照人不可嗎，又有彈鋼琴的天賦，又能臨危不懼?他若只是個(gè)普普通通、呆頭呆腦的孩子，長(zhǎng)一臉雀斑，觀眾難道就不哀其不幸了嗎?
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