HC 是一位藝人，對翻譯這種辛勞的「小三」事業念茲在茲。稱之為「小三」，是因為原作者向來不給他正式的名分，譯者有時並沒有原著者的才華與賺錢本事，只是盡力打扮得花枝招展來取悅原作者；譯者雖然苦心經營，可是進不了名人堂(Hall of Fame)，完全沒有學術或文藝創作地位。
以下引自 HC 的部落格《譯藝》：
http://hctranslations.blogspot.com/2011/05/blog-post_06.html
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2011年5月6日星期五
錢鍾書先生翻譯舉隅--摘自《談藝錄》
這是從網路找到並改成正體字 (原文未交代版本 許台灣書林版不同)
原文頁數都用 P 應該改成 " p."/ 我並將原文書名以斜體
讀者最好參看原書的上下文 否則不易了解其深意
錢鍾書先生翻譯舉隅--摘自《談藝錄》
錢鍾書先生當代碩學，其博學多聞，覃思妙慮，並世罕儔。世人咸知先生通多國文字，顧先生少有譯作，唯於著述中援引外國作家之語類多附註原文，學者於此得所取則。唯零金碎玉檢索不易，爰特蒐集成冊，以便觀覽。後生末學得窺雲中之一鱗，證月印於千江，則此帙之輯為不虛矣。
——李慎之 1989年六月
1． If all the sky were parchment and all the sea were ink
按“青天做紙張”之語，西方各國詩人皆有之，常以“碧海化墨水”為對。 P.19
2． New forms are simply canonization of inferior genres.
百凡新體，只是向來卑不足道之體忽然列品入流。 P.35
3． behind its attributes
須在未具性德以前，推其本質。 P.37
4． “Not of the letter, but of the spirit; for the letter killeth, but the spirit giveth life.”
意在言外，得意忘言，不以詞害意。 P.43
5． To hold, as’t were, the mirror up to nature.
持鏡照自然。 P.60
6． selective imitation
取捨之工。 P.60
7． This is an art / Which does mend nature, change it rather, but/ That art itself is Nature (The Winter's Tale, IV, iv. Polixenes)
莎士比亞嘗曰：“人藝足補天工，然而人藝即天工也。”p.61
8． In shape the perfection of the berry, in light the radiance of the dewdrop. (Lord Tennyson; A Memoir, by his son, Vol. I, P.211)
體完如櫻桃，光燦若露珠。 P.114
9． “A poem round and perfect as a star. ”（Alexander Smith: A Life Drama）
“詩好比星圓。”P.114
10． “It used to be said of a famous cricketeer that he bowled or batted with his head. ”（S. Alexander: Beauty and Other Forms of Value, p.25）
畫以心而不以手。 P.211
11． A direct sensuous apprehension of thought.
能以官感領會義理。 P.232
12． Be thou thine own home, and in thy selfe dwell;/Inn any where, continuance maketh hell./ And seeing the snaile, which every where doth rome, /Carrying his owne house still, still is at home.(Complete Poetry and Selected Prose, ed. J. Hayward, pp.153-4)
萬物皆備於身，方之蝸牛戴殼，隨遇自足，著處為家。 —— 約翰唐（John Donne）名篇: （To Sir Henry Wotton）P.232
13． “Poetry should strike the Reader as a working of his own highest thoughts and appear almost a Remembrance. ”（Letter to Taytor, 27 Feb. 1818, HE Rollins, ed., Letters I, 238）
“好詩當道人心中事，一若憶舊而得者。” ——濟慈(Keats) 論詩第一要義（axiom）P.255
14． ear pleasure
悅耳 P.269
15． mind pleasure
饜心 P.269
16． unreasonable or magical element
不落理路、神幻無方。 P.269
17． natural magic
魔力 P.269
18． inspiration
落筆神來之際 P.269
19． catharsis
情慾宣洩 P.270
20． purification
齋心潔己 P.270
21． All Arts aspire to the condition of music.
佩特謂諸藝造妙皆嚮往於音樂之空靈澹盪。 P.271
22． Most imitative of arts（SH Butcher: Aristotle's Theory of Poetry and Fine Art, P.122）
“樂在諸藝中最近自然。”P.271
23． committed fornication
意淫 P.273
24． mental fictions
亂真 P.273
25． “All emotion, Of thorough enough, would take one to heaven.”
“一切情感，充極至盡，皆可引人入天。” P.288
26． “This creative reason thinks eternally. Of this unceasing work of thought, however, we retain no memory, because this reason is unaffected by its objects. ”（Aristotle's Psychology, with Introduction and Notes, by E. Wallace, ” P.161, P.272）
“無時間性，變易不居，勿滯於物，不可記憶。” P.289
27． “None can care for literature in itself who do not take a special pleasure in the sound of names. ”
“凡不知人名地名聲音之諧美者，不足以言文。”——史梯芬生《遊美雜記》（Stevenson: Across the Plains Tuesday） P.295
28． “Silence and speech acting together”
“語言與靜默協力”——卡萊爾論象徵P.309
29． “Leave something to the willing intelligence of the reader. ”
須留與讀者思量。 ——佩特論文 P.309
30． thinking intently of his own name
英詩人丁尼生常言自思其名字，繫念不散。 P.312
31． “and the earth looked black behind them, /as though turned up by plows. But it was gold,/All gold—a wonder of the artist's craft. ”—Iliad, XVIII 630-32
“犁田發土，泥色儼如黑。然此盾固純金鑄也，蓋藝妙入神矣。”P.318
32． “O! One glimpse of the human face, and shake of the human hand, is better than whole reams of this cold, thin correspondence, etc. ”—Works, ed. EV Lucas, VI, 175
“得與其人一瞥面、一握手，勝於此等枯寒筆墨百函千牘也。噫！” P.320
33． habitualization, automatization
落套刻板 P.320
34． defamiliarization
使熟者生 P.320
35． rebarbarization
使文者野 P.320
36． “Grace of style comes from arrangement. ”
“詞意位置得當，文章遂饒姿致。”P.325
37． repose, perfect fitness
一字之穩當 P.328
38． “I have such a sensitive ear that the repetition of a word irritates me three pages away. ”—A. Rhodes, The Poet as Superman, 46
“至謂一字在三頁後重出，便刺渠耳。”—— 鄧南遮P.329
39． “We have had the brow and the eye of the moon before; but what have we reserved for human beings, if their features and organs are to be lavished on objects without feeling and intelligence? ”—Letters: Later Years, ed. E. de Selincourt, I, 436
“語已有月眉、月眼矣。复欲以五官百體盡予此等無知無情之物，吾人獨不為己身地耶。”—— 華茲華斯P.344
40． “The first is physical. The second is intellectual and is much higher. The third signifies a nobler power of the soul which is so high and so noble that it apprehends God in His own naked being. ”—Sermon XIX, in James M. Clark, Meister Eckhart, 220, cf. 62
“學為有上中下三等：下學以身；中學以心知；上學以神，絕倫造極，對越上帝。” ——十四世紀德國神秘宗師愛克哈特（Meister Eckhart）P .366
41． Meister Eckhart, Sermon, XII:“I take a basin full of water, place in it a mirror and put it below the sun's disc. The reflection of the sun is the sun within the sun, and yet the mirror remains what it is. ”
“以一鏡照形，以餘鏡照影，鏡鏡相照，影影相傳；是形也、與影無殊，是影也、與形無異。”P.371
42． “If Galileo had said in verse that the world moved, the Inquisition might have left him alone. —quoted in R. Gittings, The Older Hardy, Penguin, 1980, 120
“苟伽俐略只作詩述其地球轉動說，則宗教法庭或且任縱之而不問。”——哈代P.388
43． To count chicken before they are hatched.
“卵未抱而早計雛數。”P.392
44． Edward Young, Conjectures on Original Composition: “A genius differs from a good understanding, as a magician from an architect; that raises his structure by means invisible, this by the skilful use of common tools.”—ED Jones, ed., English Critical Essays;16th, 17th and 18th Centuries, “The World's Classics”, 279
“天才與聰慧之別，猶神通之幻師迥異乎構建之巧匠；一則不見施為，而樓台忽現，一則善用板築常器，經之營之。”——愛德華·楊P .411
45． EH Gombrich, Art and Illusion, 5th ed., 1977, 174-5,“screen”, “the power of expressing through absence of brush and ink.”
無筆墨處與點染處互相發揮烘托。 P.415
46． “The most beautiful figure is the sphere among solids and the circle among plane figures.”—Diogenes Laertes, VIII. 35, “Loeb”, II, 351
立體中最美者為球，平面中最美者為圈。 ——畢達哥拉斯 P.430
47． “Let it (the mind) once become a sphere, and spherical it abides.”—Marcus Aurelius, Meditations VIII§41, tr. J. Jackson, 152
心不為外物所著，當如圓球。 ——古羅馬哲人馬可·奧勒留 P.430
48． “On a Drop of Dew”
So the Soul, that Drop, that Ray,
Of the clear Fountain of Eternal Day,
…
Does, in its pure and circling thoughts express
The greater Heaven in an Heaven less
—Helen Gardner, ed., The Metaphysical Poets, Penguin, 1972, 241
露珠圓澄，能映白日，正如靈魂之圓轉環行，顯示天運也。 ——英國詩人馬委爾（Andrew Marvell）《露珠》詩P.431
49． “Till rolling time is lost in round eternity.”—Dryden, The Hind and Panther, Pt III, 1.19
圓永恆 P.431
50． Why, at the height of desire and human pleasure—worldly, social, amorous, ambitious, or even avaricious—does there mingle a certain sense of doubt and sorrow?—LA Marchand, Byron, 1957, II, 900
入世務俗，交遊酬應，男女愛悅，圖營勢位，乃至貪婪財貨，人生百為，於興最高、人最歡時，輒微覺樂趣中雜以疑慮與憂傷，其故何耶。 P.438
51． I have thought some of nature's journeymen had made men, and not made them well, they imitated humanity so abominably.— Hamlet, III. Ii
“其人似為大自然之學徒所造，手藝甚拙，像人之形而獰惡可憎。”——哈姆雷特P.464 (?)
52． One may remember the lion of medieval bestiaries who, at every step forward, wiped out his footprints with his tail, in order to elude his pursuers.—L. Spitzer:“Linguistics and Literary History”, in DC Freeman, ed., Linguistics and Literary Style, 1970, 31
有如中世紀相傳，獅子每行一步，輒掉尾掃去沙土中足印，俾追者無可踪跡。 P.466
53． Why does a painting seem better in a mirror than outside it? —Leonardo da Vinci, Notebooks, tr. E. Maecurdy, II, 272
“鏡中所映畫圖，似較鏡外所見為佳，何以故？”P.483
54． Of making many books there is no end; and much study is a weariness of flesh. —Ecclesiastes, xii. 12
“書籍無窮，多讀徒疲精弊體。”——舊約全書P. 502
55． Wit, you know is the unexpected copulation of ideas, the discovery of some occult relation between images in appearance remote from each other.—Rambler, No. 194, Everyman's Lib., 284;cf. R. Wellek, A History of Modern Criticism , I, 3
“使觀念之配偶出人意表，於貌若漠不相關之物象察見其靈犀暗通。”——約翰生P.522
56． Foregrounding, the intentional violation of the norm of the standard, distortion
刻意破常示異。 P.532
57． Normally every datum of sense is at once devoured by a hungry intellect and digested for the sake of its vital juices. Knowledge is not eating. —G. Santayana, The Life of Reason, I, 75, 77
當世論師以唯心論與為實論均常擬致知於飲食，遂嘲為“口腹哲學。” P.535
58． Everything is the same, but you are not here, and I still am. In separation the one who goes away suffers less than the one who stays behind. —Leslie A. Marchand, Byron, II 783
“此間百凡如故，我仍留而君已去耳。行行生別離，去者不如留者神傷之甚也。”P.541
59． Poetry, like schoolboys, by too frequent and severe corrections, may be cowed into Dullness.—The Notebooks of ST Coleridge, ed. K. Coburn, I 35
詩苟多改痛改，猶學童常遭塾師撲責，積威之下，易成鈍兒。 ——柯爾律治 P.557
60． that particular kind of borrowing which thinks to disguise itself by inserting or extracting “notes”—G. Saintsbury, History of Criticism, III, 591
“取古人成說，是其所非，非其所是，顛倒衣裳，改換頭面，乃假借之一法耳。”P.562
61． They are to me original: I have never seen the notions in any other place; yet be that reads them here persuades himself that he has always felt them. —Lives of the Poets, ed., B. Hill, III, 442
“創闢嶄新，未見有人道過，然讀之只覺心中向來宿有此意。”——葛雷（Thomas Gray）憑弔墟墓詩P.573
62． Now I never wrote a “good” line, in my life, but the moment after it was written it seemed a hundred years old. Very commonly I had a sudden conviction that I had seen it somewhere.—OW Holmes, The Autocrat of the Breakfast Table, ii
“吾生平每得一佳句，乍書於紙，忽覺其為百年陳語，確信曾在不憶何處見過。”——霍姆士P.574
63． History is philosophy teaching by or learned from examples.
“歷史乃哲學用以教人之實例。”P.586
64． Use of the description instead of the name of a thing—Rhetoric, VI. i, Loeb, 375
不道事物之名而寫事物之狀 P.567
65． in peace—which is as much above joy as joy is above pleasure, and which can scarcely be called emotion, since it rests, as it were, in final good, the premium mobile, which is without motion—we find ourselves in the region of “great art”—C. Patmore,Principle in Art 1889, 29
藝之至者，終和且平，使人情慾止息，造寧靜之境；此境高於悅愉，猶悅愉高於痛快也。 P.589
66． I never can catch myself.
自我不可把捉。 ——休謨 P.597
67． The passage is remarkably like a central tenet of Buddhism, a cult of which Hume could hardly have heard.—O. Elton, A Survey of English Literature: 1730—1780, 1928, II, 163
酷似佛教主旨，然休謨未必聞有釋氏也。 P.597
68． Shakespeare in composing had no I, but the I representative. —Biographia Literaria, ed. J. Shawcross, I, 213 note
無我而有綜蓋之我。 ——柯爾律治 P.597
69． When I am assailed with heavy tribulations, I rush out among my pigs, rather than remain alone by myself. The human heart is like a millstone in a mill: when you put wheat under it, it turns and grinds and bruises the wheat to flour ; if you put no wheat, it still grinds on, but then' tis itself it grinds and wears away. So the human heart, unless it be occupied with some employment, leaves space for the devil, who wriggles himself in, and brings with him a whole host of evil thoughts, temptations and tribulations, which grind our the heart. — Martin Luther, Table Talk, tr. W. Hazlitt, “Bohn's Library”, 275
“吾遭逢大不如意事，急往飼牧吾豬，不欲閒居獨處。人心猶磨坊石磑，苟中實以麥，則碾而成面；中虛無物，石仍轆轉無已，徒自研損耳。人心倘無專務，魔鬼乘虛潛入，挾惡念邪思及諸煩惱以俱來，此心遂為所耗蝕矣。”——馬丁·路德P.599
70． Peer Gynt, IV. Xiii, Begriffenfeldt:“Long live the Emperor of self; V. v, Peer:“There's a surprising lot of layers (in the wild onion).
Are we never coming to the kernel?
There isn’t one!
To the innermost bit
It's nothing but layers, smaller and smaller…”
—Everyman’s Library 171, 201-2
易卜生一名劇中主角號：“自我之皇帝”而欲覓處世應物之“自我”，則猶剝玉蔥求其核心然，層層揭淨，至境無可得。 P.600
71． For one can only“interpret”a poem by reducing it to an allegory—Which is like eating an apple for its pips.—G. Orwell, Collected Essays, Journalism and Letters, 1968, I, 72
“此舉何異食蘋婆者，不嗜其果脯而咀嚼其果中核乎。”P.610
72． The movement of love is circular, at one and the same impulse projecting creatures into independency and drawing them into harmony.—Collected Papers, ed. C. Hartshorne and P. Weiss, VI, 191
情愛運行，做團圓相，此機一動，獨立與偶合遂同時並作，相反相成。 ——美國哲學家皮爾斯 P.615
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