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Excerpt：《不安之書》(The Book of Disquiet) 01
2019/09/08 05:47
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Excerpt：《不安之書》(The Book of Disquiet) 01
https://www.books.com.tw/products/0010747406
不安之書：《惶然錄》全譯本，葡萄牙國寶級作家佩索亞經典代表作
The Book of Disquiet
作者：費爾南多‧佩索亞
原文作者：Fernando Pessoa
譯者：劉勇軍
出版社：野人
出版日期：2017/03/29
語言：繁體中文
作者簡介
費爾南多．佩索亞（Fernando Pessoa）
二十世紀葡萄牙代表詩人、散文作家，同時也撰寫文學評論及翻譯，一八八八年生於里斯本，但六歲便隨母親和繼父搬到南非，十七歲時才又隻身回到里斯本求學，自此直到他一九三五年辭世，佩索亞幾乎沒有再離開過這個城市，作品也多次以里斯本為題。反觀南非的童年在他身上僅存的痕跡似乎只有他優異的英語能力，他的作品中從未出現關於南非的描述。
佩索亞沒有完成大學學業，中學後的文學底子全靠自己在圖書館內自修，英美文學對他影響很深，他翻譯過多位詩人的作品，包括愛倫坡和惠特曼，也評論過丁尼生和布朗寧等詩人的作品。而翻譯米爾頓和莎士比亞，則是他沒能完成的願望。
佩索亞平日靠為貿易公司翻譯英文書信維生，白天過著上班族的日子，晚上就回家寫作，有段時間他還會收費幫人看星座命盤。持續寫作不輟的佩索亞生前雖然發表了逾四百篇詩文與評論，卻只有一本葡文書和兩、三冊薄薄的英文詩集得以正式出版。直到他過世之後，家人才在他房裡找到超過兩萬五千頁未出版或未完成的稿件，因此開啟了世人對佩索亞世界的挖掘與探索。其中散文部分編成了《不安之書》與《自決之書》，闡述佩索亞的人生觀及文學批評理念。
https://www.books.com.tw/products/F010559356
The Book of Disquiet
作者： Pessoa, Fernando/ Zenith, Richard (EDT)
原文出版社：Penguin Classics
出版日期：2003/01/01
語言：英文
With its astounding hardcover reviews Richard Zeniths new complete translation of "The Book of Disquiet" has now taken on a similar iconic status to "Ulysses, The Trial" or "In Search of Lost Time" as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerizing, haunting novel without parallel in any other culture.
作者簡介
Fernando Pessoa (1888-1935) was born in Lisbon and raised in South Africa. After returning to Lisbon to study, he made a living as a translator and wrote obsessively in English, French, and Portuguese. While acknowledged as an intellectual and a poet, his literary genius went largely unrecognized until after his death.
【Excerpt】
〈002 / 作夢或行動〉
我不得不去選擇，哪怕兩者這都是我憎惡的——選擇我的智慧憎惡的作夢，或是我的感覺厭煩的行動；無論是我並非生而為之的行動，或者是沒有人生而為之的作夢，亦不例外。
我憎惡兩者，因此我都不選擇。不過，既然我不得不偶爾作夢或行動，我便將兩者混在一起。
2
I have to choose what I detest — either dreaming, which my intelligence hates, or action, which my sensibility loathes; either action, for which I wasnt born, or dreaming, for which no one was born.
Detesting both, I choose neither; but since I must on occasion either dream or act, I mix the two things together.
〈023 / 荒謬〉
讓我們像人面獅身獸一樣，直到我們忘記自己是誰，儘管這樣做並不真實。事實上，因為我們是虛假的人面獅身獸，我們不知道在現實中的我們是什麼。認同生活的唯一方法就是否定自己，荒謬即神聖。
讓我們研究理論，帶著孜孜不倦、求真務實的態度理清思緒，以便能夠馬上用行動將它們否定——我們否定，然後用新的對立理論為我們的否定行為辯護。讓我們為生活開闢新路，然後立刻沿著這條新路往回走。讓我們選擇這樣的姿態手勢，它們既不將屬於我們，也非我們所願，甚至不希望人們認它們是屬於我們的。
讓我們買書，如此才能不去讀它們；讓我們參加音樂會，卻對音樂充耳不聞，或不關注那裡有誰；讓我們花時間散步，因為我們討厭散步；讓我們整日待在鄉下，僅僅因那裡的生活令人感到沉悶。
23
ABSURDITY
Lets act like sphinxes, however falsely, until we reach the point of no longer knowing who we are. For we are, in fact, false sphinxes, with no idea of what we are in reality. The only way to be in agreement with life is to disagree with ourselves. Absurdity is divine.
Lets develop theories, patiently and honestly thinking them out, in order to promptly act against them — acting and justifying our actions with new theories that condemn them. Lets cut a path in life and then go immediately against that path. Lets adopt all the poses and gestures of something we arent and dont wish to be, and dont even wish to be taken for being.
Lets buy books so as not to read them; lets go to concerts without caring to hear the music or to see whos there; lets take long walks because were sick of walking; and lets spend whole days in the country, just because it bores us.
〈061 / 夢的廢墟〉
羞怯是一種高貴，不付諸行動是一種卓越，生活的無能是一種崇高。
單調是一種退縮，而藝術，是一種輕蔑，它們裹著自我滿足的外衣......
我們日漸腐化的生命裡釋放出來的磷火，至少是一盞黑暗中的明燈。
唯有憂愁催人奮進，並且，唯有源自憂愁的單調，像古代英雄後人傳承下來的紋章。
我擁有各種姿態，儘管它們在我心裡不留一絲痕跡；我有滿腔話語，卻從未說出口；我有好多夢，最終卻忘記實現。
我是一堆建築物的廢墟，我永遠只是一片廢墟，而它們的建造者在施工半途時，突然厭倦了思考自己的所建之物。
讓我們不忘去憎恨那些享受的人，因為他們會享受；不忘去鄙視那些快樂的人，因爲我們不知道如何像他們一樣快樂。這種錯誤的鄙視和虛弱無力的憎恨，僅僅是我們的底座——立於粗糙而骯髒的土壤裡——其上則是唯我獨尊、傲慢自大的乏味雕像，有著鬱鬱寡歡的外形，它神祕莫測的微笑使它的臉籠罩著一層朦朦朧朧的神祕光環。
不把自己的生命交付給任何人的人才是幸福的。
61
Its noble to be timid, illustrious to fail to act, sublime to be inept at living.
Only Tedium, which is a withdrawal, and Art, which is a disdain, gild with a semblance of contentment our……
The will-o-the-wisps generated by our rotting lives are at least a light in our darkness.
Only unhappiness is elevating, and only the tedium that comes from unhappiness is heraldic like the descendants of ancient heroes.
Im a well of gestures that havent even all been traced in my mind, of words I havent even thought to form on my lips, of dreams I forgot to dream to the end.
Im the ruins of buildings that were never more than ruins, whose builder, halfway through, got tired of thinking about what he was building.
Lets not forget to hate those who enjoy, just because they enjoy, and to despise those who are happy, because we didnt know how to be happy like them. This false disdain and feeble hatred are merely the plinth — rough-hewn and dirtied by the soil where it stands — for the unique and haughty statue of our Tedium, a dark figure whose inscrutable smile gives its face a vague aura of mystery.
Blessed are those who entrust their lives to no one.
中譯：劉勇軍／野人出版社，
英譯：Richard Zenith／Penguin Classics
https://www.books.com.tw/products/0010747406
不安之書：《惶然錄》全譯本，葡萄牙國寶級作家佩索亞經典代表作
The Book of Disquiet
作者：費爾南多‧佩索亞
原文作者：Fernando Pessoa
譯者：劉勇軍
出版社：野人
出版日期：2017/03/29
語言：繁體中文
作者簡介
費爾南多．佩索亞（Fernando Pessoa）
二十世紀葡萄牙代表詩人、散文作家，同時也撰寫文學評論及翻譯，一八八八年生於里斯本，但六歲便隨母親和繼父搬到南非，十七歲時才又隻身回到里斯本求學，自此直到他一九三五年辭世，佩索亞幾乎沒有再離開過這個城市，作品也多次以里斯本為題。反觀南非的童年在他身上僅存的痕跡似乎只有他優異的英語能力，他的作品中從未出現關於南非的描述。
佩索亞沒有完成大學學業，中學後的文學底子全靠自己在圖書館內自修，英美文學對他影響很深，他翻譯過多位詩人的作品，包括愛倫坡和惠特曼，也評論過丁尼生和布朗寧等詩人的作品。而翻譯米爾頓和莎士比亞，則是他沒能完成的願望。
佩索亞平日靠為貿易公司翻譯英文書信維生，白天過著上班族的日子，晚上就回家寫作，有段時間他還會收費幫人看星座命盤。持續寫作不輟的佩索亞生前雖然發表了逾四百篇詩文與評論，卻只有一本葡文書和兩、三冊薄薄的英文詩集得以正式出版。直到他過世之後，家人才在他房裡找到超過兩萬五千頁未出版或未完成的稿件，因此開啟了世人對佩索亞世界的挖掘與探索。其中散文部分編成了《不安之書》與《自決之書》，闡述佩索亞的人生觀及文學批評理念。
https://www.books.com.tw/products/F010559356
The Book of Disquiet
作者： Pessoa, Fernando/ Zenith, Richard (EDT)
原文出版社：Penguin Classics
出版日期：2003/01/01
語言：英文
With its astounding hardcover reviews Richard Zeniths new complete translation of "The Book of Disquiet" has now taken on a similar iconic status to "Ulysses, The Trial" or "In Search of Lost Time" as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerizing, haunting novel without parallel in any other culture.
作者簡介
Fernando Pessoa (1888-1935) was born in Lisbon and raised in South Africa. After returning to Lisbon to study, he made a living as a translator and wrote obsessively in English, French, and Portuguese. While acknowledged as an intellectual and a poet, his literary genius went largely unrecognized until after his death.
【Excerpt】
〈002 / 作夢或行動〉
我不得不去選擇，哪怕兩者這都是我憎惡的——選擇我的智慧憎惡的作夢，或是我的感覺厭煩的行動；無論是我並非生而為之的行動，或者是沒有人生而為之的作夢，亦不例外。
我憎惡兩者，因此我都不選擇。不過，既然我不得不偶爾作夢或行動，我便將兩者混在一起。
2
I have to choose what I detest — either dreaming, which my intelligence hates, or action, which my sensibility loathes; either action, for which I wasnt born, or dreaming, for which no one was born.
Detesting both, I choose neither; but since I must on occasion either dream or act, I mix the two things together.
〈023 / 荒謬〉
讓我們像人面獅身獸一樣，直到我們忘記自己是誰，儘管這樣做並不真實。事實上，因為我們是虛假的人面獅身獸，我們不知道在現實中的我們是什麼。認同生活的唯一方法就是否定自己，荒謬即神聖。
讓我們研究理論，帶著孜孜不倦、求真務實的態度理清思緒，以便能夠馬上用行動將它們否定——我們否定，然後用新的對立理論為我們的否定行為辯護。讓我們為生活開闢新路，然後立刻沿著這條新路往回走。讓我們選擇這樣的姿態手勢，它們既不將屬於我們，也非我們所願，甚至不希望人們認它們是屬於我們的。
讓我們買書，如此才能不去讀它們；讓我們參加音樂會，卻對音樂充耳不聞，或不關注那裡有誰；讓我們花時間散步，因為我們討厭散步；讓我們整日待在鄉下，僅僅因那裡的生活令人感到沉悶。
23
ABSURDITY
Lets act like sphinxes, however falsely, until we reach the point of no longer knowing who we are. For we are, in fact, false sphinxes, with no idea of what we are in reality. The only way to be in agreement with life is to disagree with ourselves. Absurdity is divine.
Lets develop theories, patiently and honestly thinking them out, in order to promptly act against them — acting and justifying our actions with new theories that condemn them. Lets cut a path in life and then go immediately against that path. Lets adopt all the poses and gestures of something we arent and dont wish to be, and dont even wish to be taken for being.
Lets buy books so as not to read them; lets go to concerts without caring to hear the music or to see whos there; lets take long walks because were sick of walking; and lets spend whole days in the country, just because it bores us.
〈061 / 夢的廢墟〉
羞怯是一種高貴，不付諸行動是一種卓越，生活的無能是一種崇高。
單調是一種退縮，而藝術，是一種輕蔑，它們裹著自我滿足的外衣......
我們日漸腐化的生命裡釋放出來的磷火，至少是一盞黑暗中的明燈。
唯有憂愁催人奮進，並且，唯有源自憂愁的單調，像古代英雄後人傳承下來的紋章。
我擁有各種姿態，儘管它們在我心裡不留一絲痕跡；我有滿腔話語，卻從未說出口；我有好多夢，最終卻忘記實現。
我是一堆建築物的廢墟，我永遠只是一片廢墟，而它們的建造者在施工半途時，突然厭倦了思考自己的所建之物。
讓我們不忘去憎恨那些享受的人，因為他們會享受；不忘去鄙視那些快樂的人，因爲我們不知道如何像他們一樣快樂。這種錯誤的鄙視和虛弱無力的憎恨，僅僅是我們的底座——立於粗糙而骯髒的土壤裡——其上則是唯我獨尊、傲慢自大的乏味雕像，有著鬱鬱寡歡的外形，它神祕莫測的微笑使它的臉籠罩著一層朦朦朧朧的神祕光環。
不把自己的生命交付給任何人的人才是幸福的。
61
Its noble to be timid, illustrious to fail to act, sublime to be inept at living.
Only Tedium, which is a withdrawal, and Art, which is a disdain, gild with a semblance of contentment our……
The will-o-the-wisps generated by our rotting lives are at least a light in our darkness.
Only unhappiness is elevating, and only the tedium that comes from unhappiness is heraldic like the descendants of ancient heroes.
Im a well of gestures that havent even all been traced in my mind, of words I havent even thought to form on my lips, of dreams I forgot to dream to the end.
Im the ruins of buildings that were never more than ruins, whose builder, halfway through, got tired of thinking about what he was building.
Lets not forget to hate those who enjoy, just because they enjoy, and to despise those who are happy, because we didnt know how to be happy like them. This false disdain and feeble hatred are merely the plinth — rough-hewn and dirtied by the soil where it stands — for the unique and haughty statue of our Tedium, a dark figure whose inscrutable smile gives its face a vague aura of mystery.
Blessed are those who entrust their lives to no one.
中譯：劉勇軍／野人出版社，
英譯：Richard Zenith／Penguin Classics
自訂分類：Selected & Extracts
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迴響（1） ：
1樓. Sir Norton 魯賓遜，救命！2019/09/08 20:23好東西又上桌同饗了。
西方人對 Absurdity 的認知判定、多普及和早透，東方人常須百十年之後才拍腦門得到對「事件、人情」的知解，也因理論在東方不興。
「我是建築物的一堆廢墟。」此名句也，理論接著理論接著理論接著理論，疊床架屋的理論，看似輝煌，結構脆弱不堪，但荒謬從不退讓，廢墟處處就成了人世的寫真。
佩索亞的每一篇都值得玩味再三，真不知道這樣的人如何可以在沈悶枯燥的上班生活，思考這些問題⋯⋯真的令人佩服。 le14nov 於 2019/09/08 21:59回覆
