20140807 【英译中】创作心理揭秘(830)

汪德均 (老顽童) 译坛新宠
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发表于:2014-08-07 21:10 [只看楼主] [划词开启]

       What every writer wants

                      by   JOHN LE CARRE

          创作心理揭秘

I have known very few writers, but those I have known, and whom I respect, confess at once that they have little idea where they  are going when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the journey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in the Scottish Highlands. I never heard of anyone making a 'skeleton', as we were taught at school. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began. This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears; he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the yeast within a writer outlives a book he has written. I have heard of writers who read nothing but their own books; like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, super-imposing new ones, begging response from those around them. Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also, incidentally, an unforgivable bore.

   我认识的作家并不多,但那几个我所知和所佩服的作家都坦诚地说过,开始动笔时,要怎么写下去心里并没有谱。此前确有一个或两个人物在他们心里跃跃欲试,他们以为这就是灵感;但是,他们都承认,创作之旅一旦开始,原来的目的地就会发生急剧的变化。据我所知,有一位作家花了九个月时间写了一部关于克什米尔的小说,然后却把整个故事背景重新设置于苏格兰高地。我从没有听说过有哪位作家会像我们在学校里所学的那样,事先“拟定提纲”。在这种分解、重组、时间安排、情节编织与重新开始的过程中,他开始察觉到素材中的隐藏着某种东西,而这些东西在他动笔时并未意识到。这种有机的心理过程,常常导致一些超越常规的自我发现,会让他感到不可言喻的心驰神往。一个模糊的意象出现了,他这里加上一笔,那里加上一笔;这个意象忽而又消失了,可刚才还在这儿;他苦苦搜寻,直到抓住了这个意象,内心才会消停。有时候,作者内心引起创作冲动的触媒在完成该书以后还会延续。我曾听说,有些作家除了自己的作品什么也不读,犹如某些青少年站在镜子面前自我陶醉,却依然不能准确地把握自己的形象。出于相同的原因,有些作家喋喋不休地谈论自己的作品,极力挖掘其隐含意义,强加上新的意义,总想获得周围人的反应。毫无疑义,他这样做定遭误解——还不如讲述一桩罪案或风流韵事。偶尔,也有人会认为他很讨人嫌,而且不可饶恕。

This temptation to cover the distance between himself and the reader, to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.

A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.

企图填平作者与读者之间的鸿沟、并依靠那些不了解作者的人的看法来研究其作品形象的做法,可能会使作家走向平庸——因为他开始为取悦读者而写作。

一位年轻的英国作家曾在一、两年前一语破的。他说,作者之天才常见于其初稿,艺术技巧则见于其随后之稿。因此,作家也像别的艺术家一样,没有安宁之地,也没有可参加的群体或活动能让他舒适地生活。外界的任何判断都不能代替他内心的判断。一旦从内心的混沌中找到突破口,他就遵循着比任何批评家所梦想的艺术标准都还要严酷的标准写下去。如果他玩弄名誉,就会丧失自我,丧失对自己灵魂深处隐秘世界的探索。

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最后编辑于:2014-08-08 21:52
分类: 英语
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