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英文部分选自经济学人202200730期文化版块
Philip Larkin’s verse is tender. His prejudices are controversial
菲利普·
拉金的诗篇亲切动人,但他的偏见引人争议


Born 100 years ago, the English poet balanced pathos with wit
这位诞生于百年前的英国诗人真正做到了晓之以理、动之以情
The worldof Philip Larkin’s verse is far from glamorous. His natural habitat was English suburbia, a realm of grey dawns, hollow afternoons and low horizons. He spent most of his adult life working as a librarian—the last 30 years at the university in Hull, a city he disparaged as being “on the way to nowhere”. His poems record mundane activities: visiting churches, deciding whether to attend a party, perusing old photos.
菲利普·拉金Philip Larkin)笔下的世界一点都不迷人,他是土生土长的英国郊区人,那里黎明灰暗、午后空虚、天空低沉。拉金成年后,大半生的工作是图书馆馆长,人生的最后三十任赫尔大学(University of Hull)图书馆馆长。不过,他贬损赫尔(Hull这座城市,称毫无出路。他在诗歌里记录了自己单调平淡的生活:做礼拜、犹豫是否参加派对以及端详老照片。
But Larkin is more than just the unofficial laureate of humdrum Englishness. His poems, rather than practising the British habits of evasion and whimsy, speak directly. Many begin with bracing immediacy: “I work all day, and get half-drunk at night”; “I deal with farmers, things like dips and feed”; “The mower stalled, twice; kneeling, I found/A hedgehog jammed up against the blades.”
但拉金又不只是写些无聊英国精神的“非官方桂冠诗人”,他的诗歌一反英国人一贯的逃避倾向和异想天开,反而十分直白坦率。他写的很多诗歌开门见山,令人眼前一亮。例如,我整日工作,夜晚喝个半醉”“我和农民打交道,还有像农药和饲料之类的东西”“割草机抛锚了,两次;跪着,我发现/是一只刺猬卷进刀叶卡住了它
Larkin writes frankly and sometimes devastatingly about sadness and mortality. He describes “the instantaneous grief of being alone”, death as an “anaesthetic from which none come round” and the way misery, passed from parents to their children, “deepens like a coastal shelf”.
拉金文风直白,有时对于悲痛和有限生命的描写令人印象深刻。他描写独身一人,瞬间就感到了悲伤,把死亡比作没人能再醒来的麻醉,父母与孩子间代代相传的苦难如何“像不断下陷的大陆架一样越来越深”。
Yet often his manner is less jaundiced than tender. He notes the “miniature gaiety of seasides”, pictures the sun’s “petalled head of flames” and addresses a newborn child as “Tightly-folded bud”. Expressing himself sparely, he zeroes in on physical details that are tellingly ugly or bluntly unpoetic. One of his best poems, “The Whitsun Weddings”, itemises what he sees while travelling by train on a hot Saturday afternoon (“acres of dismantled cars”, “canals with floatings of industrial froth”), and in so doing builds to an unexpected, transcendent climax.
然而他的写作风格通常来说少了几分挤兑、多了几分温情。他提到海滨些许的欢乐,把太阳描绘成像花瓣般盛开的烈焰,将新生儿比作紧紧包裹的花蕾。拉金甚少坦露胸襟,他着重于细致入微地描写要么奇丑,要么毫无诗意的实际事物。《降灵节婚礼》是拉金最好的诗歌之一,罗列了诗人在一个酷热的星期六下午搭乘火车时的所见所闻整片的废汽车浮着工业废品的运河),逐渐引向出人意料、超乎寻常的全诗高潮。
The centenary of Larkin’s birth on August 9th should be an opportunity for appreciation. But controversy dogs his name. When his letters were published in 1992, less than a decade after his death, they exposed a seam of racism and misogyny, as well as a puerility at odds with the grave craftsmanship of his finest verse. His reputation weathered the outrage, but now, at a time of heightened sensitivity about prejudice and artists’ personal failings, it is under threat again, as is his place in the British curriculum.
今年的89是拉金的百年华诞,本应是欣赏诗人及其作品的良好契机,但有关他的争议却纷至沓来。1992年,也就是在他逝世后不到十年,有人就公开了他的信函。这些信函让人一窥他的种族歧视和厌女情结,以及一种与他最美诗行中体现出的高深造诣相违和的幼稚。他的名声虽然在愤怒声讨中得以保全,但如今又碰上对于偏见和艺术家个人瑕疵高度敏感的时期,他的名誉以及在英国相关课程体系中的地位再次面临威胁。
On one side are academics eager to modernise and diversify the canon. On the other are traditionalists who think removing Larkin from poetry anthologies is cultural vandalism. His defenders rightly cite his technical virtuosity, though they can exaggerate the breadth of his vision. David Blunkett, a British politician, has spoken up for the “glory” of Larkin’s language while fancifully claiming that he captured “geographic diversity”.
一方面,一些学者迫切地希望通过收录拉金的作品,将英语诗歌选集现代化和多元化。另一方面,传统主义者认为,将拉金的作品从诗歌选集中除名是在糟蹋文化。拉金的拥护者称赞他诗歌创作技艺高超,这本无可厚非,但他们也会夸大他作品视域的宽度。比如英国政客戴维·布兰克特David Blunkett)在大肆赞美拉金语言运用能力的同时,也大言不惭地表示他的作品彰显了地理多样性
There is no escaping Larkin’s faults. Rarely a charitable soul outside his verse, he could be crudely vitriolic—whether about a fellow poet, Ted Hughes, a “boring old monolith”, or about the Bible, which was “absolute balls”. But few writers have so skilfully melded wit and pathos, the lyrical and the conversational. Few have been so free of illusions. And few can so often make their readers smile and, at the same time, shudder.
没有人会无视拉金的种种缺点。除了在诗歌里,他几乎没有展现出宽容大度的一面,他非常尖酸刻薄。他会讥讽其他诗人,比如他形容泰德·休斯Ted Hughes)是“无聊的老古董”,又或者说《圣经》“纯粹是胡说八道”。但几乎没有其他诗人能够如此巧妙地将风趣和感染力,将抒情和口头语言融合起来。也没有其他诗人能如此直面现实,不抱幻想。而且,也没有诗人能像他这样,让读者常笑的同时,也让他们不寒而栗。
翻译组:
Jack Jan,实践出真知
Selten,理想主义是底色,一直在路上
LavenderMTI在读,不会做模特的追星女孩不是好的话剧爱好者
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Lucian,医学翻译,灵魂在杰作中冒险
Very,男,电气民工,经济学人资浅爱好者
HaroldMTI毕业生,真卡牌玩家伪经济学人和小说爱好者
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