fc2ブログ

Uncharted Territory

自分が読んで興味深く感じた英文記事を中心に取り上げる予定です

RSS     Archives
 

『明暗』の新たな英訳が出版

 

Light and Dark: A Novel (Weatherhead Books on Asia)Light and Dark: A Novel (Weatherhead Books on Asia)
(2013/12/03)
Soseki Natsume

商品詳細を見る


漱石の遺作『明暗』の新たな英訳が出版されたそうです。ジャパンタイムズが取り上げてくれています。この本を紹介してくれているニュースはジャパンタイムズだけですので、こういう時に日本のトピックを報じてくれるメディアの存在意義を感じますね。まあ、コロンビア大学出版からの発売ですので、一般読者向けではなくアカデミック向けのものでしょうが。。。

BOOKS / REVIEWS
Light and Dark
BY JORDAN SIEVERS
STAFF WRITER
NOV 16, 2013

“Light and Dark” is one of the late Natsume Soseki’s longest and most famous masterpieces. Although the allure is partly due to its lack of a concrete ending because of Soseki’s untimely death, the novel (sans ending) is still considered to be one of the best pieces of Japanese contemporary literature, and a prime example of Japanese society on the cusp of World War I.

(中略)

This new translation by University of California professor John Nathan updates the prose in both tone, style and, of course, meaning. With previous translations poorly received in the past, Nathan prefaces the novel by stating his intention was to provide the English speaker with an identical experience as a native Japanese.

アマゾンではすでに発売されており、訳者John Nathan氏の丁寧な紹介と翻訳についての断りをサンプルでも読むことができます。英語学習者にとってはA Note on the Translationの方が興味深かったのでこちらを少しご紹介します。the text of Light and
Dark, read closely, is even for me a universe of complex
language not easily fathomed.と答えた漱石研究者の言葉から、いろいろに解釈できる文書を翻訳する場合にどのような方法が取りうるのかを考えていきます。

A Note on the Translation

IN HIS first response to a list of questions that I had
sent him, a Soseki scholar in Tokyo wrote: "Rereading the
passages you have marked, I find they contain difficult
problems that cannot be answered simply. Your questions
have led me to the realization that the text of Light and
Dark, read closely, is even for me a universe of complex
language not easily fathomed." I was surprised by this but
also reassured to think that the difficulty I was having as a
reader was not altogether due to inadequate command.
Over time I consulted others, observed them shaking their
heads, and began to feel comfortable with the conclusion
that Soseki's language in Light and Dark is after all a
challenge to understand even for literate native readers. To
be sure, there are moments when the interior landscape
emerges in lucid focus as though bathed in early morning
light; at other times, the reader must hold on for dear life
as Soseki descends through the murkiness toward the
depths he is seeking.


This is particularly the case in the narrative passages that
the Japanese call "psychological description." Soseki
assigns to words idiosyncratic, deeply personal
connotations, and his syntax can be not so much tortuous
as indeterminate: sentences aggregate into passages that
point toward meaning without ever quite arriving. In this
final novel, Soseki appears to be experimenting, taxing his
language with a mode of description unfamiliar to him,
intentionally deranging his masterly prose, and the result
must be deemed uneven, now brilliantly exact and now
opaque.

読みやすいように解釈して翻訳するのか、それとも難しいものは難しいままに翻訳するのか、John Nathanさんはto provide the
reader in English with an experience equivalent to what
the native reader experiences in Japaneseことが重要だと感じているようなので、後者を重要視しているようです。

To return to the narrative that prefaces and reflects on
the dialogue, Light and Dark confronts the translator with
a twofold challenge. I have suggested the difficulty I
experienced comprehending passages in the text. But
arriving with some certainty at what Soseki intended to say
was only the beginning. Should I translate the language I
had managed to decipher paraphrastically, taming it for
the benefit of the English reader? Or must I labor to render
it in English as resistant to easy comprehension as the
Japanese original? The latter course was dictated by my
fundamental view of the translator's task: to provide the
reader in English with an experience equivalent to what
the native reader experiences in Japanese. But that far
more difficult approach, even assuming I possessed the
craft to achieve it, would require the courage to fly in the
face of the reader's expectation that translations should
proceed "smoothly."

上記の実践例として以下の明暗からの例を挙げて、逐語訳とVigilielmoが訳した解釈の入った訳、John Nathanの訳した日本語で読んだ時と同じような経験を与えようとする訳の3つを検討しています。

しかし彼の批判はそれきり先へ進めなかった。他に対して面目を失う事、万一そんな不始末をしでかしたら大変だ。これが彼の倫理観の根柢に横わっているだけであった。それを切りつめると、ついに外聞が悪いという意味に帰着するよりほかに仕方がなかった。だから悪い奴はただ小林になった。

The centripetal power of this expectation should not be
underestimated - it is at least partly responsible for the
blandness of many literary translations - and I will not
pretend that I never succumbed. Perhaps a single example
will suffice. In the following lines, Tsuda reflects on a
violent altercation with Kobayashi that he has imagined.
The passage had baffled me, and when I showed it to an
ardent Soseki reader who is a novelist in her own right, she
exclaimed, "This is horrendous! Shame on him!" First a
literal rendering in English:

But his critique could not proceed beyond that
point. Dishonoring himself vis-a-vis another
person, if ever he should perpetrate such a thing
how terrible that would be! This alone lay at the
base of his ethical view. On closer inspection one
had no choice but to reduce this to scandal.
Accordingly, the bad guy was Kobayashi alone.

The following somewhat overarticulated version is from V. H. Vigilielmo’s 1971 translation:

And yet his assessment of such a hypothetical scene could not go beyond that point. If ever he should lose face in front of others, it would be dreadful. This was all there was at the root of all his ethical views. If one tried to express this more simply, one could reduce it to the simple fact that he feared scandal. Therefore the only person in the wrong would be Kobayashi.

As for me, in the light of conjecture offered by the native readers I consulted, I settled on the following.

But he was unable to develop his critique beyond
this. To disgrace himself in the eyes of others was
more than he could contemplate. Saving face was
the fundament of his ethics. His only thought
was that appearances must be preserved, scandal
above all avoided. By that token, the villain of the
piece was Kobayashi.

I am confident that this is what Soseki intended, but
inasmuch as it offers no resistance to interpretation it
represents a compromise. Not that I always acquiesced to
the pressure to domesticate the translation. On the
contrary, I labored to preserve in my English the varieties
of difficulty I perceived in Soseki's Japanese.

こういう問題は難しいですが、翻訳は原作と比べて寿命が短いとも言われますし、40年ぶりの翻訳で英語圏で新たな読者を獲得できるといいですね。

John Nathanさんの講義案内みたいのをネットで見つける事ができました。ヘンリージェームズの『ある貴婦人の肖像』と読み比べていく授業のようです。

Comparative Literature 200: Seminar in Comparative Literature
Professor John Nathan
The course will be organized around a reading/comparison of James’s The Portrait of a Lady and Sōseki’s unfinished masterpiece, Light and Dark (in a new translation by John Nathan). Graduate students will be assigned additional reading, including, for example, Henry James’s New York Edition: The Construction of Authorship; and will be asked to author a seminar paper (4000-5000 words) focused on narrative method in Sōseki and James. Graduate students in Japanese studies will be expected to reference secondary sources in Japanese.

また、今回の発売を機に、イエール大学やハーバード大学、コロンビア大学などで講演をするそうです。どこかの大学がネットで公開してくれるといいのですが。。。。

"Jamesian Precisions in Natsume Sōseki: Contending with 'Light and Dark'"

When: Tuesday, December 10, 2013 4:30 PM - 6:00 PM
Where:
Luce Hall (LUCE), Room 202
34 Hillhouse Ave., New Haven, CT 06511
Tags: arts, lecture, other, talk

Speaker/Performer: John Nathan, University of California, Santa Barbara
Description: CEAS Japan Colloquium. Nathan will propose that, with his final work, Light and Dark (1916), Sōseki invented the modern Japanese novel. He will focus on the unprecedented depth and exactitude of character revelation Sōseki achieved in that work, on its affinity with narrative strategies evolved by his European contemporaries, George Meredith and Henry James in particular, and on the originality of the language he developed to achieve a unique fusion of Jamesian precisions on the one hand and Japanese impressionism on the other. A critical question he will address as a translator is whether fiction so meticulously grounded in the soil of Japanese behavior can convey the accuracy of its observation and the arresting modernity — of its narrative approach through the veil of translation.

Open To: General Public
Admission: Free
Contact Information:
スポンサーサイト



Comment


    
プロフィール

Yuta

Author:Yuta
FC2ブログへようこそ!




最新トラックバック



FC2カウンター

検索フォーム



ブロとも申請フォーム

QRコード
QR