翻譯原作的憊指模式之中

      見自彼月之下，至于目前一道光芒，澆漾閃爍，(諦而察之)，皆細(xì)浪淪漪，(受月光映發(fā)而為此也)。(排徊數(shù)武)，是光(景)者乃若隨人。頗有明理士夫，謂是光(景)為實(shí)有物.故能相隨，且亦有時(shí)以此(自)訝。(不悟是光景者)，從人而有，使無(wú)見者，則亦無(wú)光，更無(wú)光(景).與人相逐。蓋全湖水面，受月映發(fā)，一切平等，(特人目與水對(duì)待不同，明暗遂別。不得以所未見.即指為無(wú))。是故雖所見者為一道光芒，他所不爾。又人目易位，前之暗者，乃今更明。然此種種，無(wú)非(妄見)。

    以官其實(shí).則由人目與月作二線入水翻譯原作憊指模式，(成等角者，皆當(dāng)見光。其不等者).則全成暗。(惟人之察群事也亦然，往往以見所及者為有，以所不及者為無(wú)。執(zhí)見否以定有無(wú)，則其思之所不膠者眾矣)。

    在翻譯的高級(jí)階段，翻譯原作憊指模式為做好翻譯改寫，建議譯者細(xì)心體會(huì)德國(guó)文論家本杰明(W. Benjamin, 1892-1940)所寫的一段有關(guān)改寫的議論:

    Of necessity, therefore, the demand for literalness,whose justification is obvious, whose legitimate ground isquite obscure, must be understood in a more meaningfulcontext. Fragments of a vessel which are to be gluedtogether must match one another in the smallest details,although they need not be like one another. In the sameway a translation, instead of resembling the meaning of theoriginal, must lovingly and in detail incorporate theoriginal's mode of signification, thus making both theoriginal and the translation recognizable as fragments of agreater language, just as fragments are part of a vessel. Forthis very reason translation must in large measure refrainfrom wanting to communicate something, from renderingthe sense, and in this the original is important to it onlyinsofar as it has already relieved the translator and histranslation of the effort of assembling and expressing whatis to be conveyed

      因此，有必要在一種更有憊義的倩況中來(lái)體認(rèn)直譯的訴求，因?yàn)殡m然直譯的必要性無(wú)可非議，但個(gè)中的合法根據(jù).人們對(duì)之卻并不了然。一只瓶堆被打碎以后可以新粘合。碎片雖然小至:星.形狀各異，但卻必須彼此吻合。

      翻譯也一樣翻譯原作憊指模式。譯文雖然不必仿造原作意義但譯者仍應(yīng)呵護(hù)備至地將軍星細(xì)碎整合在原作的憊指模式之中，從而便原作與譯作都可以視為某種更為偉大的語(yǔ)言碎片，恰如瓶峨的碎片一樣。

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