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| Excerpt：《諾瓦利斯作品選集》之〈花粉〉 真正的讀者必須是被拓展的作者。他是更高的主審，從下級主審那裡接下經過預審的案件。作者借助於情感，已經對作品的材料加以篩選，現在讀者閱讀時，情感再次對該書去粗存精，如果他按自己的想法加工作品，第二個讀者則會使之更加精練，加工過的材料一再盛入鮮活的容器，於是材料最終變成活動著的精神的重要組成部分，變成精神的一個環節。 ——諾瓦利斯，〈斷片‧補遺〉 https://en.wikipedia.org/wiki/Novalis Fragments Together with Friedrich Schlegel, Novalis developed the fragment as a literary artform in German. For Schlegel, the fragment served as a literary vehicle that mediated apparent oppositions. Its model was the fragment from classical sculpture, whose part evoked the whole, or whose finitude evoked infinite possibility, via the imagination. The use of the fragment allowed Novalis to easily address any issue of intellectual life he wanted to address, and it served as a means of expressing Schlegels ideal of a universal "progressive universal poesy”, that fused "poetry and prose into an art that expressed the totality of both art and nature". This genre particularly suited Novalis as it allowed him to express himself in a way that kept both philosophy and poetry in a continuous relationship. His first major use of the fragment as a literary form, Pollen, was published in the Athenaeum in 1798. 書名：諾瓦利斯作品選集 作者：諾瓦利斯 譯者：林克 出版社：重慶大學出版社 出版日：2012/7 【Excerpt】 〈花粉〉 朋友，這是一片貧瘠的土地，我們必須廣撒種子，卻只有平常的收穫。 Friends, the soil is poor, we must scatter an abundance of seed that we may thrive on a moderate harvest. 001 我們到處尋找絕對物 (das Unbedingte)，卻始終只找到常物 (Dinge)。 1. We look for the unconditioned everywhere and only ever find things. 002 用聲音和筆畫命名是一種令人驚嘆的抽象。四個字母為我標明上帝 (Gott)；幾筆就能表示百萬事物。以此駕馭宇宙何等容易，靈的世界的同心性又何等直觀！語法乃是靈的王國的動力學。一個祈使語可以調動千軍萬馬；「自由」一詞可以驅策各個民族。 2. Expression by tones and strokes is a marvelous abstraction. Three letters express God to me; a few strokes a million things. How easy the operation of the universe becomes here, how intelligible the concentricity of the spirit world! Grammar is the dynamic of the spirit realm. A word of command moves armies; the word freedom, nations. 006 我們永遠不會完全相互理解，但是我們將會並能夠遠遠超過相互理解。 6. We will never fully comprehend ourselves, but we will and can do much more than comprehend ourselves. 009 我們的整個感知能力類似於眼睛。客體必須通過完全不同的媒質，才能完好地出現在眼球上。 9. The entirety of our perception is like the eye. The objects must pass through opposing media to appear correctly on the pupil. 066 我們生命的一切偶然便是這樣的材料，我們可以將其做成許多想要的東西。誰富有靈性，就能用自己的生命做出許多來。對徹底的靈性者而言，每次相識、每次偶然事件也許是一個無限的序列的第一項，一部無限的小說的開幕。 66. All the coincidences of our life are materials from which we can make what we want. Whoever has much spirit makes much of his life. For the completely spiritual person, every acquaintance, every incident, would be the first link in an infinite series, the beginning of an infinite novel. 068 翻譯要麼是語法式的，要麼是修改，要麼是神話式的。神話式的翻譯是翻譯之極品。它表現出有個性的藝術品的純粹和完美。它讓我們讀到的不是真實的藝術品，而是其典範。我相信，這種翻譯還找不到完美的範例。但是，從某些作品的批評及摹寫的神韻中，已經清晰地透出這種範例的影子。為此需要這樣一個頭腦，充滿詩的靈氣和哲學的靈氣，而且相互融合。希臘神話的某些部分正是如此翻譯民族宗教。現代聖母像也是這樣一種神話。 語法式的翻譯即通常意義上的翻譯。它要求學識淵博，但只需要推理的能力。 在真正的意義上，修改式的翻譯需要極高的詩的靈氣。它容易流於諷刺體裁，例如比格爾以短長格諷刺詩體翻譯荷馬，波普翻譯的荷馬史詩以及所有法文譯作。其實，真正的這種譯者必須本身是藝術家，能夠隨意再現整整作品的思想。他必須是詩人之詩人，即能夠讓自己同時按本人和作者原有的思想進行敘述。人類的天才跟每個個人處於類似的關係。 不僅書籍，一切都能以這三種方式翻譯出來。 68. A translation is either grammatical, or transformative, or mythical. Mythical translations are translations of the highest style. They represent the pure, perfect character of the individual work of art. They do not give us the actual work of art, but the ideal of it. I believe that there is still no complete example of it. However, one meets clear hints of it in the spirit of certain reviews and descriptions of artworks. It takes a mind in which the poetic spirit and the philosophical spirit have permeated each other in all their fullness. Greek mythology is in part one such translation of a national religion. The modern Madonna is such a myth as well. Grammatical translations are the translations in the ordinary sense. They require a great deal of learning, but only discursive ability. The transforming translations, if they are to be genuine, include the highest poetic spirit. They slip easily into travesty, like Bürgers Homer in Iambic, Popes Homer, and French translations as a whole. The true translator of this kind must in fact be the artist himself, and be able to give the idea of the whole in one way or another. He must be the poet of the poet, allowing himself to express his own and the poets particular idea at the same time. The genius of humanity stands in a similar relationship with every individual human being. Not just books, anything can be translated in these three ways. 070 我們的語言或是機械的，原子論的，或是動力學的。真正詩的語言卻應該是有機的，富有活力的。要想一下子切中豐富的思想，人們總是感到言語貧乏。 70. Our language is either mechanical, atomistic or dynamic. The genuinely poetic language should, however, be organic and lively. How often does one feel the poverty of words to hit on several ideas in a single stroke. 109 最富有詩意的當是回憶、預感或未來之想像。對遠古的想像吸引我們去死、趨於湮滅。對未來的想像驅使我們去激活，去體現，去發揮同化作用。因此一切回憶都是悲傷的，一切預感都是喜悅的。前者節制過度的活力，後者提升一種太弱的生命。尋常的當下通過限制來連接過去和未來。於是形成同時發生 (Kontiguitaet)，由凝結產生結晶。但是也有一種靈性的當下，它可以通過溶合將過去與未來化為同一，這種混合就是詩人的元素和大氣層。 109. Nothing is more poetic than remembrance and the anticipation or imagination of the future. The ideas of the past draw us towards death, toward flying away. The ideas of the future drive us toward enlivenment, toward embodying, toward an assimilative activity. Hence all memory is melancholy, all anticipation joyful. The former moderates an excess of liveliness, the later vivacity, the latter enhances a too-feeble sense of life. The ordinary present integrates past and future through constraints. Contiguity emerges, crystallization through consolidation. There is however a a spiritual present, which brings both into an identity through dissolution, and this mixture is the element, the atmosphere of the poet. 114 寫書的藝術尚未發明出來，但是可望在這一點上有所發明：這種斷片就是文學種子。其中難免有些空殼：但只要有幾粒發芽！ 114. The art of writing books has not yet been invented. But it is about to be invented. Fragments of this kind are literary seeds. Certainly there may be a few unproductive grains amongst them: yet if only a few of them sprout forth! https://en.wikisource.org/wiki/Translation:Writings_of_Novalis/Pollen Translation:Writings of Novalis/Pollen |
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