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《詩經·小雅·四牡》James Legge翻譯註釋

II. Sze maw.

四牡騑騑、周道倭遲。 豈不懷歸、王事靡盬、我心傷悲。

駕彼四駱、載驟駸駸。 豈不懷歸、是用作歌、將母來諗。

1 My four steeds advanced without stopping;

The way from Ohow was winding and tedious.

Did I not have the wish to return?

But the king's business was not to be slackly performed;

And my heart was wounded with sadness.

ment, the host signifying by his gifts his appreciation of his guests. The 之 in L 7 is merely expletive. 周行--大道, or 至道, 'the great,' or 'the perfect way,' the path of right and wisdom.

St.3, LL.3-8. 德音, -- as in I. xv. V. 1. et al. 視--示 in last stanza. 恌--偷薄, 'to be mean.' 君子, --'officers,' in opposition to 民 of the line before. Both 則 and 傚 are verbs, of kindred meaning. 旨--美, 'good,' 'admirable.' 式 is to be taken as an initial particle, --as in I. iii. XI. 敖 -- 游, here 'to enjoy themselves.' Compare the last two lines in I. iii. I. 1.

St. 3, ll. 3-8. 湛 --樂之久, 'long continuance of the joy,' 燕--安, 'to compse,' 'to soothe.'

The rhymes are -- in st. 1, 鳴, 苹, 笙, cat.11; 簧, 將, 行, cat. 10: in 2. 蒿, 昭, 恌, 傚, 敖, cat. 2:in 3, 芩, 琴, 湛, 心, cat. 7, in 1.

Ode 2. Narrative and allusive. A Festal ode complimentary to an officer on his return from an expedition, celebration the union in him of loyal duty and fillial feeling. There is certainly nothing in the ode itself to suggest its being composed for a festal occasion, and to compliment the officer who narrates his story in it. Both Maou and Choo, however, agree in the above account of it. It was not written, they say, by the officer himself, but was put into his month, as it were, to express the sympathy of his royal entertainer with him, and appreciation of his devotion to duty, lliere appear strikingly in it the union of family affections and loyal duty, which we met with in several of the pieces in Part I.; and the merit of king Wftn, to whose times it is assigned, shines out in the allowance which he makes for those affections.

Stt. 1,2. 騑騑 is defined as 'the app. of advancing without ever stopping.' Choo takes 周道 as 大路, 'the great way;' Maou, as I have done in the translation. Acc. to this view, the ode must belong to the time when King Wen was still endeavouring to unite the States in allegiance to the last King of Shang, in whose service the expedition referred to must have been undertaken. Williams says that 倭遲 means 'returning from a distance;' but
p.248

四牡騑騑、嘽嘽駱馬。 豈不懷歸、王事靡盬、不遑啟處。

翩翩者鵻、載飛載下、集于苞栩。 王事靡盬、不遑將父。

翩翩者鵻、載飛載止、集于苞杞。 王事靡盬、不遑將母。

2 My four steeds advanced without stopping;

They panted and snorted, the white steeds black-maned.

Did I not have the wish to return?

But the king's business was not to be slackly performed,

And I had not leisure to kneel or to sit.

3 The Filial doves keep flying about,

Now soaring aloft, and now descending.

Collecting on the bushy oaks;

But the king's business was not to be slackly performed,

And I had not leisure to nourish my father.

4 The Filial doves keep flying about.

Now flying, now stopping,

Collecting on the bushy medlars.

But the king's business was not to be slackly performed,

And I had not leisure to nourish my mother.

that is not the meaning. 倭 here -- 'winding,' 'tortuous.' The dict, in voc., says that 倭遲, 逶迤, 𨖿[⿺辶爲]迆, 委蛇, 威遲, and 委移 are all synonymous. I have followed Maou in the translation of tan-tan. Choo takes the cliaracters as meaning 'numerous.' 駱 is the name for a white horse with a black mane. The conflict of affection and duty appears in 11. 3, 4. L. 4. --see on I. z. VII. 1. 啟=跪, 'to kneel ;' 處=居 or 坐, 'to sit.' Anciently, there were no such things as chairs. People sat on mats: -- if before a superior, kneeling, on their knees, with the body straight; if at their ease, they sat on the ground, leaning on a bench or stool. The two characters in combination signify -- 'to rest.'

Stt. 8. 4. Medhurst calls the chuy, 'a turtle dove,' but it is a different bird from the 鳴鳩, and smaller. Yeu Ts'an enumerates 14 different names by which it is called; but by none of them can I exactly identify it. It is said to be remarkable for its fillial affection; and I have called it therefore 'the Fillial dove.' This idea seems to be the basis of the allusion from it to the speaker in these two stanzas. pien pien denote 'the app. of flying.' 飛 must = 飛上, 'flying aloft.' 栩, -as in I. x. VIII. 1. 杞 here is difft. from the willow tree of the same name in I. vii. 1. The fines of the sort are said to be in Kan-suh, and Shen-se. Its young leaves, like those of a pomegranate tree, but softer and thinner, are edible. It grows in a bushy manner to the height of 8 and 5 cubits, puts forth purplish flowers in the 6th or 7th month, and produces a red fruit, longish like a date. One of its names is 'goats' teats,' from the shape of the fruit. 將=養
p.249

駕彼四駱、載驟駸駸。 豈不懷歸、是用作歌、將母來諗。

i I yoked my four white steeds, black-man ed; They hurried away with speed. [But] did I not wish to return? Therefore I make this song, Announcing my wish to nourish my mother.

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口袋精灵 Pokemon Go 抛球用完了怎么办?

Pokemon Go,也叫口袋精灵、口袋妖怪、口袋怪兽。日语ポケットモンスター (Poketto Monsutā)是Pocket Mosters的英译, Pokémon是缩写Poketto Monsutā。大陆地区的官方中文名称为“精灵宝可梦”。Poké Ball 宝贝球。我觉“宝可梦”还不如翻译作“宝可萌”,而宝贝球还不如“抛球”更好。口袋怪兽狗的宝贝球看起来很像谷歌浏览器的标志图。

我刚开始玩,扔球技术不好,很快就宝贝球就用完了,尤其是在抓捕战斗力级别CP155的引夢貘人(Hypno)损失了好几个球。然后只能眼睁睁看着怪兽没法抓捕。除了精灵宝可梦商店里购买,不知道还有什么别的方法。开始玩的时候看到有些补给站,但是不知道什么用的。这个游戏根本没有提示说明,点击那个道馆(Gym)就提示你说级别不够,你需要修行到五级才行。但是没有球了,不能抓怪兽,怎么可能升级呢?回来搜索,原来就是到这些补给站(Pokemon Stop)去,转一下那个图片,十有八九会给你甩出三四个宝贝球来。我就特地再一次跑出去补给站转那个圆盘,还甩出几个蛋,于是可以自己孵化小怪兽了。

这些补给站的位置大多在教堂和风景名胜。原来我玩虚拟入口(Ingress),就是能量塔(Portal)的位置,能量塔级别高就是道馆,而级别低的是补给站。

附近公园里有四五个虚拟入口的能量塔,在口袋精灵钩游戏里就是补给站,其中一个是道馆。在那里碰到两大拨人玩这个游戏,一拨十几岁,另一拨二十几岁。年轻的一拨看着我盯着手机,就围过来问我抓到什么精灵了,看到我的引夢貘人大为赞叹。年纪大一点的问我要打火机,然后凑近看我手机频幕,那是正在玩虚拟入口,他问,你这个怎么跟口袋精灵界面不一样啊?然后说,原来是老版本的。说完,打火机点着烟,闻那个味道是大麻。

有时候,扔球以后就游戏就死机了,需要重启游戏。有玩家说,左上角那个球还在转的时候不能扔宝贝球,十有八九会死机。

另外注意到,偏远郊区怪兽是很少的,附近好多Public Footpath, Bridle Path, 转了几圈,没有发现,怪兽大多出现在街角、十字路口出没。


TG是什么的缩写?

由于网络审查,网民有以“GCD”、“GF”、“土共”、“TG”、“伟光正”、“镰刀锤子帮”等指代中共。TG是“土共”一词拼音首字母的缩写,而且组合起来还很像镰刀锤子,T是锤子,G是镰刀。

关于《聊斋·侠女》里的同性恋情节

胡金銓(King Hu)执导的电影《侠女》,题材取自蒲松龄的《聊斋志异》,但是改编较多。

这里只谈一下原著里描写的“娈童”情节:

“一日,生坐齋頭,有少年來求畫。姿容甚美,意頗儇佻。詰所自,以「鄰村」對。嗣後三兩日輒一至,稍稍稔熟,漸以嘲謔;生狎抱之,亦不甚拒,遂私焉。由此往來昵甚。”
如果这一段描写还是比较隐晦的话,在文章结尾,蒲松龄就很明白地评论说:

“人必室有侠女,而后可以畜娈童也。不然,尔爱其艾豭,彼爱尔娄猪矣!”
这里使用的“娄猪艾豭”的典故出自《左传》“既定爾婁豬,盍歸吾艾豭?”蒲松龄说的是,一个人得有侠女才可以畜娈童,要不然你爱那公猪,这公猪会爱你家的母猪。蒲松龄很清楚的指明顾生与侠女和狐仙之间的三角恋爱关系,而且对蓄“娈童”所使用的语言也并不友善。

电影《侠女》尽管保持了这个三角恋爱,但将狐仙转变为女扮男装,因仰慕顾生的才学和人品,学祝英台。电影将侠女拍成一个还阳的鬼魂,阎罗王特许她两年的假期回阳间报仇。在故事的结局,狐仙重新出现,成了顾生的妻子,报答侠女“不杀之恩”。这些情节的改变,一是跟当时对同性恋的社会认同感不够有关,二是对《聊斋》人鬼恋情的程式化套用的结果。

这种改编原著的做法也体现在翟理斯(Herbert Allen Giles)的英文翻译里。翟理斯生活在维多利亚时代,当时在英国同性恋还是一种罪行。所以,他在《聊斋》英文版序言里说蒲松龄的有些故事“对我们生活的这个时代是非常不适宜的(turned out to be quite unsuitable for the age in which we live)”。翟理斯干脆就删节了原文,略过了上面引用的同性恋描写,只是说顾生和狐仙建立了深厚的友情:

“The two youths soon struck up a firm friendship and met constantly.”
翟理斯在后来的翻译中,就故事的发展就跟原著完全相反了:

“She had conceived a violent dislike to the young stranger above-mentioned; and one evening when he was sitting talking with Ku, the young lady reappeared. After a while she got …