2020年11月CATTI一筆實(shí)務(wù)真題和部分參考譯文
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英譯漢?
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Master of the Intricacies of the Human Heart
愛麗絲·門羅，洞悉人心的大師
By Michiko Kakutani
Oct. 10, 2013
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Alice Munro, named on Thursday as the winner of the 2013 Nobel Prize in Literature, once observed: “The complexity of things — the things within things — just seems to be endless. I mean nothing is easy, nothing is simple.”
愛麗絲·門羅(Alice Munro)于本周四獲得2013年諾貝爾文學(xué)獎(jiǎng)，她曾說過：“事物的復(fù)雜性，即蘊(yùn)含在事物之中的事物，似乎無(wú)窮無(wú)盡。我的意思是，沒有任何事是輕松簡(jiǎn)單的?！?br> ?
That is also a perfect description of Ms. Munro’s quietly radiant short stories — stories that have established her as one of the foremost practitioners of the form. Set largely in small-town and rural Canada and often focused on the lives of girls and women, her tales have the swoop and density of big, intimate novels, mapping the crevices of characters’ hearts with cleareyed Chekhovian empathy and wisdom.
這番話亦是門羅那些寧?kù)o閃光的短篇小說的絕好寫照，這些作品為她奠定了短篇小說界一流作者的地位。她的小說主要發(fā)生在加拿大的鄉(xiāng)村小鎮(zhèn)，描繪女孩與女人們的生活，帶著契訶夫式洞悉一切的同情與智慧勾勒出筆下人物心靈的罅隙，亦有著長(zhǎng)篇小說所具備的沖擊力與厚重。
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Fluent and deceptively artless on the page, these stories are actually amazingly intricate constructions that move back and forth in time, back and forth between reality and memory, opening out, magically, to disclose the long panoramic vistas in these people’s lives (the starts, stops and reversals that stand out as hinge moments in their personal histories) and the homely details of their day-to-day routines: the dull coping with “food and mess and houses” that can take up so much of their heroines’ time.
她的短篇小說行文流暢，文風(fēng)表面質(zhì)樸無(wú)華，實(shí)則結(jié)構(gòu)精美復(fù)雜，在時(shí)間之中往復(fù)穿梭，在現(xiàn)實(shí)與記憶之間轉(zhuǎn)換；故事神秘展開，揭開筆下人物生平的全貌景觀（在關(guān)鍵的轉(zhuǎn)折點(diǎn)中突出個(gè)體人物生活史中的開端、停頓與逆境），乃至日常生活中的平凡瑣碎細(xì)節(jié)：她會(huì)平淡地描述 “食物、瑣事與家務(wù)”，這些事占去了她筆下女主人公的大部分時(shí)間。
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Ms. Munro’s stories possess an emotional amplitude and a psychological density. Her understanding of the music of domestic life, her ability to simultaneously detail her characters’ inner landscapes and their place in a meticulously observed community, and her talent for charting “the progress of love” as it morphs and mutates through time — these gifts have not only helped Ms. Munro redefine the contours of the contemporary short story, but have also made her one of today’s most influential writers.
門羅的小說既有情感的廣度，亦有心理的深度。她深深了解蘊(yùn)含在家庭生活中的音樂；在描繪筆下人物內(nèi)心世界細(xì)節(jié)的同時(shí)，無(wú)微不至地勾勒出社區(qū)的狀態(tài)，并點(diǎn)出人物在社區(qū)中的位置；此外她還擅長(zhǎng)書寫“愛的進(jìn)程”，在時(shí)間的演進(jìn)中為愛的變形與變異畫出圖譜。這些特質(zhì)令她重新定義了當(dāng)代短篇小說的外延，也使她成為當(dāng)今世上最重要的作家之一。
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In short fiction that spans four and a half decades, Ms. Munro has given us prismatic portraits of ordinary people that reveal their intelligence, toughness and capacity to dream, as well as their lies, blind spots and lapses of courage and good will. Such descriptions are delivered not with judgmental accountancy, but with the sort of “unsparing unsentimental love” harbored by a close friend or family member.
門羅創(chuàng)作短篇小說已有45年。在這些作品中，門羅為普通人的生活描繪出五光十色的畫像，展現(xiàn)他們的智慧、堅(jiān)韌與夢(mèng)想的能力，與此同時(shí)也有他們的謊言和盲點(diǎn)，乃至勇氣和善意的偶爾缺失。她的描寫不帶評(píng)判色彩，只有“不夾偏私，冷靜理性的愛”，如同來(lái)自親密的朋友或家庭成員。
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Like Ms. Munro, many of the women in these stories grew up in small towns in Canada and, at some point, faced a decision about whether to stay or to leave for the wider world. Their lifetimes often span decades of startling social change — from a time and place when tea parties and white gloves were de rigueur to the days of health food stores and stripper bars.
和門羅一樣，她小說中的女人們也多在加拿大小鎮(zhèn)上成長(zhǎng)，在某個(gè)時(shí)刻面臨留在家鄉(xiāng)還是奔赴廣大世界的抉擇。她們?cè)跀?shù)十年的人生中往往歷經(jīng)社會(huì)巨變，從舉辦茶會(huì)、社交場(chǎng)合必須戴白手套的年代和地點(diǎn)一路走到健康食品店與脫衣舞酒吧的時(shí)代。
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For that matter, Ms. Munro’s women often find themselves caught on the margins of shifting cultural mores and pulled between conflicting imperatives — between rootedness and escape, domesticity and freedom, between tending to familial responsibilities or following the urgent promptings of their own hearts.
因此，門羅筆下的女人經(jīng)常發(fā)現(xiàn)自己被困在文化道德轉(zhuǎn)型的邊緣，在互相矛盾的義務(wù)中掙扎——堅(jiān)守與逃避、家庭與自由，對(duì)家族的責(zé)任與內(nèi)心沖動(dòng)的迫切召喚。
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In story after story, passion is the magnet or the motor that drives women’s choices. Love and sex, and marriage and adultery are often mirrors that reveal a Munro heroine’s expectations — her fondest dreams and cruel self-delusions, her sense of independence and need to belong.
在一個(gè)個(gè)故事里，激情就像磁石或馬達(dá)，吸引和驅(qū)動(dòng)著女人們做出選擇。對(duì)于門羅的女主人公們來(lái)說，愛情與性愛，婚姻與外遇通常就像鏡子一樣映照出她們的渴望——她們最美好的夢(mèng)想與最殘酷的自欺，她們的獨(dú)立意識(shí)與對(duì)歸屬感的需求。
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Ms. Munro is adept at tracing the many configurations that intimacy can take over the years, showing how it can suffocate a marriage or inject it with a renewed sense of devotion. She shows how sexual ardor can turn into a “tidy pilot flame” and how an impulsive tryst can become a treasured memory, hoarded as a bulwark against the banalities of middle age.
門羅還擅長(zhǎng)描寫多年親密關(guān)系的多種復(fù)雜情況，顯示這樣的關(guān)系如何扼殺一段婚姻，或?yàn)榛橐鲎⑷胄碌姆瞰I(xiàn)精神。她展示了性愛可以變?yōu)椤奥拥幕饎?shì)”；一時(shí)沖動(dòng)的幽會(huì)可以成為珍貴的回憶，匯聚為對(duì)抗平庸中年生活的堡壘。
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Illness and death frequently intrude upon these stories, and the reader is constantly reminded of the precariousness of life — and the role that luck, chance and reckless, spur-of-the-moment choices can play. Some of Ms. Munro’s characters embrace change as a liberating force that will lift them out of their humdrum routines, or at least satisfy their avid curiosity about life. Others regard it with fearful dismay, worried that they will lose everything they hold dear — or at least everything familiar.
疾病與死亡也是她小說中經(jīng)常出現(xiàn)的主題，讀者經(jīng)常會(huì)感受到生命的珍貴，以及運(yùn)氣、機(jī)遇和輕率莽撞的選擇在人生中扮演的角色。門羅筆下的一些人物把改變視為解放自身的力量，可以讓他們擺脫一成不變的生活，或者至少能滿足他們對(duì)人生敏銳的好奇心。另一些人則將改變視為可怕的不幸，擔(dān)心會(huì)失去手中珍貴的一切，至少那是他們所熟悉的一切。

注：本文轉(zhuǎn)自公眾號(hào)【ID:譯介】