Virginia Woolf《论小说与小说家》
契訶夫 (第 杜斯妥也夫斯機 托爾斯泰 他們的"靈魂"之重視
收入《普通讀者》《论小说与小说家》148-51
我讀1970年代的大英百科的"契訶夫"條
知道他的作品都有英譯
而且帶小狗的女士 是最著名的一篇
妙的是 許多中國選集多沒選它
文章最後說 契訶夫的小說聲望越來越高
巴金譯過 Gorky
Meaning #1: Russian writer of plays and novels and short stories; noted for his depiction of social outcasts
Synonyms: Maksim Gorky, Gorki, Maxim Gorki, Aleksey Maksimovich Peshkov, Aleksey Maximovich Peshkov
的回憶契訶夫 (另外在淡淡的幽默--契訶夫回憶/契訶夫文集 收錄)
所以先前講的Gogol 是錯誤
Nikolai Vasilievich Gogol 寫的契訶夫 (Gogol Russian: Николай Васильевич Гоголь, Nikoláy Vasíl’yevich Gógol’; Russian pronunciation: [nʲɪkɐˈlaj vɐˈsʲilʲjɪvʲɪtɕ ˈɡoɡəlʲ]; Ukrainian: Микола Васильович Гоголь, Mykóla Vasýl’ovych Hóhol’) (31 March [O.S. 19 March] 1809,[2] – 4 March [O.S. 21 February] 1852) was a Ukrainian-born Russian novelist, humourist, and dramatist.[2]
----帶小狗的女士：契訶夫小說新選新譯
慶祝契訶夫150歲 讀書會 (需報名)
譯者大駕光臨
書: 帶小狗的女士：契訶夫小說新選新譯
時間: 11月6日/2010年 10:30-12: 00
地點: 台北市新生南路3段88號2樓 tel. 02 23650127
《契訶夫傳》/淡淡的幽默--契訶夫回憶/契訶夫文集
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| 如果故事中出現槍，就必須發射！ 2010獨家專輯契訶夫誕生150週年紀念版[總導覽] 契訶夫巨人文學生涯全景 [現場] 彩頁直擊契訶夫莫斯科故居 [小說] 所有小說家的老師──短篇小說徹底解析 [戲劇] 世界戲劇最高殿堂──劇作魅力完全解讀 [名作] 經典<帶小狗的女士>新譯精析 [迴響] 誰來穿越時空傳簡訊給契訶夫？ 七月推薦[劉克襄] 當月作家：野地漫遊十五座星球 特別連載[平路] 最新長篇小說《東方之東》終於曝光 今天早上才讀完讀書會: 帶小狗的女士 (契訶夫小說新選新譯) 晚上讀1970年代的大英百科的"契訶夫"條知道他的作品都有英譯 而且帶小狗的女士 是最著名的一篇 妙的是 許多中國選集多沒選它 文章最後說 契訶夫的小說聲望越來越高 巴金譯過 Gorky Meaning #1: Russian writer of plays and novels and short stories; noted for his depiction of social outcasts Synonyms: Maksim Gorky, Gorki, Maxim Gorki, Aleksey Maksimovich Peshkov, Aleksey Maximovich Peshkov 的回憶契訶夫 (另外在淡淡的幽默--契訶夫回憶/契訶夫文集 收錄) 所以先前講的Gogol 是錯誤...... ***** 大事代誌Dear HC,大事的古音就是[代誌]， 大讀代，大家都知道(士大夫，就是staff 的古音)， 事也就是誌(記事為誌)，有一個讀音是和誌一樣。 在台語溯源，普遍已經接受此事實。 Ken Su ***** A generalisation of th Virginia WoolfThe Common ReaderThe Russian Point of Viewhttp://ebooks.adelaide.edu.au/is kind will, of course, even if it has some degree of truth when applied to the body of literature, be changed profoundly when a writer of genius sets to work on it. At once other questions arise. It is seen that an “attitude” is not simple; it is highly complex. Men reft of their coats and their manners, stunned by a railway accident, say hard things, harsh things, unpleasant things, difficult things, even if they say them with the abandonment and simplicity which catastrophe has bred in them. Our first impressions of Tchekov are not of simplicity but of bewilderment. What is the point of it, and why does he make a story out of this? we ask as we read story after story. A man falls in love with a married woman, and they part and meet, and in the end are left talking about their position and by what means they can be free from “this intolerable bondage”. “‘How? How?’ he asked, clutching his head. . . . And it seemed as though in a little while the solution would be found and then a new and splendid life would begin.” That is the end. A postman drives a student to the station and all the way the student tries to make the postman talk, but he remains silent. Suddenly the postman says unexpectedly, “It’s against the regulations to take any one with the post”. And he walks up and down the platform with a look of anger on his face. “With whom was he angry? Was it with people, with poverty, with the autumn nights?” Again, that story ends. But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it. These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing, we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic — lovers united, villains discomfited, intrigues exposed — as it is in most Victorian fiction, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony. Probably we have to read a great many stories before we feel, and the feeling is essential to our satisfaction, that we hold the parts together, and that Tchekov was not merely rambling disconnectedly, but struck now this note, now that with intention, in order to complete his meaning. We have to cast about in order to discover where the emphasis in these strange stories rightly comes. Tchekov’s own words give us a lead in the right direction. “. . . such a conversation as this between us”, he says, “would have been unthinkable for our parents. At night they did not talk, but slept sound; we, our generation, sleep badly, are restless, but talk a great deal, and are always trying to settle whether we are right or not.” Our literature of social satire and psychological finesse both sprang from that restless sleep, that incessant talking; but after all, there is an enormous difference between Tchekov and Henry James, between Tchekov and Bernard Shaw. Obviously — but where does it arise? Tchekov, too, is aware of the evils and injustices of the social state; the condition of the peasants appals him, but the reformer’s zeal is not his — that is not the signal for us to stop. The mind interests him enormously; he is a most subtle and delicate analyst of human relations. But again, no; the end is not there. Is it that he is primarily interested not in the soul’s relation with other souls, but with the soul’s relation to health — with the soul’s relation to goodness? These stories are always showing us some affectation, pose, insincerity. Some woman has got into a false relation; some man has been perverted by the inhumanity of his circumstances. The soul is ill; the soul is cured; the soul is not cured. Those are the emphatic points in his stories. Once the eye is used to these shades, half the “conclusions” of fiction fade into thin air; they show like transparences with a light behind them — gaudy, glaring, superficial. The general tidying up of the last chapter, the marriage, the death, the statement of values so sonorously trumpeted forth, so heavily underlined, become of the most rudimentary kind. Nothing is solved, we feel; nothing is rightly held together. On the other hand, the method which at first seemed so casual, inconclusive, and occupied with trifles, now appears the result of an exquisitely original and fastidious taste, choosing boldly, arranging infallibly, and controlled by an honesty for which we can find no match save among the Russians themselves. There may be no answer to these questions, but at the same time let us never manipulate the evidence so as to produce something fitting, decorous, agreeable to our vanity. This may not be the way to catch the ear of the public; after all, they are used to louder music, fiercer measures; but as the tune sounded so he has written it. In consequence, as we read these little stories about nothing at all, the horizon widens; the soul gains an astonishing sense of freedom. In reading Tchekov we find ourselves repeating the word “soul” again and again. It sprinkles his pages. Old drunkards use it freely; “. . . you are high up in the service, beyond all reach, but haven’t real soul, my dear boy . . . there’s no strength in it”. Indeed, it is the soul that is the chief character in Russian fiction. Delicate and subtle in Tchekov, subject to an infinite number of humours and distempers, it is of greater depth and volume in Dostoevsky; it is liable to violent diseases and raging fevers, but still the predominant concern. Perhaps that is why it needs so great an effort on the part of an English reader to read The Brothers Karamazov or The Possessed a second time. The “soul” is alien to him. It is even antipathetic. It has little sense of humour and no sense of comedy. It is formless. It has slight connection with the intellect. It is confused, diffuse, tumultuous, incapable, it seems, of submitting to the control of logic or the discipline of poetry. The novels of Dostoevsky are seething whirlpools, gyrating sandstorms, waterspouts which hiss and boil and suck us in. They are composed purely and wholly of the stuff of the soul. Against our wills we are drawn in, whirled round, blinded, suffocated, and at the same time filled with a giddy rapture. Out of Shakespeare there is no more exciting reading. We open the door and find ourselves in a room full of Russian generals, the tutors of Russian generals, their step-daughters and cousins, and crowds of miscellaneous people who are all talking at the tops of their voices about their most private affairs. But where are we? Surely it is the part of a novelist to inform us whether we are in an hotel, a flat, or hired lodging. Nobody thinks of explaining. We are souls, tortured, unhappy souls, whose only business it is to talk, to reveal, to confess, to draw up at whatever rending of flesh and nerve those crabbed sins which crawl on the sand at the bottom of us. But, as we listen, our confusion slowly settles. A rope is flung to us; we catch hold of a soliloquy; holding on by the skin of our teeth, we are rushed through the water; feverishly, wildly, we rush on and on, now submerged, now in a moment of vision understanding more than we have ever understood before, and receiving such revelations as we are wont to get only from the press of life at its fullest. As we fly we pick it all up — the names of the people, their relationships, that they are staying in an hotel at Roulettenburg, that Polina is involved in an intrigue with the Marquis de Grieux — but what unimportant matters these are compared with the soul! It is the soul that matters, its passion, its tumult, its astonishing medley of beauty and vileness. And if our voices suddenly rise into shrieks of laughter, or if we are shaken by the most violent sobbing, what more natural?— it hardly calls for remark. The pace at which we are living is so tremendous that sparks must rush off our wheels as we fly. Moreover, when the speed is thus increased and the elements of the soul are seen, not separately in scenes of humour or scenes of passion as our slower English minds conceive them, but streaked, involved, inextricably confused, a new panorama of the human mind is revealed. The old divisions melt into each other. Men are at the same time villains and saints; their acts are at once beautiful and despicable. We love and we hate at the same time. There is none of that precise division between good and bad to which we are used. Often those for whom we feel most affection are the greatest criminals, and the most abject sinners move us to the strongest admiration as well as love.
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