2. 外语
  3. The most notable surface fact about " The Waste Land" is of course its extreme disconnection. I do not know just how many parts

The most notable surface fact about " The Waste Land" is of course its extreme disconnection. I do not know just how many parts

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问题 The most notable surface fact about " The Waste Land" is of course its extreme disconnection. I do not know just how many parts the poem is supposed to have, but to me there are something like fifty parts which offer no bridges the one to the other and which are quite distinct in time, place, action, persons, tone and nearly all the unities to which art is accustomed. This discreteness reaches also to the inside of the parts, where it is indicated by a frequent want of grammatical joints and marks of punctuation; as if it were the function of art to break down the usual singleness of the artistic image, and then to attack the integrity of the individual fragments. I presume that poetry has rarely gone further in this direction. It is a species of the same error which modern writers of fiction practice when they laboriously disconnect the stream of consciousness and present items which do not enter into wholes. Evidently they think with Hume that reality is facts and pluralism, not compounds and systems. But Mr. Eliot is more enterprising than they, because almost in so many words he assails the philosophical or cosmical principles under which we form the usual images of reality, naming the whole phantasmagoria Waste Land almost as plainly as if he were naming cosmos Chaos. His intention is evidently to present a wilderness in which both he and the reader may be bewildered, in which one is never to see the wood for the trees.
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答案 这种不连贯性同样深入到各诗节内部，随处可见的语法上缺少连接词、缺失标点符号就表明了这一点。艺术的功能，仿佛就是要打破艺术形象具有的常规的独一无二性，并击碎每个片断的完整性。我觉得，诗歌在这个方向上并未走太远。这是现代派小说家绞尽脑汁为了切断意识流、展现不成整体的情节而犯的同类错误。显然，他们认同休谟的看法，即现实由真相和多元论堆砌，而非各种情景组合和系统的叠加。不过，艾略特先生比他们更具进取精神，因为他近乎将矛头直指我们赖以构成现实生活常见形象的哲学观或宇宙论的原则，他称生活的变幻无常为荒原，正如将宇宙称之为混沌一样明白无误。他的意图显然是要呈现一种令自己和读者都迷惑不解的荒凉，一种永远只见树木不见森林的荒凉。
解析 1．画线部分第一句中，由于诗歌中缺少连接语法的词语和标点符号，因此显得很不连贯，此处discreteness本义是“不连续性”，译为“不连贯性”；parts指艾略特长诗《荒原》中的50个章节；want相当于lack，即“缺失，缺少”。原文分号后另起一句翻译，其中singleness的意思是“独特性，独一无二性”。
2．画线部分第二句中，further一词说明《荒原》是诗歌不连贯性的最高典范，其他诗歌没有超过它。整句译为“我觉得，诗歌在这个方向上并未走太远。”
3．画线部分第四句中，Hume指休谟(1711—1776)，18世纪英国经验主义哲学家、历史学家和经济学家。
4．画线部分第五句中，they指上句提到的现代派小说家；in so many words是固定短语，意为“明确地，直截了当地”，切勿翻作“用了大量的文字篇幅”或“费了同样的口舌”；phantasmagoria意为“变幻无常的情景”。短语name sth．sth．的意思是“把某物称之为／命名为某物”。本句共三级结构：第一级是由主系表构成的句子主干和原因状语从句；第二级是由because引导的原因状语从句，包括作状语的副词短语和从句的主谓宾；第三级是由underwhich引导的定语从句，包括定语从句的主谓宾和作伴随状语的现在分词短语。翻译此类的长句时，关键在于理清句子结构和逻辑顺序，再结合一定的翻译技巧将原文译出。
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