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Eileen Chang: Days and Nights of China ~张爱玲《中国的日夜》 with English Translations
China's Day and Night "is an important work in Zhang Ailing's essay collection" Glorious Fate ", which depicts the author's thoughts and experiences during two grocery shopping trips. Through the depiction of natural scenery and characters, it reflects the diverse life of Chinese society at that time and the author's emotional changes. 中国的日夜Days and Nights of China 张爱玲Eileen Chang 去年秋冬之交我天天去买菜。有两趟买菜回来竟做出一首诗,使我自己非常诧异而且快乐。一次是看见路上洋梧桐的落叶,极慢极慢的掉下一片来,那姿势从容得奇怪。我立定了看它,然而等不及它到地我就又往前走了,免得老站在那里像是发呆。走走又回头去看了个究竟。以后就写了这个: In the days between autumn and winter last year, I went every day to buy vegetables. Twice, I was able to write a poem on the way to market, which left me both surprised and delighted. The first came when I saw the leaves falling from a French plane tree. One of the leaves fell very very slowly, holding its strangely graceful pose all the way down to the ground. I stood still to watch, but before it had touched down, I moved on so that I wouldn’t seem to be staring blankly in the same play for so long. As I walked away, I turned back for one final glance. Afterward, I wrote this: 落叶的爱 慢慢的,它经过风,经过淡青的天,经过天的刀光,黄灰楼房的尘梦。下来到半路上,看得出它是要,去吻它的影子。地上它的影子,迎上来迎上来,又像是往斜里飘。叶子尽着慢着,装出中年的漠然,但是,一到地,金焦的手掌小心覆着个小黑影,如同捉蟋蟀——“唔,在这儿了!”秋阳里的水门汀地上,静静睡在一起,它和它的爱。 The Love of a Falling Leaf The big yellow leaf tumbles downslowly, passing by the breezeby the pale green skyby the knifelike rays… -
On Carrots by Eileen Chang ~ 张爱玲 《说胡萝卜》 with English Translations
作品原文 张爱玲 《说胡萝卜》 有一天,我们饭桌上有一样萝卜煨肉汤。我问我姑姑:“洋花萝卜跟胡萝卜都是古时候从外国传进来的罢?”她说:“别问我这些事。我不知道。”她想了一想,接下去说道: “我第一次同胡萝卜接触,是小时候养‘叫油子’,就喂它胡萝卜。还记得那时候奶奶(指我的祖母)总是把胡萝卜一切两半,再对半一切,塞在笼子里,大约那样算切得小了。——要不然我们吃的菜里是向来没有胡萝卜这样东西的。——为什么给‘叫油子’吃这个,我也不懂。” 我把这一席话暗暗记下,一字不移地写下来,看看忍不住要笑,因为只消加上“说胡萝卜”的标题,就是一篇时髦的散文,虽说不上冲淡隽永,至少放在报章杂志里也可以充充数。而且妙在短——才抬头,已经完了,更使人低徊不已。 英文译文 On Carrots Eileen Chang One day, we had a kind of turnip and meat stew on the dinner table, so I asked my aunt, “I suppose turnips and carrots came here from foreign countries in ancient times?” She replied, “I’m not the one to ask about such things. I don’t know.” She thought for a while and went on:”The first time I came into contact with carrots was when I was little and I had a pet hamster we fed with carrots. I still remember that Granny (my paternal grandmother, that is) would always cut them in half lengthwise and then in quarters before she could put them into the cage. That was how small she had to cut them. If not for the hamsters, we would never have cooked anything with carrots at all. Why we fed carrots to the hamsters I don’t understand.” I secretly jotted down this little speech, without changing even a single word and then couldn’t help laughing to myself, because all I needed to do was add a title—“On Carrots”—and a stylish little essay appear on the page before me. It may not necessarily attain the… -
Under an Umbrella by Eileen Chang ~ 张爱玲 《雨伞下》 with English Translations
作品原文 张爱玲 《雨伞下》 下大雨,有人打着伞,有人没带伞。没伞的挨着有伞的,钻到伞底下去躲雨,多少有点掩蔽,可是伞的边缘滔滔流下水来,反而比外面的雨更来得凶。挤在伞沿下的人,头上淋得稀湿。 当然这是说教式的寓言,意义很明显:穷人结交富人,往往要赔本,某一次在雨天的街头想到这一节,一直没有写出来,因为太像讷厂先生茶话的作风了。 英文译文 Under an Umbrella Eileen Chang It’s pouring. Some people are carrying umbrellas and some people are not. Those who don’t have an umbrella press against those who do, squeezing beneath the edges of passing umbrellas to avoid the rain and afford themselves a little shelter. But the water cascading from the umbrellas turns out to be worse than the rain itself, and the heads of the people squeezed in between are soaked to the skin. This is a parable, of course, the moral of which is perfectly clear: when poor folks associate with the rich, they usually get soaked. I thought of it one rainy day but never wrote it down, because it sounds too much like the style of the tabloid “tea talks” of Mr. Nachang -
With the Women on the Tram by Eileen Chang ~ 张爱玲 《有女同车》 with English Translations
作品原文 张爱玲 《有女同车》 这是句句真言,没有经过一点剪裁与润色的,所以不能算小说。 电车这一头坐着两个洋装女子,大约是杂种人吧,不然就是葡萄牙人,像是洋行里的女打字员。说话的这一个偏于胖,腰间束着三寸宽的黑漆皮带,皮带下面有圆圆的肚子,细眉毛,肿眼泡,因为脸庞上半部比较突出,上下截然分为两部。她道:“……所以我就一个礼拜没同他说话。他说‘哈罗’,我也说‘哈罗’。”她冷冷地抬了抬眉毛,连带地把整个上半截脸往上托了一托。“你知道,我的脾气是倔强的。是我有理的时候,我总是倔强的。” 电车那一头也有个女人说到“他”,可是她的他不是恋人而是儿子,因为这是个老板娘模样的中年太太,梳个乌油油的髻,戴着时行的独粒头喷漆红耳环。听她说话的许是她的内侄。她说一句,他点一点头,表示领会,她也点一点头,表示语气的加重。她道:“我要翻翻行头,伊弗拨我翻。难我讲我铜钿弗拨伊用哉!格日子拉电车浪,我教伊买票,伊哪哼话?……‘侬拨我十块洋钿,我就搭侬买?’坏咈?……”这里的“伊”,仿佛是个不成材的丈夫,但是再听下去,原来是儿子。儿子终于做下了更荒唐的事,得罪了母亲:“伊爸爸一定要伊跪下来,‘跪呀,跪呀!’伊定规弗肯:‘我做啥要跪啊?’一个末讲:‘定规要侬跪。跪呀!跪呀!’难后来伊强弗过咧:‘好格,好格,我跪!’我说:‘我弗要伊跪。我弗要伊跪呀!’后来旁边人讲:价大格人,跪下来,阿要难为情,难末喊伊送杯茶,讲一声:‘姆妈覅要动气。’一杯茶送得来,我倒‘叭’笑出来哉!” 电车上的女人使我悲怆。女人……女人一辈子讲的是男人,念的是男人,怨的是男人,永远永远。 作品译文 With the Women on the Tram Eileen Chang Every word of what follows is true, without the slightest tailoring or embellishment, and cannot be considered fiction. There were two women dressed in western style sitting on this side of the tram, probably of mixed race or else Portuguese, who looked like they were typists working for a foreign firm. The women speaking was a bit plump, with a three-inch-wide black patent leather belt cinched around her waist and a round belly below. She had slender eyebrows, bags under her eyes, and because her forehead was rather prominent, her face seemed to be divided into two distinct halves. She said, “And so I haven’t spoken to him for a whole week. If he says ‘hello,’ I say ‘hello.’” She arched her eyebrows in a sneer, and the upper half of her face ascended along with them, “You know how stubborn I can be. When I know I’m in the right, I’m always stubborn.” On the other side of the tram sat another woman speaking of some other “him,” only her “him” was not a lover but a son. She was middle-aged… -
Bugle Music from the Night Barracks by Eileen Chang ~ 张爱玲 《夜营的喇叭》 with English Translations
作品原文 张爱玲 《夜营的喇叭》 晚上十点钟,我在灯下看书,离家不远的军营里的喇叭吹起了熟悉的调子。几个简单的音阶,缓缓地上去又下来,在这鼎沸的大城市里难得有这样的简单的心。 我说:"又吹喇叭了。姑姑可听见?"我姑姑说:"没留心。"我怕听每天晚上的喇叭,因为只有我一个人听见。 我说:"啊,又吹起来了。"可是这一次不知为什么,声音极低,绝细的一丝,几次断了又连上。这一次我也不问我姑姑听得见听不见了。我疑心根本没有什么喇叭,只是我自己听觉上的回忆罢了。于凄凉之外还感到恐惧。 可是这时候,外面有人响亮地吹起口哨,信手拾起了喇叭的调子。我突然站起身,充满喜悦与同情,奔到窗口去,但也并不想知道那是谁,是公寓楼上或是楼下的住客,还是街上过路的。 作品译文 Bugle Music from the Night Barracks Eileen Chang Ten o'clock at night, and I am reading a book by lamplight when the bugle in the army barracks near my home starts to play a familiar melody. A few simple musical phrases, slowly rising and then descending, with a purity of heart altogether rare in this vast crucible of a city. I say, "They're playing the bugle again, Auntie. Didn't you hear it?" My aunt says, "I wasn't paying attention." I am afraid of hearing that bugle every night, because I am the only one who ever listens to it. I say, "Oh, they are playing again." But for some unknown reason, this time the sound is very soft, as slight as a strand of silk, breaking off several times before once again picking up the thread. This time, I don't even ask my aunt whether she has heard it. I begin to doubt whether there really is a bugle at all or if this is merely a memory of something I've heard. Above and beyond my sense of desolation, I feel frightened. But then I hear someone outside whistling loud… -
Making People by Eileen Chang ~ 爱玲 《造人》 with English Translations
作品原文 张爱玲 《造人》 我一向是对于年纪大一点的人感到亲切,对于和自己差不多岁数的人稍微有点看不起,对于小孩则是尊重与恐惧,完全敬而远之。倒不是因为“后生可畏”。多半他们长大成人之后也都是很平凡的,还不如我们这一代也说不定。 小孩是从生命的泉源里分出来的一点新的力量,所以可敬,可怖。 小孩不像我们想象的那么糊涂。父母大都不懂得子女,而子女往往看穿了父母的为人。我记得很清楚,小时候怎样渴望把我所知道的全部吐露出来,把长辈们大大的吓唬一下。 青年的特点是善忘,才过了儿童时代便是把儿童心理忘得干干净净,直到老年,又渐渐和儿童接近起来,中间隔了一个时期,俗障最深,与孩子们完全失去接触——刚巧这便是生孩子的时候。 无怪生孩子的可以生了又生。他们把小孩看做有趣的小傻子,可笑又可爱的累赘。他们不觉得孩子的眼睛的可怕——那么认真的眼睛,像末日审判的时候,天使的眼睛。 凭空制造出这样一双眼睛,这样的有评判力的脑子,这样的身体,知道最细致的痛苦也知道快乐,凭空制造了一个人,然后半饥半饱半明半昧地养大他......造人是危险的工作。做父母的不是上帝而被迫处于神的地位。即使你慎重从事,生孩子以前把一切都给他筹备好了,还保不定他会成为何等样的人物。若是他还没下地之前,一切的环境就是于他不利的,那他是绝少成功的机会——注定了。 当然哪,环境越艰难,越显出父母之爱的伟大。父母子女之间,处处需要牺牲,因而养成了克已的美德。 自我牺牲的母爱是美德,可是这种美德是我们的兽祖先遗传下来的,我们的家畜也同样具有的——我们似乎不能引以自傲。本能的仁爱只是兽性的善。人之所以异于禽兽者并不在此。人之所以为人,全在乎高一等的知觉高一等的理解力。此种论调或者会被认为过于理智化,过于冷淡,总之,缺乏“人性”——其实倒是比较“人性”的,因为是对于兽性的善的标准表示不满。 兽类有天生的慈爱,也有天生的残酷,于是在血肉淋漓的生存竞争中一代一代活下来。“自然”这东西是神秘伟大不可思议的,但是我们不能“止于自然”。自然的作风是惊人的浪费——条鱼产下几百万鱼子,被其他的水族吞噬之下,单剩下不多的几个侥幸孵成小鱼。为什么我们也要这样地浪费我们的骨血呢?文明人是相当值钱的动物,喂养,教养,实在需要巨大的耗费。我们的精力有限,在世的时间也有限,可做,该做的事又有那么多——凭什么我们要大量制造一批迟早要被淘汰的废物? 我们的天性是要人种滋长繁殖,多多的生,生了又生。我们自己是要死的,可是我们的种子遍布于大地。然而,是什么样的不幸的种子,仇恨的种子! 作品译文 Making People Eileen Chang I have always felt close to people older than myself, looked down a little bit on people more or less my own age, and felt both esteem and terror when confronted with little children, from whom I deliberately maintain a respectful distance. This is not because I "fear the later-born," as the old saying goes. I imagine that, once they grow up, most of them will be quite ordinary and no better, in all likelihood, than my own generation. Children aren't as muddleheaded as we imagine them to be. Most parents don't understand their children, while most children are able to see right through their parents and understand exactly what sort of people they are. I remember how as a child I longed to reveal all that I knew, just so that I could shock and dismay my elders. The distinguishing feature of youth is the ability to forget, for as soon as we pass beyond childhood, we completely forget how children think, and it is only as we grow old that we once again grow closer to…
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