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Don Quijote |
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基本信息·出版社：W W Norton & Co Ltd
·页码：880 页
·ISBN：039397281X
·条形码：9780393972818
·装帧：平装
·开本：32开 Pages Per Sheet
·丛书名：Norton Critical Editions
·外文书名：唐吉珂德
内容简介 Publisher Comments:
The text reprinted here is based on award-winning translator Burton Raffel's masterful translation of Don Quijote, which is consistent, fluid, and modeled closely on the original Spanish.
Backgrounds and Context invites readers to explore the creative process that culminated in the publication of Don Quijote. Included are selections from works parodied by Cervantes (Amadis of Gaul and Orlando Furioso) and a portion of the spurious sequel to Part 1 written by Fernándes de Avellaneda.
Criticisms presents fifteen major interpretations of both the novel and selected episodes, describing Cervantes' intellectual milieu, revealing how he infused new life into the literary modes and motifs he had inherited, and illustrating the fundamental importance of Don Quijote in the history of modern fiction.
Synopsis
Part parody and part cautionary tale, "Don Quijote" is considered a literary masterpiece. This critical edition is based on Burton Raffel's translation that comes as close as possible to recreating Miguel de Cervantes' prose style - it is consitent, fluid and modelled on the original Spanish. Carefully selected background materials bring readers into the creative process that culminated in Don Quijote. Included is other writing by Cervantes as well as contemporary works by other authors and a modern account of the novel's influence throughout the ages. Fifteen critical essays present interpretations of both the novel and selected episodes.
From Library Journal
A translator of Horace, Balzac, Rabelais, and Salvador Espriu, as well as a theorist (The Art of Translating Prose, Pennsylvania State Univ. Pr., 1994), Raffel (Univ. of Southwest Louisiana) undertook the formidable task of translating Cervantes's masterpiece because he was uncomfortable recommending any of the existing translations. There are some real differences here. Raffel has junked the traditional transcription of Cide Hamete, the pseudoauthor, in favor of the less "colonialist" and more authentic Arabic, Sidi Hamid. Proper names that contain puns are explained within square brackets, and footnotes are kept to a minimum. A more vernacular style reigns: The blow on the neck and the stroke on the shoulder that dub Don Quijote a knight are, respectively, a "whack" and a "tap." The women at the inn, usually called "wenches," are "party-girls" or "whores." Sancho dreams that his "old lady" will someday be a queen and that his "kids" will be princes. In the proofs, "Castile" has been misspelled as "Castille," an oversight one would hope to see corrected in the final book. This is a lively alternative to the wide assortment of truly old-fashioned translations.
Book Dimension
Height (mm) 234 Width (mm) 142
作者简介 Miguel de Cervantes
Miguel de Cervantes (born Sept. 29?, 1547, Alcalá de Henares, Spain-died April 22, 1616, Madrid) Spanish novelist, playwright, and poet, the most celebrated figure in Spanish literature. After studying in Madrid, Cervantes joined the Italian infantry, fought the Turks at Lepanto, and was captured with his brother and sold into slavery in Algiers for five years. Back in Spain, his chronic financial problems and tangled affairs led to brushes with the law and brief imprisonment. While in tedious civil-service employment, he wrote the pastoral romance La Galatea (1585) and plays, poetry, and short stories, to small success. His marvelous creation Don Quixote (1605, 1615), brought immediate success and literary eminence, if not riches. It parodies chivalric romances of the day with the comic adventures of a bemused elderly knight who sets out on his old horse, Rosinante, with his pragmatic squire, Sancho Panza. Often considered the first and certainly one of the great novels, it has influenced many writers and inspired numerous creations in other genres and media. Cervantes also published a large set of eight comedies and eight interludes for the stage (1615) and the romance The Labors of Persiles and Sigismunda (1617).
媒体推荐 Spotlight Reviews
1. was once enthusiastic about this, but--, November 26, 2003
Reviewer: A. Moreno (East Point, Georgia USA)
I once thought very highly of this translation, and even recommended it to someone. I was thinking of buying it, and now after browsing it heavily in a bookstore, I'm glad I did not. I have opted for the Edith Grossman translation instead.
This translation could almost be called "'Don Quixote' for the Under-Thirty Crowd". I am all for modern translations of this great work, and I fully support the idea of modernizing antiquated language in a translation and avoiding sounding heavy or old-fashioned. This is NOT the same as a translator being so eager to make a version of a great work accessible to normally uninterested readers that the translation is purposely made in a TOO informal style.
The language of this translation is almost ostentatiously colloquial, and I'm not trying to be a snob about this. Even the narration is deliberately phrased in as colloquial a manner as possible. Contractions abound all over the place, not only in the dialogue, but in the narration--something I frankly don't remember any other author doing when he or she is writing in the third person. I am not criticizing the translation for not being accurate--it is highly accurate, with some very ingenious English equivalents for obscure phrases. But there is not a single sentence that does not use an informal style of writing, and if one wants to get picky about it, it is very difficult to imagine a very well-educated sixteenth-century gentleman like Don Quixote speaking like this.
And Raffel makes a catastrophic translation error at the beginning of the novel which apparently neither he, nor his editor, nor any critic has yet caught. In describing Alonso Quijana, the old gentleman who eventually becomes Don Quixote after going mad, Cervantes states something like "In short, the old gentleman so immersed himself in his books..", etc. Raffel actually writes, "In short, Don Quixote so immersed himself in his books", thus introducing the name "Don Quixote" in the narrative before Cervantes himself mentions it.
The fact that this error has not been pointed out by ANYONE is proof of how blindly overpraised this translation has been. It is accurate, but it is too eager to be "readable" rather than great.
2.Raffel vs. Grossman, March 21, 2005
Reviewer: davenport47
I've spent a bit of time comparing the early pages of Burton Raffel's decade-old rendition with Edith Grossman's brand new one. Both are excellent, so you can't go wrong---and I think either would be a better choice for most people than past translations. I've chosen Raffel's, though, based not only on word choices (and I think some people need to lower their antennae when it comes to things such as Sancho referring to his "kids", which seems quite natural), but on Raffel's better balanced, more focused style, and his clarity of phrasing (which also involves word choices). Raffel's style overall is traditional. Grossman seems to jump between the literal, which is sometimes confusing, and the breezy and modern, which is enjoyable but not as wry and witty as Raffel's balanced approach.
For example, Grossman's description after our hero has tried to grapple with the philosophical convolutions of de Silva: "With these words and phrases the poor gentleman lost his mind, and he spent sleepless nights trying to understand them, and extract their meaning. . . ." Raffel writes: "Arguments like these cost the poor gentleman his sanity; he'd lie awake at night, trying to understand them, to puzzle out their meaning. . . ." A minor example, but with Raffel's rhythm and word choice you can almost visualize the old fellow lying awake trying to "puzzle out" the "arguments"---not just "words and phrases," per se. Raffel is often more subtly attuned. Notice also that "cost the poor gentleman his sanity" is not as modern-sounding as "lost his mind." So don't think that because Raffel uses a few modern word choices for the sake of vigor that he's less distinguished.
Grossman again:
"His fantasy filled with everything he had read in his books, enchantments as well as combats, battles, challenges, wounds, courtings, loves, torments, and other impossible foolishness, and he became so convinced in his imagination of the truth of all the countless grandiloquent and false inventions he read that for him no history in the world was truer."
Raffel:
"He filled his imagination full to bursting with everything he read in his books, from witchcraft to duels, battles, challenges, wounds, flirtations, love affairs, anguish, and impossible foolishness, packing it all so firmly into his head that these sensational schemes and dreams became the literal truth and, as far as he was concerned, there were no more certain histories anywhere on earth."
Grossman's sentence is more difficult to scan, and less concrete. Raffel's clear, no less fine prose in paragraphs like this brings the character of Don Quixote to life.
Customer Reviews
1.A review of the book and of this particular translation., December 28, 2005
Reviewer: Ollokot (Utah)
Reading Don Quijote was one of my goals for 2005. I did a lot of research in order to decide which translation to read. I was less interested in the faithfulness of the translation as I was in its readability while generally adhering to the overall faithfulness of the story and the message of the original book. This translation did not disappoint me. It was very readable and I am confident that my reading experience was as good as possible. The language is quite modern, which only bothered me very slightly. For example, we all know of Don Quijote as "the Knight of the Woeful Countenance", but in this book he is merely "the Knight of the Sad Face". Of course they both mean the same thing, but no one today would refer to someone as having a "woeful countenance".
As for the book itself, I very much enjoyed it - especially Volume II which was published 16 years after Volume I. Readers should be aware that this novel is very different from the musical play "Man of La Mancha" - a great play with a great message, but only very loosely based on this novel.
2.Raffel's Translation, January 3, 2004
Reviewer: TANG KAI CHEONG (Hong Kong)
As other reviewers have said, Raffel's rendition is too Americian-colloquial. Indeed all his translations suffer this problem. Just read his Rabelais.
Mr. Raffel is no doubt a very talented man; no American literary translator, as far as I know, directly translate so many different languages into English: Old and Modern French, Saxon, Latin, Spanish, Catalan, Indonesian...but I think his indulgence in Americanism prevent him from being an even greater translator.
Lastly, one has to appreciate any effort of rendering Cervante's Spanish into English, which is no less impossible than putting Dante into German, considering the huge differences between Romanic and Germanic languages.
