Chapter 13 "Translations under the wall" 〔1〕

"Translations under the wall" 〔1〕 small quotes [2] This is a miscellaneous collection of books about literature and art that have been translated in the past three or four years. Some of them were urged by acquaintances, and they were translated to meet their responsibilities;This time it was reprinted into a book, and the content was not selected. If there is something that was published in the newspaper but not here, it is because I lost the manuscript or printed copy. The essays in the book are not the masterpieces of each era.If you want to translate some foreign works, there are many restrictions.The first is books. Living in a place where new books are extremely rare even though it is a big city, one must not have a wide range of knowledge.The second is time. Due to the many miscellaneous tasks, I can only divide a small amount of time to read every day; and I often have the feeling of taking refuge. When the work is heavy, the translation time is laborious, or the readers may find it difficult and annoying. , put it down.

After editing this time, there are only twenty-five articles, and two-thirds of them have been published in various journals.There are ten authors, all of whom are Japanese except for Kebel [3] from Russia. It is not enough to enumerate their deeds here, but I just want to make a statement: Among them, Shimazaki Fujimura[4], Arishima Takero, and Musha Koji Shitoshi are all engaged in creation. As far as the arrangement is concerned, the above two-thirds—excluding the texts introducing Western literary and artistic trends—all the articles that advocate are based on older arguments, and even the new title "New Era and Literature"[5], It still belongs to this class.In the past year, many papers published in China in response to the call for "revolutionary literature" have not been able to pierce this old shell, and even stepped on the ladder of "literature is propaganda" [6] and climbed into the castle of idealism. in.It is very useful to read these articles.

The latter third is finally related to emerging literature and art.Although Professor Shinobu (7) in the film has many critics after his death, I always love his solid and enthusiastic views.A little bit of the debate with Takero Arishima [8] is also included here, so that we can see where the ideas of the two factions who stick to their own class and the opposite faction lie.The last article [9] is just an introduction. At that time, three or four translations were published successively, so this was put aside, and it is still attached at the end of the volume. Because it was not translated all at once, most of the original books are no longer in hand, and when it is compiled and printed, there is no way to review them one by one; but if there are mistakes, it is naturally the responsibility of the translator, and there is no objection to it. .Also, last year, when "revolutionary writers" [10] gathered together to "propaganda" my personal trifles, they said that I would translate a thesis.That's true, it's this one, but not all of them are new translations, most of them have been "straightforward and published". Even in my own opinion, I can't tell how brilliant the book is.But I never want to translate masterpieces that have already been evaluated in the world, and attach immortal ones. If readers can get a little reference for the introduction and a little understanding of the advocacy from this miscellaneous book, their wish will be fully satisfied.

The written pictures, like the articles in the book, were purchased from the Japanese book "Pioneer Art Series". On April 20, 1929, Lu Xun graduated from school in Shanghai. ※ ※ ※ 〔1〕"Micha Translation Collection" is a collection of literary essays translated by Lu Xun between 1924 and 1928, published by Shanghai Beixin Bookstore in April 1929.A total of 25 papers were collected, 17 of which were published in newspapers and periodicals at that time before compilation ("Wang Yuan" weekly, "Yusi" weekly, "Wang Yuan" semi-monthly, "Fiction Monthly", "Monthly", "Dajiang" Monthly", "National New Daily" supplement).

〔2〕 This article was originally printed in the booklet of "Picture Translation Collection". [3] Kebel (R. von Koeber, 1848-1923) German writer.Originally from Russia, he studied music in Moscow in his early years, and later studied abroad in Germany. After graduation, he served as a professor at Tokyo Imperial University in Japan. He retired in 1914 and devoted himself to writing. 〔4〕Shimazaki Fujimura (1872-1943) Japanese writer.Originally named Haruki Shimazaki, his works tend to be naturalistic. He wrote poems in his early years and later wrote novels. 〔5〕An article in "New Era and Literature and Art" and "Mikata Translation Series", written by Japanese literary critic Tsukumizu Kaneko.

〔6〕The phrase "literature is propaganda" comes from the book "The Art of Worshiping Money" by the American writer Sinclair.Lu Xun said in "Three Idle Collections: Literature, Art and Revolution" (Fudong Fenxin): "The American Sinclair said: All literature and art are propaganda. Our revolutionary writers once regarded them as treasures and printed them in large characters. ". [7] Nobu Katagami (1884-1928) Japanese literary critic and Russian literature researcher.Graduated from Waseda University in Japan, studied in Russia, and visited the Soviet Union in 1924.Author of "Russian Literature Research", "Russian Reality" and so on.

[8] The debate between Nobu Katagami and Takero Arishima mentioned here can be seen in Nobu Katagami's "The Problem of Class Art" and Takero Arishima's "Manifesto One". [9] The last article refers to Sheng Shumeng's "Recent Goriki". [10] "Revolutionary writers" refers to some people from the Creation Society and the Sun Society at that time. Translator's Notes on "The General of the Spanish Theater" [1] Because I remember that the fourteenth volume of "Novel Monthly" [2] contains "The Flower of Passion" by Pena Wende [3], so I translated this article from "Towards the Crossroads" for readers' reference.On October 31, 1924, the translator knew.

※ ※ ※ 〔1〕This article, together with the translation of "The General Star of the Spanish Theater", was originally published in the first volume of the sixteenth volume of the "Novel Monthly" in January 1925, and it was not included in the separate edition. [2] "Novel Monthly" was founded in Shanghai in August 1910 (the second year of Xuantong in the Qing Dynasty), and was published by the Commercial Press.It was once one of the main publications of the Mandarin Duck and Butterfly School.From the first issue of the twelfth volume in January 1921, it was successively edited by Shen Yanbing and Zheng Zhenduo, reformed the content, published new literary creations and introduced foreign literature, and became a publication of the Literature Research Association.From December 1931 to Volume 22, No. 12, publication ceased.

[3] Benavente (J. Benavente, 1866-1954) Spanish dramatist. At the beginning, he wrote lyric poems and novels, and later engaged in drama activities, writing more than one hundred plays. "Flowers of Passion" is a translation of "Markerida", which is a tragedy written by him in 1913. "Browsing and Selection of Novels" Translator's Notes [1] Dr. Raphael Koeber is a Germanic Russian, but in his writings he still claims to be German.He was a lecturer at Tokyo Imperial University in Japan for many years. When he resigned, the students collected and printed a book for him as a commemoration, called "Kleine Schriften" (Kleine Schriften).Among them is "Questions and Answers" [2], which is an answer to various questions from several people.This is another section, the subtopics are "On the Reading of Novels" and "The Best Novels I Think".Although the basis of his views is classical and secluded from the world, they are also very accurate and pertinent, and they are much newer than Chinese scholars who think they are new.Now it is translated from the translation of Fukada and Kubo Ershi [3] for the reference of young people.

October 12, 1925, translator's note. ※ ※ ※ [1] This article, together with the translation of "Browsing and Selection of Novels", was originally published in the forty-ninth issue of "Yusi" weekly magazine on October 19, 1925, and was later printed in "Mixia Translation Collection". attached to the translation. [2] "Questions and Answers" should be "Questioners". 〔3〕Fukada and Kubo refer to two students of Keipel, Fukada Yasusuke (1878-1927) and Kubo Taketo (1883-1972).They translated the book "The Collection of Dr. Kebel's Essays", which was published by Iwanami Shoten in Japan in 1918.

Notes to the Translator of "The Later Years of Lubok and Irina" [1] It was published in "Article World" [2] in January 1920, and was later included in "Little Lamp" [3].It was translated in Shanghai in 1927, one hundred years after Ibsen's birth and twenty-two years after his death. ※ ※ ※ [1] This article, together with the translation of "Lubok and Irina's Later", was first published in January 1928, No. 1, Volume 19, of "Novel Monthly", and was later included in a separate volume. Lubbock and Irina are the two main characters in Ibsen's last play (written in 1900), When We Dead Reborn. 〔2〕"Wenwen Shijie" is a Japanese literary magazine, a monthly magazine, founded in March 1906, and renamed "New Literature" in January 1921, edited by Tianshan Hanabou, advocating naturalism. [3] "Little Lamp" is a collection of literary essays by Japanese writer Takero Arishima. 〔4〕Ibsen (H. Ibsen, 1828-1906) interpreted Ibsen, a Norwegian dramatist.He participated in the Norwegian National Independence Movement when he was young, and began writing in 1848. His main works include "Pillars of Society", "A Doll's House" and "An Enemy of the People". Translator's Notes on "Principles of Norse Literature" [1] This is a speech given by Mr. Pian Shang [2] on his study tour in Russia six years ago, when he passed by Beijing, and gave a speech at Peking University; the translator also went to listen to it at that time, but there were notes published in publications later, but he couldn’t remember it. Clear.In March of this year, the author passed away. A copy of the essay was published as a posthumous work. Sometimes the speech is rather tortuous and obscure, and several parts are not connected.Among the several works cited, except for [3], there are now translations in China, which are easy to use for reference.Now write as follows—— "Puppet Family", translated by Pan Jiaxun [4].In volume one of The Ibsen Collection. One of "World Series" [5].Issued by Shanghai Commercial Press. "The Lady of the Sea" [6] (renamed "The Woman of the Sea" in the text), translated by Yang Xichu. One of "Gongxueshe Series" [7].The issuer is the same as above. "Story of Dumb Ivan", translated by Geng Jizhi [8].In Tolstoy's Short Stories. The issuer is the same as above. "Twelve", translated by Hu Xue [9]. One of "Wei Ming Series" [10].Published by Beijing Beixin Book Company. October 9, 1928, translator's notes. ※ ※ ※ 〔1〕 This article, together with the translation of "Principles of Nordic Literature", was originally printed in "Mixia Translation Collection". 〔2〕Mr. Pian Shang is called Pian Shang Shen. [3] A short poem written by Gerasimov (L.Q.MIHNXPmTJ, 1889-1939), a poet of the early Soviet literary group "Forge", has a translation by Studio (Feng Xuefeng), and is included in the translated poem collection "Liu Bing". It was published by Shanghai Water Foam Bookstore in February 1929. 〔4〕"The Puppet Family" also translates "Nora" and "A Doll's House", a play written by Ibsen in 1879.Pan Jiaxun, courtesy name Jiequan, was born in Wu County, Jiangsu Province, a member of Xinchao Club, and once taught at Peking University.It has translated the first and second episodes of "Ibsen Collection", and collected five scripts in total. 〔5〕"World Series" A series of books advocated by the Shanghai Commercial Press in the 1920s for the New Culture Movement, including "Modern Novels Translation Series", "Modern Japanese Novels Collection" and so on. 〔6〕The Lady from the Sea is a play written by Ibsen in 1888. 〔7〕 "Gongxueshe Series" is a series of books advocated by the Shanghai Commercial Press in the 1920s for the New Culture Movement, among which there are many translated Russian novels and ten "Russian Opera Collections". 〔8〕Story of Dumb Ivan is a work rewritten by Leo Tolstoy based on folk tales. The Chinese translation is included in Tolstoy's Short Stories Collection, which is one of the Gongxueshe Series, co-translated by Qu Qiubai and Geng Ji .Geng Jizhi (1899-1947), born in Shanghai, one of the founders of the Literature Research Association, a translator, has translated many novels by Tolstoy and Dostoevsky. [9] The long poem "Twelve", written by the Russian poet Blok (E.E.aUT], 1880-1921), translated by Hu Xue, edited by Lu Xun, published by Beijing Beixin Book Company in August 1926, as a One of the "Unknown Series".Hu Xue, that is, Hu Chengcai, was born in Longyou, Zhejiang Province. He graduated from the Russian Department of Peking University in 1924 and studied in the Soviet Union. 〔10〕"Wei Ming Series" A series of books edited by Lu Xun, specializing in translated literature, first published by Beixin Book Company, and later changed to Beijing Wei Ming Press. "Principles of Norse Literature" Translator's Note II (1) The professor in the film passed by Beijing, and I was also listening to the public lecture at Peking University, but I can't remember whether the translation of the lecture was published in the newspaper at that time.After his death this year, there was a "Lucia Literary Research" [2] published, which included this article, which was translated in Sanxian's time [3] and compiled into "Mixia Translation Collection".Now that "Yi Cong" has not been printed for a while, but in the first issue of "Dajiang Monthly", Mr. Chen Wangdao [4] just mentioned this lecture, so he took it out and published it first. It seemed timely and lazy, isn't it? You can kill two birds with one stone! Although this speech was not very profound and difficult to understand, at the time, it seemed to have no great effect.Because at that time, even Cheng Fangwu, the commander of "revolutionary literature", was still guarding the "Palace of Art" [5], and Guo Moruo had never turned "a somersault" [6], let alone those "leisure literature" class" [7]. Several of the books mentioned, except, now have translations in China:— "Puppet Family" translated by Pan Jiaxun, in Volume 1 of "Ibsen Collection".Issued by Shanghai Commercial Press. "The Lady of the Sea" (renamed "The Woman of the Sea" in the text) translated by Yang Xichu.The issuer is the same as above. "Story of Dumb Ivan" translated by Geng Jizhi and others, included in Tolstoy's Short Stories Collection. The issuer is the same as above. "Twelve" translated by Hu Xue. One of the "Unknown Series".Published by Beixin Book Company. It is easy to find people who know carefully.But this year it seems that "contradictions" are taboo. It is not fashionable not to scold Tolstoy for "contradictions"[8]. ], while selling "The Sorrows of Young Werther" and "The Rubaiyat" [10], pouring things that "reflect the consciousness of the ruling class for the ruling class to do its own work" [11] into those who are frightened Busy to go to the "revolutionary background Tie Li Geng Chaiya" [12], make them "fall behind" [13], so "send them away" [14], this is not a contradiction, it is a revolution. "Lu Xun doesn't understand historical materialism" [15], but "on the sidelines" [16], it seems that giving poison to "comrades" is also a "strategy" of "new literature and art". I just said last month that I would not complain in the "Dajiang Monthly", but unexpectedly, if I wrote a little tail, the old disease would recur. On the night of November 1, 1928, the translator met in Shanghai more than a hundred steps away from the foreign concession. (18) ※ ※ ※ [1] This article, together with the translation of "Principles of Nordic Literature", was originally published in the November 1928 issue of "Dajiang Monthly", and was not printed in "Mixia Translation Collection". 〔2〕 "Lucia Literary Research" is "Russian Literary Research", a collection of literary essays written by Shen on the film. 〔3〕San Xiancheng Fangwu once discussed the theory of "interesting literature" in "Completing Our Literary Revolution" (published in the "Flood" semi-monthly magazine, Volume 3, Issue 25, January 16, 1927) : "From the current literature and art centered on interest, we can know that there must be a keynote of life centered on interest behind it... what it reserves is leisure, leisure, and the third leisure." Three leisure refers to this . [4] "Dajiang Monthly" comprehensive magazine, edited by Chen Wangdao, first published in October 1928, and closed until the third issue in December.Chen Wangdao (1890-1977), born in Yiwu, Zhejiang, studied in Japan and studied social science and linguistics.Author of "Rhetoric", translated "Soviet Russian Literary Theory" and so on. [5] Cheng Fangwu, a native of Xinhua, Hunan, is a literary critic.One of the main members of the Creation Society, and has long been engaged in party education. "Guarding the 'Palace of Art'" refers to his advocacy in literature between 1922 and 1923 to pursue "wholeness" and "beauty" in art for art's sake. The original language of "Palace of Art" comes from the British poet Tennyson, who wrote an allegorical poem on this topic. [6] Guo Moruo (1892-1978) was born in Leshan, Sichuan, a writer, historian and social activist.One of the main members of the Creation Society. "Never turned 'a somersault'" means that he hadn't implemented the "direction change" as he himself said later. (See his "Echo of the Phonograph", No. 3 of "Cultural Criticism", March 1928.) [7] "Leisure Class" Li Chuli quoted Cheng Fangwu's "three "leisure" said, "In modern capitalist society, the leisure class is the rich class." Lu Xun said in "Three Idle Collections: Obscurity in "Drunk Limit"" that Li Chuli's statement was intended to "seem to squeeze me into the 'bourgeoisie'". [8] Tolstoy's "contradiction" Feng Naichao once talked about "Tolstoy's Contradictions of opinion". 〔9〕The transliteration of "Proletariatideology" in English Proletariatideology (proletariat ideology). 〔10〕The Sorrows of Young Werther is an epistolary novel written by the German writer Goethe. It describes the love tragedy of the bourgeoisie.This refers to Guo Moruo's translation, which was published by Shanghai Taidong Bookstore in 1921. "Rubaiji", a collection of four-line poems by the Persian poet Omar Khayyam (Omar Khayyam, 1048-1123), the content is against religion and monks, and advocates pleasure and freedom.This refers to Guo Moruo's translation, which was published by Shanghai Taidong Bookstore in 1922.Rubai, a Persian quatrain. [11] See Kexing's article "Criticizing Ganren's "La Za Yi"" (published in the second issue of the second volume of "Creation Monthly" on September 10, 1928): "No matter what class the writer is Man, before he uses scientific methods to concretely analyze the general phenomena of historical society and explain the actual movement of society, he will inevitably be unable to overcome the ideology of all the ruling classes, and his works must reflect the ruling class. Consciousness of class, for the dominant class to do the work of consolidating its rule." 〔12〕The transliteration of Indian English Intelligentsia (intellectuals). [13] "Outdated" Shi Housheng (Cheng Fangwu) once said in the article "After all, it's just 'drunk eyes'" (published in the eleventh issue of the first volume of "Creation Monthly" on May 1, 1928) From Lu Xun's "drunken eyes and intoxicated", "it can be seen that Yin Tie Li Gengchai, who is outdated by the times, abandons himself". [14] "Send them away" see Cheng Fangwu's article "Send them away" (published in the second issue of the monthly "Cultural Criticism" on February 15, 1928): "Ideologically, all feudal Thoughts, bourgeois roots and their spokesmen are checked out, give them a correct evaluation, pack them up, and send them away.” [15] "Lu Xun does not understand historical materialism," Du Quan (Guo Moruo), in the article "The Remnants of Feudalism on the Literary and Art Front" (published in the first issue of the second volume of "Creation Monthly" on August 10, 1928), It goes without saying that Lu Xun "needless to say he did not understand dialectical materialism at all". [16] "On the sidelines" see Aying (Qian Xingcun)'s article "After the Obscurity" (published in the first issue of the monthly magazine on May 20, 1928), he said: "Today's Lu Xun is really pitiful. This is the attitude of a bystander to the revolution. It is also the root cause of Lu Xun's inability to find a way out." 〔17〕 "The one who comes can still be chased" see "The Analects of Confucius Weizi": "The past can't be persuaded, but the comer can still be chased." [18] In the first issue of the second volume of "Creation Monthly" (August 10, 1928), there was an article "Reactionary Forces in the Literary and Art Circles" signed by Liang Ziqiang, saying that Lu Xun's "mansion was at the entrance of the concession, Although it is China Street, in case of danger, you can still easily escape to the concession." Here Lu Xun deliberately teased it.