Faust is the pinnacle of German literature, with high literary value and a high reputation in the history of world literature. At present, the study of Faust in the academic circles is mostly limited to the first part because of the huge content involved in the second part and the difficulty of translation, and it is difficult to carry out in general generalities. Professor Gu Yu of Peking University is a top translator who has been studying Faust for more than ten years, referring to the authoritative version of German annotations, conducting vertical and horizontal research, and completing the translation and annotation of the second part.
Chinese have a detailed annotated version of Faust! This book overcomes the drawbacks of Mr. Guo Moruo's excessive translation of the classic version, strives to transfer the translation according to the facts, restores the style of the lines to the greatest extent, and takes into account the authority and readability. Poetry body translation, suitable for script interpretation, with a large number of annotations, young people can read barrier-free.
The second part of Faust was composed between 1825 and 1831, and the second part was composed between the ages of 76 and 82, condensing his lifelong practice and thinking. The second part staged the "big world", that is, the public sphere of affairs, involving a wide range of forms of government, economic and financial, academic academics, historical changes, military operations, sea and land reclamation, overseas plunder, etc., all put on the stage, including the Goethe era and even the entire modern history, Germany and Europe important events.
[De] Goethe by Gu Yu Translation
ISBN：978-7-100-20371-5
Published by the Commercial Press in January 2022
Translator's Order
Since Guo Moruo's translation of Faust I in the 1920s, Goethe's Faust, including full and selected translations, has been translated into more than a dozen translations. Unfortunately, since the first translation, time has passed, nearly a hundred years, and the study of Faust has not really begun. What has been done, either limited to the first part or in general terms, is based on a few aphorisms and aphorisms, fixed in the programs of "Faust's enterprising" and "Faustian spirit", and has not been stripped of its own mold and expanded.
The reason for the stagnation is that Gein's Faust is difficult to read, and the second part is even more so. The second part was composed between 1825 and 1831. Born in August 1749 and died in March 1832, Goethe's second work, between the ages of 76 and 82, condenses his life's practice and thinking. The second part staged the "big world", that is, the public sphere of affairs, involving a wide range of forms of government, economic and financial, academic academics, historical changes, military operations, sea and land reclamation, overseas plunder, etc., all put on the stage, including the Goethe era and even the entire modern history, Germany and Europe important events. Moreover, the scene of human society is reflected by analogies with the natural sciences at that time, such as the revolution according to the principles of fire, earthquakes, and geological geomorphology; the use of alchemy and ancient methods to mix inorganic chemistry to create artificial man; and the classification of clouds in meteorology, reflecting the layers of soaring to the celestial realm. The flourishing humanities discourse, scientific and technological means, and archaeological discoveries of ancient Greece in the Goethe era are also contained in them.
In a word, Faust, especially the second part, non-American literature, if it does not have the corresponding knowledge, does not have a good German annotated version of the reference, does not conduct vertical and horizontal research, then even does not know the line cloud, and then it is difficult to grasp the translation of it. If there is no appropriate translation, it is no wonder that the study has not been in-depth. One or the other. Another obstacle lies in the dramatic form of Faust. Faust is a play written in poetry marked with rich stage cues, which Goethe wrote for staging purposes. However, "Faust" is not a drama, but many scenes and fields, which are self-contained and self-contained. As far as the second part is concerned, it is called five acts, which is not a five-act in the sense of classical drama. And there are multiple stage expressions such as singing, opera, dance, double reed, mime, etc., and the lines are related to the performance, if you do not watch the performance, it is difficult to understand its meaning. This is the second.
Due to these two major difficulties, coupled with the lack of objective conditions, it is inevitable that no matter how the predecessors or peers can concentrate on translating, they will inevitably be overwhelmed. Fortunately, in 1994, Mr. Xue Ne, a senior German commentator on "Faust" and a professor at the University of Göttingen, published a detailed annotated version of "Faust", which by 2017, it had been revised to eight editions; in 2000, director Stein changed the practice of only staging the first part, and worked hard to put the second part on the stage, finally giving people a glimpse of the whole picture of the human drama of "Faust".
Based on a new note and a full-length performance, in 2012, he was influenced by Professor P. Krusmann of the University of Bochum, Germany, under the influence of the German tutor on the day. G. Klussmann, 1923-2019), and Mr. Fan Dacan, a senior in the study of Faust at Peking University, and encouraged by Brother Liu Xiaofeng, tried to annotate Faust while teaching Faust. One out of my own curiosity, the other out of my professional and professional duty. As soon as he acted, he was in trouble. At that time, it was planned to use Guo Moruo's translation. Among the many translations, the translation of Shuguo is the most evocative, and the literary style is remarkable, which is familiar to the readers of "Faust" in China. The trouble lies in the fact that Guo's translation is mostly a translation, and it is difficult to find the corresponding text when commenting, and almost every place must be translated again to the original appearance, supplemented by explanations. After a few paragraphs, the page has blurred. Where is the reading aid, it is clear that it is to add more miscellaneous things to the reader.
So I had no choice but to translate myself. Over the years, over time, it became today's trial translation. Because I deeply regret that the second part is important, but it is difficult to understand, and then it is often ignored, so I start with the second part. The translation is not talented, but I try to take care of the following two points:
One is to strive for trustworthiness. It is also for the reason of annotations. Without this, the content of the annotated words will have no place. Although the translation is good and the reading is smooth, it is also suspected of ignoring the special culture and way of thinking of Westerners, which hinders the actual understanding of the essence of Western civilization. As big as translating the concept of Christianity with the concept of Buddha's interpretation, as small as translating the real text with the culture of love and beauty, beauty is beautiful, but finally understanding the West is useless.
The second day strives to conform to the original line style, that is, to conform to the characters and stage scenes. Faust's lyrics are for stage performances and need to be catchy. There are many characters and rich layers in his plays. Up to the emperors, down to the people of the city, up to the angels, down to the witches, up to the immortals, down to the charms. In terms of theatrical form, there are solemn dramas, burlesque dramas, laughing farces, popular dramas with dozens of people, and ancient Greek sheep dramas with three or four actors on the stage. In terms of poetic forms, there are pseudo-ancient Greek double-three-tone steps without rhyme, and there are vulgar objects similar to smooth mouths. Elegant and vulgar, elaborate and vulgar, Goethe style changes, tension has a degree, and there is more than enough to deal with.
However, many translations, but ignore the character scenes, see the poem will be obsessed with elegance, so that the ghost mouth to occupy the word endowment; or a rhyme to the end, let an angel spit out oil poems; or let the clown Mephistopheles, Wen crepe crepe his humorous and quirky words, a serious white of his yin and yang weird lines. This submerged the language level of the original play, and destroyed the ingenuity and sentiment. However, just like Guo's translation, especially in all kinds of odes, ancient poems such as poems such as Chu Ci are like shadows, and my generation's skills are not caught. Only according to the truth of the translation, plain and easy to understand, the line has more than enough power, a little rhythm. But in fact, it is nothing more than prose in the form of poetry lines. The length of the poem is roughly compared with the original text.
Poetry has a grid, common such as suppressing Yang Ge, Yang Suppressing Grid, Suppressing Yang Yang Ge, Yang Suppressing Grid, slightly equivalent to our Pingping, Pingping, Pingping, etc., is a small unit in the poetry line; poetry has a law, common such as four-tone step, five-tone step, six-tone step, etc., that is, to count, there are several small units of grammar in a poetry line; poetry also rhymes, common such as pair rhyme, cross rhyme, ring rhyme, no rhyme, lone rhyme, etc. Then it is composed of different combinations of rhythm and rhyme, and sometimes with special content, to form different poems. Each poetic style has its origin, inheritance, and literary historical background. Therefore, the poetic form alone carries a lot of information. As far as poetry is concerned, form and content are not divided into tables. Characters, their identities (kings, people, angels, devils), historical eras (ancient Greece, the Middle Ages, Goethe's era), colors (witty, serious, stereotyped) can be reflected in their use of poetry, or for different roles and scenes, the author will be accompanied by corresponding poetry. - Unfortunately, due to the differences between Chinese and Western languages, the artistic characteristics of the original text can hardly be reflected in Chinese.
The notes, explanations, and brief commentaries of this trial translation are mainly referred to Xue's notes. Xue Ne is known for his large academic team, modern electronic technology and information technology, and is known for having sufficient internal evidence and comprehensive original and research literature. However, all the annotations are not bound to be related to the position of the commentator himself, and some places are considered to be debatable, especially when it comes to the differences in perspective and culture; and the Hamburg edition of the annotations is also included. The Hamburg edition of the note, from Xue Ne's generation, adheres to the tradition of intellectual history, the language is compact, condensed and thick, and is supplemented by special research literature, dictionary encyclopedia. However, the annotations of German scholars are mostly aimed at the German academic community, and the parts that are familiar to German readers will not be repeated. From experience, it is often this part that becomes our blind spot. Therefore, according to my own judgment, I have added many short notes that are not recorded in the German annotated version, but are helpful to readers in cross-cultural contexts such as me. Keep it simple and concise, taking into account readability. He also borrowed the advantages of poetry lines and used side notes. If the side note does not fit, or if the explanation needs to be extended, a footnote is placed. Comments are based on informative explanations.
The brief "explanation" at the front of each scene is for the solution of the problem, as well as a brief explanation of the written history, plot, poetry and drama. Most of the scenes are "brief comments" behind the scenes, summarizing the problems involved in the scene and adding comments. In the original play, the stage prompts are given in imitation Song style; the side notes are given in small characters; the side notes cannot be tolerated, or the explanation of nouns and concepts is placed in footnotes.
This note is intended to correct several misconceptions. The first is aimed at Goethe's Germanness, highlighting that Goethe is German, but also European, in the European literary and cultural tradition. If you cling to its German nature, you will not be able to face and grasp the pattern of Faust. Needless to say, in the Goethe era, the modern German state had not yet been formed, and his works involved medieval and modern history, which also belonged to the European framework, not to mention the European literary program that was full of European literary programs and dialogues with European ancient and modern literature.
Second, some modern scholars in Germany are accustomed to examining the things during and before the Enlightenment from the perspective of the Post-Enlightenment, resulting in a dislocation in interpretation. As far as the second part of Faust is concerned, it is a typical Baroque encountering enlightenment: presenting the world and life, encountering fantasies and speculations; the public sphere, political life, encountering the private sphere, individual emotions. The result must come at the expense of the publicity and diversity of Faust's plays, and the castration of the witty and humorous "jokes" (Goethe's own words). Until a drama becomes the opportunity for boring interpreters to generate empty speculation. We also try to save trouble, indiscriminately, and accept it according to the order, and we will be wrong. As everyone knows, reading "Faust", Gairu reading "Dream of the Red Chamber", is not really about summarizing what to extract, but about entering that world, appreciating the beauty of the poetry in the details, the subtlety of the layout, the meaning of life, and the ignorance or wisdom of human beings in handling public affairs.
Third, Goethe is speculative, but never confined to speculation. His speculation is different from the idealistic philosophy of his time, and is based on a magnificent range of facts, historical facts, reality, and knowledge. The presentation of the latter by the play is tantamount to that of a desert ostrich, which is less than one in "Faust". For example, the Helen play in Faust, which used to be called the "tragedy of beauty", actually ran through the ancient Trojan War, the medieval Crusades, and the Greek liberation war against Turkey in the first half of the 19th century. Goethe claimed that it condensed three thousand years of history. The so-called "idea of beauty" is not mentioned. If you focus only on ideas, you should not read Faust, watch his performances, or just read the theory. Moreover, in the event of a divergence of interpretation, the meaning of a certain statement is briefly listed. As for the analysis of hair and hair, it is a matter of opinion and wisdom, so it is left for scholars and readers to study deeply on their own. And the differences in interpretation, as far as the second part of Faust is concerned, are indeed not in the minority. The second part of Gein deals with the major political and historical events of the times, perhaps forced by the current situation, or to avoid ink lawsuits, or afraid of being criticized by radicals, such as for sensitive issues such as revolution and restoration, progress and conservatism, new and old, etc. The author is obviously detouring, covering up his position, and writing more in subtlety. This creates blurred imagery. In addition, at the time of the alternation of the old and the new, individuals face the times and face themselves, and hesitate between choices and choices, which is the common sentiment of people, and the elderly Goethe seems to be inevitable. All of this is an interpretation based on different positions, leaving plenty of room.
However, if you want to understand Goethe's original intentions, you need to consider through the text and think about it repeatedly; you need to start the basic philological method, go through the manuscripts, addenda, and editions, supplemented by mutual verification with self-commentaries, letters, conversations, and even other works; you need to follow Goethe's knowledge reserves, hook and sink; you need to analyze the pattern of the times; you need to reflect on the current trend of thought. Whichever item you enter, it's like jumping into a bottomless pit. Therefore, the translation and annotation of Faust need to be learned from generation to generation, passed on from generation to generation, and not one person can do it.
"One day, if all literature disappears from the world, people may be able to reconstruct it." In a letter to Schiller of 28 January 1804, Goethe praised Calderón's plays. As Schöne put it, "But any work in world literature that can be evaluated with good reason is none other than Goethe's own Faust." "Faust's poetic and dramatic form, linguistic rhetoric, is all-encompassing, and it is enough for future generations to rebuild the literary edifice. But it's not just literature. Faust is also all-encompassing from the ancient Near East, ancient Greece, through the Middle Ages, to the Goethe era, from the orthodox political order to the folk history, and along its trajectory, it is enough to restore half of the history of Western culture.
From the point of view, the translator or the commentator, must achieve the same amount of knowledge and thought as Goethe, in order not to dishonor this classic, the immortal masterpiece. Ordinary people can not reach, then they can only do it with effort; if they try to do it, it is difficult to have an end. Although I feel that after a long period of hard work, I will gradually produce a certain tacit understanding with the author, a certain ineffable heart with a sharp mind, but there is still no need to hide, there are countless places in Faust, which are my own academic, thinking, and pen strength, which cannot be achieved. In addition, there are many meanings and secrets in the original drama, and I dare not try to spy on it. For that is the mystery of Goethe, the mystery of the universe and of life. In this regard, the translation only gives a literal meaning. The rest remain silent in awe.
Knowing his own shallowness, he said "trial translation". Until January before his death, Goethe's elderly family was still listening to the recitation and revising it in his own handwriting; Mr. Schöne was added and revised 7 times in 23 years. According to this, the translation of Faust of my generation is destined to be a persistent attempt again and again. If the analogy is given to the final scene of Faust, it is likely that most of the translators of Faust will go through a process of ascension under the guidance of Goethe and his predecessors in the academic world.
The play "Faust" plays the paradox of human ambition and limitation. This translation work made me feel very close to it. Because of the limited ability, the humble translation is doomed to be full of mistakes, and those who are comforted may be able to throw bricks and stones with this piece of brick and stone. If you are fortunate enough to correct it, even if it is a word of teaching, you will be grateful. After all, translating the classics is the common cause of all scholars.
December 24, 2020 in the suburbs of Beijing West Erqi
Faust
I just want to be busy in the world;
Wherever it arises I will grasp the ends of its hair;
I threw it away when I was not happy,
If it slips away, let it escape.
I blindly desire, blindly achieve,
And the heart is hard to reconcile, so strong
Thunder a lifetime; first qi through the rainbow,
After the wisdom is greatly increased, be careful in words and deeds.
I am in charge of this earthly world.
wish
Say hello to your dear sister,
Even if it's two days of makeup
Quite a pleasure for everyone,
But I know tomorrow will arrive
Everyone has to restore the original appearance.
Let's be blind in the darkness of the fire
Felt not particularly comfortable
Then on a clear day,
Exactly as one wishes,
Alone for a while, together for a while
Indulge in wandering in the beautiful fields,
Rest and work as you please
Live carefree,
Never lack, never hesitate,
We were guests everywhere
You can push the door anywhere and enter.
Definitely no matter where
There is always a good idea.
wise
Two of the great enemies of mankind
Fear and hope are shackled,
I don't let it get close to the collective;
parry! Just make sure you're safe.
A living behemoth
I'll take command, and it's carrying the tower,
Be diligent step by step
Walk on steep paths.
Above the tower battlements
There is a goddess with a wide body
With the athletic wings she took
Victory spilled out in all directions.
Surrounded by brilliance and glory
Illuminate the four directions near and far;
She called herself Victory,
She is the goddess of all actions.
fear
Smoke miasma torches, lamps,
In the midst of the cacophony,
Walk in the masquerade
Alas, this shackle binds me tightly.
Kick off these ridiculous smiles!
Your sneer makes me suspicious;
Mo is not all my nemesis
They all attacked me tonight.
Look at this! Friends become mortal enemies,
I recognized his mask earlier;
The one who wanted to kill me
I was found to slip away quietly.
Alas, I want to go wherever I go,
Escape the world.
But there is also a threat of destruction elsewhere
Wrapped in filth and fear.