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Luận văn tiếng Anh: A translation quality assessment of the Vietnamese phiên bản of Chapter 6 in the novel ""Lady Chatterley's lover"" using J.House's model = Đánh giá chất lượng bản dịch tiếng Việt Chương 6 tiểu thuyết “Người tình phu nhân Chatterley”của Hồ Anh Quang dựa trên mô hình của J.House. M.A Thesis Linguistics: 60 22 02 01
Nhà xuất bản: University of Languages and International Studies
Ngày: 2014
Chủ đề: Dịch thuật
Bản dịch
Tiếng Anh
Tiếng Việt
Miêu tả: 42 p. + CD-ROM + tóm tắt
M.A. Thesis English Linguistics -- University of Languages and International Studies. Vietnam National University Hanoi, 2014
ACKNOWLEDGEMENT
This thesis would not have been possible without the guidance and the help
of several individuals around me, to only some of whom it is possible to give
particular mention here.
First and foremost, I would like to express my utmost gratitude to my advisor
Assoc. Prof. Dr. Lê Hùng Tiến for his motivation, enthusiasm, and immense
knowledge. From the early stage, it was his fascinating lectures on translation
studies that inspired me to conduct this thesis. During the process this thesis was
conducted, I have received his valuable guidance, insightful comments and sincere
encouragement that I would never forget. My sincerest thanks go to my tremendous
mentor for encouraging my research and for allowing me to grow as a research
scientist.
I would like to express my deepest gratitude toward my whole family and my
friends for their kind support and great encouragement which urges me in
completing this thesis.
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ABSTRACT
The field of translation has never witnesses a strongly increase in the
requirement for literary translation before. Thanks to good translations, readers over
the world are offered a chance to access and enjoy many timeless works. This field,
however, involves various challenges. Therefore, this minor thesis aims at
discovering many factors causing to these difficulties and suggesting several
recommendations to improve the quality of translation. More specifically, the thesis
attempts to evaluate the quality of the Vietnamese phiên bản of Chapter 6 in the novel
"Lady Chatterley's lover" using J. House's model. Based on the analysis of this text,
some major findings and suggestion of phonological and cultural problems might be
drawn as well. Furthermore, the study shows that the application of covert
translation and abuse of some Vietnamese colloquial expressions tend to lower the
true value of the source text so that readers are likely to experience a “sloppy
translation” with pornographic rather than erotic scenes due to its preference of
physical element to spiritual one.iv
LIST OF ABBREVIATIONS
SL: Source Language
TL: Target Language
ST: Source Language Text
TT: Target Language Text
TQA: Translation Quality Assessment
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LIST OF FIGURES AND CHARTS
Figure 1.A model for translation quality assessment by House (1977).
Figure 2: A Scheme for Analyzing and Comparing Original and Translation Text in
by House (1997).vi
TABLE OF CONTENTS
DECLARATION .........................................................................................................i
ACKNOWLEDGEMENT ..........................................................................................ii
ABSTRACT.............................................................................................................. iii
LIST OF ABBREVIATIONS ....................................................................................iv
LIST OF FIGURES ....................................................................................................v
PART A: INTRODUCTION....................................................................................1
1. Rationale ................................................................................................................ 1
2. Aims of the study ................................................................................................... 2
3. Scope of the study ...................................................................................................2
4. Methodology of the study ...................................................................................... 3
5. Design of the study..................................................................................................3
PART B: DEVELOPMENT.....................................................................................4
Chapter 1. LITERATURE REVIEW .....................................................................4
1.1. Literary translation ...............................................................................................4
1.1.1. Definition of literary translation .......................................................................4
1.1.2. Difficulties of literary translation......................................................................5
1.1.2.1. Cultural translation problems.........................................................................6
1.2.2.2. Stylistic translation problems.........................................................................7
1.2.2.3. Linguistic translation problems......................................................................7
1.2.2.4. Text specific translation problems .................................................................7
1.2. Translation quality assessment.............................................................................8
1.2.1. The role of translation quality assessment ........................................................8
1.2.2. Approaches towards translation quality assessment ........................................9
1.2.3. Previous models for translation quality assessment........................................11
1.2.3.1. Nida‟s response-based approach..................................................................11
1.2.3.2. Koller‟s text-based approach .......................................................................11
1.2.3.3. Peter Newmark‟s comprehensive criticism approach..................................12
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1.3. House‟s model of translation quality assessment .............................................13
1.3.1. House‟ original model.....................................................................................13
1.3.2. House‟s revised translation quality assessment model ...................................16
1.4. Summary ............................................................................................................17
Chapter 2. RESULTS AND DISCUSSIONS........................................................18
2.1. Source Language Text Analysis ........................................................................18
2.1.1. Source Language Text Background................................................................18
2.1.2. Analysis of ST in accordance with House's model.........................................19
2.1.3. Statement of function ......................................................................................28
2.2. ST and TT comparison and Statement of Quality..............................................29
2.2.1. ST and TT comparison for mismatches ..........................................................29
2.2.2. Statement of Quality .......................................................................................36
PART C. CONCLUSION ......................................................................................38
3.1. Recapitulation ....................................................................................................38
3.2. Concluding remarks ...........................................................................................38
3.3. Recommendations ..............................................................................................40
REFERENCES........................................................................................................41
Appendix A. The Dialects used in the source text ..................................................... I
Appendix B. Comparison between Source Language Text and Target
Language Text...........................................................................................................IV1
PART A: INTRODUCTION
1. Rationale for the study
The field of translation, especially literary translation has undergone many
shifts and trends over the last few decades with wide-range arguments. Numerous
approaches have come and gone in a hope to define “a good literary translation”
which satisfies all the requirements of literary translation. To resolve these issues,
many theories have been proposed and applied in an attempt to assess the quality of
a translation. This would be of great benefit for both translators and readers in
Vietnam nowadays after some mishaps in literary translation. It is obvious that there
have been many literary translations so far such as Harry Porter, Twilight, The
Miserables, The call of the wild, Woman in love, Lady Chatterley‟s lover, etc.
However, the quality of these translations still involves countless arguments
because of conflicting theories. Thus, it is vital to address an appropriate theory for
evaluating translation quality. Among them, Juliane House with her well-known
model for assessing translation quality is widely accepted. Despite of its
unavoidable limitations, J. House‟s model, based mainly on the theory of functional
grammar by K. Halliday, is chosen by most researchers thanks to its best
applicability.
Feeling interested in D.H.Lawrence‟s novels, especially Lady Chatterley‟s
Lover, the researcher tries to conduct this minor thesis with a hope that it would be
of Giúp for translators, readers and other of concern. With its four-letter words and
its explicit descriptions of sexual intercourse, Lady Chatterley‟s Lover is the novel
with which D.H. Lawrence is most often associated. First published privately in
Florence in 1928, it attracted countless controversies due to the reputation of being
a sordid book. Also, its present Vietnamese phiên bản by Ho Anh Quang is still a
matter of criticism. Among other chapters, chapter 6 is an interesting one with
Connie‟s new awareness of the self and sexuality through a beauty revelation
featured with erotic scenes.
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2. Aims of the study
The overall aim of the study was to apply J.House‟s TQA model in order to
evaluate the quality of the Vietnamese phiên bản of Chapter 6 in the novel "Lady
Chatterley's lover translated by Ho Anh Quang. Specifically, the research tries to
analyze the source text and target text using House‟s model, in the light of
M.A.K Halliday‟s theory to assess the quality of the translation, find out some
mismatches between the two texts and draw a conclusion of what type of
translation is employed. The thesis also suggests some implications for a better
edition of this novel.
To achieve this aim, the two research questions are generated as follows:
- How good is the quality of translation text in the light of House‟s model?
- What need to be done to improve the quality of the translation?
3. Scope of the study
Within the scope of a minor thesis, it is impossible to analyze the entire
novel “Lady Chatterley‟s Lover” with 19 chapters. Therefore, the thesis will focus
only on analyzing Chapter 6 which raises Connie‟s new awareness of the self and
sexuality and appraises Lawrence‟s bitter indictment of modern industrial society
and explicitly describe sexual intercourse between man and woman. This chapter
consists of 13 pages, from page 46 to page 58, published in 2005 by Wordworth
Editions Limited. As mentioned above, with this controversial novel, D.H.
Lawrence took a different view of the relationship between the two sexes than was
generally mentioned before. Thus, it is unsurprising that this novel was considered
as a pornographic rather than erotic work until 1960. Like its original text,
Vietnamese phiên bản also attracts countless attention from translators, readers and
literary critics. Therefore, this thesis is conducted in hope to present a
comprehensive analysis of this literary translation as well as seek the true value of
the novel.3
4. Methodology of the study
This thesis is conducted to investigate the translation quality of Chapter 6 in
the novel “Lady Chatterley‟s Lover‟ by D.H. Lawrence, applying Julian House‟s
model, which is set up on the basis of functional pragmatic theories of language use.
To conduct this research, qualitative analysis is employed to study an
individual text closely. More specific, the chapter 6 of the novel Lady Chatterley‟s
Lover‟ was selected for assessment based on J. House‟s model (1977) with eight
dimensions of language use and language user. Also, the analysis makes a strong
comparison between ST and TT in order to find out mismatches on each dimension
and declares the quality of translation. Descriptive and comparative techniques are
also used to evaluate the translation text. The data for this study is collected through
the procedure of critical analyzing, based on House‟s model.
5. Design of the study
This research is presented in three chapters as bellow:
Part A: Introduction - gives an overview of the rationale, aim, scope,
methodology and design of the study
Part B: Development
- Chapter 1: Literature Review – presents an overview of some related
concepts of translation theory and some typical models of translation quality
assessment.
- Chapter 2: Results and discussion – analyzes the source text, the
target text as well as compare the two texts based on the framework provided
in chapter 1.
Part C: Conclusion - summarizes the results of the research and suggests
some recommendations for a better translation.
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PART B
DEVELOPMENT
CHAPTER 1
LITERATURE REVIEW
This chapter is designed to re-examine some fundamental concepts in the
literary translation and introduce some typical models for assessing translation
quality in order to provide theoretical orientations for the analysis of the Chapter 6
in the novel „Lady Chatterley‟s Lover‟ including translation theory, literary
translation and translation quality assessment. Several well-known linguistics such
as Nida, Peter Newmark, Koller and J. House with their notable works are presented
in this section.
1.1. Literary translation.
1.1.1. Definition of literary translation
Among other types of translation, literary translation seems to be discussed
at greatest length due to its special features, that is, it implies the translation of all
genres of literature, which include prose, drama and poetry. As affirmed by Bush
(1998:127), “literary translation is the work of literary translators. That is truism
which has to serve as a starting point for a description of literary translation, and
original subjective activity at the center of a complex network of social and cultural
practices. The imaginative, intellectual and intuitive writing of the translator must
not be lost to the disembodied abstraction which is often described as
“translation”. With this definition, Bush put a stress on the mission of a „literary
translator‟ as well as the social and cultural factors.
Following Bush‟s idea of literary translation, Lambers (1998:130) also
asserted that “a published translation is the fruit of a substantial creative effort by
the translator, who is the key agent in the subjective activity and social practice of5
translation”. He claims that it is the literary translator who decides to translate and
gives the literary translation its existence no matter what restraints of the network of
social and cultural factors are. Literary translation, indeed, is a matter of challenges.
In order to emphasize its difficulties, Johnson (1999:1) presented it as 'an
apparently nebulous body of knowledge in oral or written form, an imitation of life,
which reflects civilization and culture, and which covers every angle of human
activities-culture, tradition, entertainment, information among others. Sharing the
same view with other predecessors, John Bester (quoted by Landers, 2011: 10)
claimed that literary translation is "an art of the possible; compromise is inevitable
and universal”. However, this art also emphasizes aspect of equivalence between
source text and target text in literary translation “the translation of texts which are
regarded as “literary” in the source culture and the translation of a text (in
principle, at least, any text) in a way that the product be acceptable as “literary” to
the recipient culture”, as affirmed by Toury (1993).
In general, literary translation is considered as one of the great creative and
universal means of communicating the emotional, spiritual and intellectual concerns
of humankind. Consequently, it may be said to have the greatest number of peculiar
problems including cultural, linguistic, stylistic factors and the text itself, which will
be discussed in the next section.
1.1.2. Difficulties in literary translation
Since every language portrays the world in diverse way and has its own
grammar structure, grammar rules and syntax variance, literary translation involves
challenges for both inexperienced and experienced translators. This section,
therefore, is designed to discover prominent difficulties that translators tend to cope
with literary translation as “when there is any kind of translation problem, literary
translation is normally (not always) out of the question” (Newmark, 1988:70).
The difficulty in translation, indeed, just lies in the fact that both the content and the
style are already existent in the original and as a result, the translator must
reproduce them as they are in quite a different language.
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Obviously, literary translation is a challenging activity and there are already
a great number of difficulties that emerge throughout the translation process.
According to Christiane Nord (1997), a translator might experience translation
difficulties if he lacks the skilled required for a certain translation job. No matter
how good and experienced he is, he is likely to encounter obstacles when translating
two different languages. To illustrate this viewpoint, he formulated a model in
which he divides different translation problems into four sub-types, namely,
cultural, stylistic, linguistic and text-specific problems, which will be briefly
discussed in the following sections.
1.1.2.1. Cultural translation problems
Undeniably, culture is also a major concern of literary translation. As a
result, cultural translation problems refer to the differences in „conventions (norms)
and habits‟ (Schjoldager, 2008) between ST culture and TT culture. One particular
genre is set up and written in a certain way in the ST culture but may have to be
different if the TT conventions are not the same in that specific genre. Certainly,
culture is a key role that enables one to understand a literary work, which is quite a
relatively difficult issue to handle even in the SL, not that of TT. It leads to a
requirement of the translator‟s understanding of the beliefs, values, attitudes of the
SL so that he can successfully transmit it to people of different sets of beliefs,
attitudes and values. It might be drawn that the closer the two cultures are, the less
challenging the work of translator seems.
In terms of the relationship between receptors and translators, Larson
(1984:436) develops the idea that “The receptor audience will decode the
translation in terms of his own culture and experience not in terms of the culture
and experience of the author and audience of the original document. The translator
then must Giúp the receptor audience understand the content and intent of the
source document by translating with both cultures in minds”. Consequently, it is not
an easy task to transplant a text steeped in one culture into another, especially it
possesses its own metaphors and allusions.7
1.2.2.2. Stylistic translation problems
Another factor challenging translators belongs to stylistic feature, caused in
rendering the style in which a ST is written. According to Landers, “style” is an
“oxymoron” to a translator. In order to perform his or her task well, it would be
suggested that the translator strives to have no style at all and disappears into and
become “indistinguishable from the style of SL author”. Preferably, translator
should adapt to the style of each author translated but always as faithful to the
original as much as possible. In narrow sense, style can be understood as the way
one says a thing or the way something is written as distinct from its subject matter.
1.2.2.3. Linguistic translation problems
The third challenge is linguistic translation problem, which is derived from
structural differences between the source language and the target language. (Nord,
1997). Linguistically, each language possesses its own metaphysics which
determines the spirit of a nation and its behavioral norms. It rejects the commonly
held belief that all people of different countries have a common logical structure
when processing with language independent of communication. Instead, it
emphasizes the influences of linguistic patterns on the way people perceive the
world. Consequently, the modes of thinking and perceiving in groups utilizing
different linguistics systems will result in basically different world views. Since
words or images may vary considerably from one group to another, the translator
need to pay attention to the style, language and vocabulary peculiar to the two
languages in question in order to produce an „exact‟ translation of the source
language text.
1.2.2.4. Text specific translation problems
The last problematic issue involves text feature. As the name indicates, textspecific translation problems are specific for this one text. The aforementioned
elements prove to be bound to this specific ST. In order to successfully translate the
now, mostly in the wood, where she was
really alone. She saw nobody there.
ngoài. Giờ đây mỗi ngày cô đều ra ngoài
dạo chơi, chủ yếu thơ thẩn trong khu
rừng, ở đấy cô mới thực sự được một
mình, chẳng phải gặp gỡ bất kỳ ai.
This day, however, Clifford wanted to send
a message to the keeper, and as the boy was
laid up with influenza, somebody always
seemed to have influenza at Wragby,
Connie said she would call at the a cottage.
Thế nhưng, hôm nay thì khác, Clifford
muốn chuyển một thông điệp cho người
gác rừng, khi thằng mõ trong nhà phải
nằm bẹp một xó bởi bệnh cúm, lúc nào ở
Wragby cũng có người nhiễm cúm,
Connie bảo cô sẽ đến nhà người gác rừng
báo cho anh ta biết.
The air was soft and dead, as if all the
world were slowly dying. Grey and clammy
and silent, even from the shuffling of the
collieries, for the pits were working short
time, and today they were stopped
altogether. The end of all things!
Không khí trong khu rừng khá dễ chịu,
như toàn thể thế giới quanh đây đang
chậm rãi chìm sâu vào cõi chết. Xám xịt,
lành lạnh, ẩm ướt và hiu quạnh, ngay cả
những hầm mỏ, sau một ca hoạt động,
giờ đây cũng đồng thanh dừng lại, lặng
im phăng phắc. Dấu chấm hết cho tất cả!
In the wood all was utterly inert and
motionless, only great drops fell from the
bare boughs, with a hollow little crash. For
the rest, among the old trees was depth
within dept of grey, hopeless inertia,
silence, nothingness.
Trong khu rừng, tất cả chỉ là không khí
chậm chạp và bất động đến cùng cực,
dăm ba tiếng rơi gãy lộp của những cành
khô lên mặt đất trần trụi, kèm theo
những tiếng lắc rắc mỏng manh đến
trống rỗng. Cả cánh rừng, giữa những tán
cổ thụ, đều chìm đắm trong không khí
lặng tờ, trơ trơ, xám xịt, tuyệt vọng và hư
vô.
Connie walked dimly on. From the old
wood came an ancient melancholy,
Connie lờ mờ tiến về phía trước. Từ khu
rừng toát ra vẻ u uẩn xưa cũ, ấy thếXXIX
somehow soothing to her, better than the
harsh insentience of the outer world. She
liked the INWARDNESS of the remnant of
forest, the unspeaking reticence of the old
trees. They seemed a very power of silence,
and yet a vital presence.They, too, were
waiting: obstinately, stoically waiting, and
giving off a potency of silence. Perhaps
they were only waiting for the end; to be
cutdown, cleared away, the end of the
forest, for them the end of all things. But
perhaps their strong and aristocratic silence,
the silence of strong trees, meant something
else.
nhưng vẫn khiến cô cảm giác dễ chịu,
cảm giác dịu dàng, thoải mái hơn hẳn
không khí vô tri vô giác ác nghiệt của thế
giới ngoài kia . Cô thích những ý nghĩa
sâu sắc mà những tàn dư vết dấu xưa cũ
của khu rừng mang đến, nỗi trầm mặc im
lìm của những tàng cây cổ thụ. Chúng
mới tràn trề sức mạnh, đầy ắp nguồn sức
mạnh ẩn sau vẻ tĩnh mịch đến bất động
kia, ấy vậy mà vẫn hiện hữu, tràn trề sức
sống. Chúng đang chờ đợi: Dai dẳng,
bướng bỉnh, nỗi chờ đợi trong trầm mặc
ngàn năm, để rồi toát ra nguồn sức mạnh
của sự tĩnh mịch, của nỗi lặng im. Có lẽ
chúng chỉ đang chờ đợi sự kết thúc;
những thân cổ thụ trầm mặc như đang
chờ đợi thời điểm bị đốn hạ, chặt trụi và
quét sạch, sự kết thúc của khu rừng, với
chúng chính là dấu chấm hết cho tất cả.
Thế nhưng có lẽ sự im lặng mạnh mẽ,
nỗi trầm mặc đầy quý phái, sự im lặng
của những thân cây cổ thụ ấy, lại mang ý
nghĩa khác biệt.
As she came out of the wood on the north
side, the keeper‟s cottage, a rather dark,
brown stone cottage, with gables and a
handsome chimney, looked uninhabited, it
was so silent and alone. But a thread of
smoke rose from the chimney, and the little
Khi cô bước ra khỏi cánh rừng mạn phía
Bắc, nhà của người gác rừng, một ngôi
nhà nhỏ bé xây bằng đá nâu, xám xịt, tối
tăm, với hàng cột trụ và một ống khói
khá xinh xắn, nom như một ngôi nhà
hoang, quạnh quẽ và cô đơn. Thế nhưng
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railed – in garde in the front of the house
was dug and kept very tidy. The door was
shut.
từ miệng ống khói, một làn khói mỏng
tang vật vờ bay lên, mảnh vườn cong
trước ngôi nhà được bao quanh bởi
những tấm liếp đan tay đã được cày xới
cuốc bẫm đánh hàng đi luống, hết sức
ngăn nắp. Cửa nhà đóng chặt.
Now she was here she felt a little shy of the
man, with his curious far-seeing eyes. She
did not like bringing him orders, and felt
like going away again. She knocked again,
but still not loudly. There was no answer.
She peeped through the window, and saw
the dark little room, with its almost sinister
privacy, not wanting to be invaded.
Đứng trước ngôi nhà lúc này, cảm giác
ngượng nghịu trước người gác rừng lại
ùa về trong cô, cô trở nên nhút nhát, rụt
rè trước đôi mắt tò mò nhìn thấu tâm can
của người đàn ông ấy. Cô không thích
mang mệnh lệnh đến cho người đàn ông
ấy, cô đắn đo, muốn quay lưng lui bước.
Cô khẽ gõ cửa, không ai trả lời. Cô tiếp
tục gõ cửa, hết sức nhẹ nhàng. Vẫn
không ai trả lời. Cô nhìn trộm qua ô cửa
sổ, đập vào mắt cô là một căn phòng nho
nhỏ, tối tăm, khá kín đáo và riêng tư, gần
như chẳng mấy thiện cảm, một căn
phòng bí ẩn, không muốn bị kẻ lạ xâm
phạm.
She stood and listened, and it seemed to her
she heard sounds from the back of the
cottage. Having failed to make herself
heard, her mettle was roused, she would not
be defeated.
Cô đứng ngoài cửa, lắng nghe, những âm
thanh mơ hồ lọt vào tai cô dường như
đến từ phía sau ngôi nhà. Cô dỏng tai
nghe ngóng, tất cả dũng khí trong cô như
được thức tỉnh, cô không thể bỏ cuộc.
So she went round the side of the house. At
the back of the cottage the land rose
steeply, so back yard was sunken, and
Cô vòng ra sau nhà. Địa hình phía sau
ngôi nhà khá dốc, mảnh sân sau hơi hõm
xuống, cuối mảnh sân là bức tường đáXXXI
enclosed by a low stone wall. She turned
the corner of the house and stopped. In the
little yard two paces beyond her, the man
was washing himself, utterly unaware. He
was naked to the hips, his velveteen
breeches slipping down over his slender
loins. And his white skim back was curved
over a big bowl of soapy water, in which he
ducked his head, shaking his head with a
queer, quick little motion, lifting his slender
white arms, and pressing the soapy water
from his ears, quick, subtle as a weasel
playing with water, and utterly alone.
Connie backed away round the corner of
the house, and hurried away to the wood. In
spite of herself, she had had a shock. After
all, merely a man washing himself,
commonplace enough, Heaven knows!
thấp tè. Cô bước đến góc nhà và dừng
lại. Giữa khoảng trống nhỏ bém cách chỗ
cô đang đứng vài bước chân, người đàn
ông đang mải mê tắm rửa, không hề phát
hiện ra cô. Nửa thân trên đánh trần, chiếc
quần ống túm bằng vải nhung trễ xuống
dưới thắt lưng mảnh dẻ. Mảng lưng trần
mảnh khảnh, trắng trẻo của người đàn
ông đang cong vút cúi xuống trước một
chậu nước bồng bềnh những mảng bong
bóng xà phòng, đầu tóc người đàn ông
mất hút trong màn bong bóng trắng xóa.
Người đàn ông khẽ lắc đầu, những
chuyển động nhẹ nhàng, hai cánh tay
trắng lóa đưa lên gạt nước xà phòng hai
bên tai, nhanh nhẹn, tinh tế như một chú
chồn đang đùa nghịch với nước và hoàn
toàn đơn độc. Connie quay lưng bỏ đi,
vội vã vào lại trong rừng. Không đếm xỉa
đến bản thân, cô đang choáng váng. Rốt
cuộc, rất hiếm khi cô nhìn thấy một
người đàn ông tự tay tắm rửa, đủ tầm
thường. Có Chúa mới biết tại sao !
Yet in some curious way it was a visionary
experience: it had hit her in the middle of
the body. She saw the clumsy breeches
slipping down over the pure, delicate, white
loins, the bones showing a little, and the
sense of aloneness, of a creature purely
Ấy vậy mà thật là kỳ khi chuyện này hệt
như một trải nghiệm hư ảo: Nó đang
giáng những đòn cật lực vào khoảng giữa
cơ thể cô. Cô đã nhìn thấy chiếc quần
ống túm xộc xệch của người đàn ông ấy
tuột xuống dưới những bắp thịt trắng
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alone, overwhelmed her. Perfect, white,
solitary nudity of a creature that lives alone,
and inwardly alone. And beyond that, a
certain beauty of a pure creature. Not the
stuff of beauty, not even the body of
beauty, but lambency, the warm, white
flame of a single life, revealing itself in
contours that one might touch: a body!
xóa, thanh tú, thuần khiết, đâu đó hằn lên
những vết xương hông mạnh mẽ, cả cảm
giác về nỗi cô đơn, một con người hoàn
toàn cô đơn, khiến cô choáng ngợp. Thật
hoàn hảo, hình hài bán trần đơn độc ấy,
thuộc về một con người đang sống trong
cô đơn, cả nỗi cô đơn thầm kín bên
trong. Ngoài những điều ấy, cô còn nhìn
thấy vẻ đẹp hoàn hảo của một con người
thuần túy. Không phải là thứ nguyên liệu
tạo nên vẻ đẹp, thậm chí không phải là
hình hài của vẻ đẹp, mà chính là sự dịu
dàng sáng mát, ngọn lửa trắng dịu dàng,
ấm áp của một đời sống đơn độc, đang tự
thân bộc lộ trong những đường nét mà cô
có thể chạm tới: Một cơ thể!
Connie had received the shock of vision in
her womb and she knew it; it lay inside
her. But with her mind she was inclined to
ridicule. A man washing himself in a back
yard! No doubt with evil-smelling yellow
soap! She was rather annoye; why should
she be made to stumble on these vulgar
privacies?
Connie choáng váng về hình ảnh mà cô
đã nhìn thấy, thấm sâu vào tận ruột gan
cô và cô biết được điều đấy; nó đã đọng
lại trong cô. Nhưng trong thâm tâm, có
vẻ tâm trí cô lại có xu hướng mỉa mai
giễu cợt. Một người đàn ông đang gội
rửa ở sân sau! Không nghi ngờ gì nữa
với thứ mùi xà phòng tắm đầy khó chịu
kia! Cô thấy khó chịu, hết sức khó chịu;
tại sao cô lại rơi vào tình cảnh đậm tính
riêng tư tầm thường này kia chứ!
So she walked away from herself, but after
a while she sat down on a stump. She was
Cô vội vã bước đi như chạy trốn khỏi
chính bản thân mình, được một lúc côXXXIII
too confused to think. But in the coil of her
confusion, she was determined to deliver
her message to the fellow. She would not be
balked. She must give him time to dress
himself, but not time to go out. He was
probably preparing to go out somewhere.
dừng lại ngồi nghỉ dưới một gốc cây. Cô
lúng túng, tâm trí cô bối rối, không thể
suy nghĩ thấu đáo. Nhưng ngay trong
trạng thái bối rối ấy, cô đã xác định sẽ
chuyển thông điệp của mình tới người
gác rừng kia. Cô sẽ không khiến người
đàn ông ấy phải giật mình. Cô phải cho
anh ta thời gian để mặc xong quần áo,
nhưng không cho người đàn ông ấy thời
gian để ra ngoài. Có lẽ anh ta đang chuẩn
bị đi đâu đấy.
So she sauntered slowly back, listening. As
she came near, the cottage looked just the
same. A dog barked, and she knocked at the
door, her heart beating in spite of herself.
Thế nên cô thong thả quay lại, chậm rãi,
lắng nghe. Khi tiến đến gần hơn, ngôi
nhà vẫn như cũ. Một con chó xồ ra sủa,
cô gõ cửa, tim cô đập thình thịch, cô vẫn
bất chấp.
She heard the man coming lightly
downstairs. He opened the door quickly,
and startled her. He looked uneasy himself,
but instantly a laugh came on his face.
Cô nghe thấy tiếng người đang nhẹ
nhàng bước xuống cầu thang. Người gác
rừng nhanh chóng mở cửa, cô giật mình.
Trông anh ta có vẻ lo lắng, nhưng lập tức
một nụ cười vụt xuất hiện trên khuôn
mặt người đàn ông.
„Lady Chatterley!‟ he said. „Will you come
in?‟.
„ Phu nhân Chatterley!‟ Gã nói. „Cô vào
nhà chứ?‟.
His manner was so perfectly easy and good,
she stepped over the threshold into the
rather dreary little room.
Thái độ của người đàn ông khá ung
dung, hoàn hảo và dễ chịu, cô bước qua
ngưỡng cửa, tiến vào căn phòng nhỏ bé,
mờ tối và ảm đạm.
„I only called with a message from Sir „ tui đến mang theo thông điệp của ngài
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Clifford; she said in her soft, rather
breathless voice.
Clifford‟. Giọng cô nhẹ nhàng, gần như
nín thở.
The man was looking at her with those
blue, all-seeing eyes of his, which made her
turn her face a side a little. He thought her
comedy, almost beautiful, in her shyness,
and he took command of the situation
himself at once.
Người đàn ông nhìn cô bằng đôi mắt
xanh biếc, thấu tâm can, khiến cô phải
quay mặt sang một bên, khẽ khàng thôi.
Người gác rừng từng mơ tưởng về vẻ
duyên dáng của cô, gần như xinh đẹp
đến hoàn hảo, ẩn sau bản tính nhút nhát
của cô và lập tức anh ta nhận mệnh lệnh.
„Would you care to sit down?‟ he asked,
presuming she would not. The door stood
open.
„Phu nhân ngồi chứ?” Người đàn ông
hỏi, đoán chừng cô sẽ không ngồi. Cửa
vẫn mở.
„No thanks! Sir Clifford wondered if you
would and she delivered her message,
looking unconsciously into his eyes again.
And now his eyes looked warm and kind,
particularly to a woman, wonderfully warm,
and kind, and at ease.
„Không, cảm ơn! Ngài Clifford tự hỏi
liệu anh có thể….” Cô nói cho anh ta biết
thông điệp của chồng mình, một lần nữa
cô lại vô tình nhìn vào đáy mắt người
đàn ông ấy. Ánh nhìn toát ra từ đôi mắt
người gác rừng giờ đây trở nên tử tế và
nồng ấm, đặc biệt đối với người đàn bà
trước mặt, cảm giác ấm áp đến lạ kỳ và
hết sức ân cần, thật dễ chịu.
„Very good, your Ladyship. I will see to it
at once‟.
„Rất tốt, thưa phu nhân. tui sẽ đến xem
xét ngay lập tức‟.
Taking an order, his whole self had
changed, glazed over with a sort of
hardness and distance. Connie hesitated,
she ought to go. But she looked round the
clean, tidy, rather dreary little sitting-room
with something like dismay.
Nhận lệnh, thái độ người đàn ông lập tức
thay đổi, vẻ đờ đẫn biến mất, thay vào
đấy là thái độ cứng rắn và xa cách đến
lạnh lung ùa về. Connie ngần ngại, cô
nên rời khỏi đây. Nhưng cô vẫn nhìn
quanh phòng khách nhỏ nhắn, sạch sẽ và
Do Drive thay đổi chính sách, nên một số link cũ yêu cầu duyệt download. các bạn chỉ cần làm theo hướng dẫn.
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Nhà xuất bản: University of Languages and International Studies
Ngày: 2014
Chủ đề: Dịch thuật
Bản dịch
Tiếng Anh
Tiếng Việt
Miêu tả: 42 p. + CD-ROM + tóm tắt
M.A. Thesis English Linguistics -- University of Languages and International Studies. Vietnam National University Hanoi, 2014
ACKNOWLEDGEMENT
This thesis would not have been possible without the guidance and the help
of several individuals around me, to only some of whom it is possible to give
particular mention here.
First and foremost, I would like to express my utmost gratitude to my advisor
Assoc. Prof. Dr. Lê Hùng Tiến for his motivation, enthusiasm, and immense
knowledge. From the early stage, it was his fascinating lectures on translation
studies that inspired me to conduct this thesis. During the process this thesis was
conducted, I have received his valuable guidance, insightful comments and sincere
encouragement that I would never forget. My sincerest thanks go to my tremendous
mentor for encouraging my research and for allowing me to grow as a research
scientist.
I would like to express my deepest gratitude toward my whole family and my
friends for their kind support and great encouragement which urges me in
completing this thesis.
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ABSTRACT
The field of translation has never witnesses a strongly increase in the
requirement for literary translation before. Thanks to good translations, readers over
the world are offered a chance to access and enjoy many timeless works. This field,
however, involves various challenges. Therefore, this minor thesis aims at
discovering many factors causing to these difficulties and suggesting several
recommendations to improve the quality of translation. More specifically, the thesis
attempts to evaluate the quality of the Vietnamese phiên bản of Chapter 6 in the novel
"Lady Chatterley's lover" using J. House's model. Based on the analysis of this text,
some major findings and suggestion of phonological and cultural problems might be
drawn as well. Furthermore, the study shows that the application of covert
translation and abuse of some Vietnamese colloquial expressions tend to lower the
true value of the source text so that readers are likely to experience a “sloppy
translation” with pornographic rather than erotic scenes due to its preference of
physical element to spiritual one.iv
LIST OF ABBREVIATIONS
SL: Source Language
TL: Target Language
ST: Source Language Text
TT: Target Language Text
TQA: Translation Quality Assessment
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LIST OF FIGURES AND CHARTS
Figure 1.A model for translation quality assessment by House (1977).
Figure 2: A Scheme for Analyzing and Comparing Original and Translation Text in
by House (1997).vi
TABLE OF CONTENTS
DECLARATION .........................................................................................................i
ACKNOWLEDGEMENT ..........................................................................................ii
ABSTRACT.............................................................................................................. iii
LIST OF ABBREVIATIONS ....................................................................................iv
LIST OF FIGURES ....................................................................................................v
PART A: INTRODUCTION....................................................................................1
1. Rationale ................................................................................................................ 1
2. Aims of the study ................................................................................................... 2
3. Scope of the study ...................................................................................................2
4. Methodology of the study ...................................................................................... 3
5. Design of the study..................................................................................................3
PART B: DEVELOPMENT.....................................................................................4
Chapter 1. LITERATURE REVIEW .....................................................................4
1.1. Literary translation ...............................................................................................4
1.1.1. Definition of literary translation .......................................................................4
1.1.2. Difficulties of literary translation......................................................................5
1.1.2.1. Cultural translation problems.........................................................................6
1.2.2.2. Stylistic translation problems.........................................................................7
1.2.2.3. Linguistic translation problems......................................................................7
1.2.2.4. Text specific translation problems .................................................................7
1.2. Translation quality assessment.............................................................................8
1.2.1. The role of translation quality assessment ........................................................8
1.2.2. Approaches towards translation quality assessment ........................................9
1.2.3. Previous models for translation quality assessment........................................11
1.2.3.1. Nida‟s response-based approach..................................................................11
1.2.3.2. Koller‟s text-based approach .......................................................................11
1.2.3.3. Peter Newmark‟s comprehensive criticism approach..................................12
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1.3. House‟s model of translation quality assessment .............................................13
1.3.1. House‟ original model.....................................................................................13
1.3.2. House‟s revised translation quality assessment model ...................................16
1.4. Summary ............................................................................................................17
Chapter 2. RESULTS AND DISCUSSIONS........................................................18
2.1. Source Language Text Analysis ........................................................................18
2.1.1. Source Language Text Background................................................................18
2.1.2. Analysis of ST in accordance with House's model.........................................19
2.1.3. Statement of function ......................................................................................28
2.2. ST and TT comparison and Statement of Quality..............................................29
2.2.1. ST and TT comparison for mismatches ..........................................................29
2.2.2. Statement of Quality .......................................................................................36
PART C. CONCLUSION ......................................................................................38
3.1. Recapitulation ....................................................................................................38
3.2. Concluding remarks ...........................................................................................38
3.3. Recommendations ..............................................................................................40
REFERENCES........................................................................................................41
Appendix A. The Dialects used in the source text ..................................................... I
Appendix B. Comparison between Source Language Text and Target
Language Text...........................................................................................................IV1
PART A: INTRODUCTION
1. Rationale for the study
The field of translation, especially literary translation has undergone many
shifts and trends over the last few decades with wide-range arguments. Numerous
approaches have come and gone in a hope to define “a good literary translation”
which satisfies all the requirements of literary translation. To resolve these issues,
many theories have been proposed and applied in an attempt to assess the quality of
a translation. This would be of great benefit for both translators and readers in
Vietnam nowadays after some mishaps in literary translation. It is obvious that there
have been many literary translations so far such as Harry Porter, Twilight, The
Miserables, The call of the wild, Woman in love, Lady Chatterley‟s lover, etc.
However, the quality of these translations still involves countless arguments
because of conflicting theories. Thus, it is vital to address an appropriate theory for
evaluating translation quality. Among them, Juliane House with her well-known
model for assessing translation quality is widely accepted. Despite of its
unavoidable limitations, J. House‟s model, based mainly on the theory of functional
grammar by K. Halliday, is chosen by most researchers thanks to its best
applicability.
Feeling interested in D.H.Lawrence‟s novels, especially Lady Chatterley‟s
Lover, the researcher tries to conduct this minor thesis with a hope that it would be
of Giúp for translators, readers and other of concern. With its four-letter words and
its explicit descriptions of sexual intercourse, Lady Chatterley‟s Lover is the novel
with which D.H. Lawrence is most often associated. First published privately in
Florence in 1928, it attracted countless controversies due to the reputation of being
a sordid book. Also, its present Vietnamese phiên bản by Ho Anh Quang is still a
matter of criticism. Among other chapters, chapter 6 is an interesting one with
Connie‟s new awareness of the self and sexuality through a beauty revelation
featured with erotic scenes.
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2. Aims of the study
The overall aim of the study was to apply J.House‟s TQA model in order to
evaluate the quality of the Vietnamese phiên bản of Chapter 6 in the novel "Lady
Chatterley's lover translated by Ho Anh Quang. Specifically, the research tries to
analyze the source text and target text using House‟s model, in the light of
M.A.K Halliday‟s theory to assess the quality of the translation, find out some
mismatches between the two texts and draw a conclusion of what type of
translation is employed. The thesis also suggests some implications for a better
edition of this novel.
To achieve this aim, the two research questions are generated as follows:
- How good is the quality of translation text in the light of House‟s model?
- What need to be done to improve the quality of the translation?
3. Scope of the study
Within the scope of a minor thesis, it is impossible to analyze the entire
novel “Lady Chatterley‟s Lover” with 19 chapters. Therefore, the thesis will focus
only on analyzing Chapter 6 which raises Connie‟s new awareness of the self and
sexuality and appraises Lawrence‟s bitter indictment of modern industrial society
and explicitly describe sexual intercourse between man and woman. This chapter
consists of 13 pages, from page 46 to page 58, published in 2005 by Wordworth
Editions Limited. As mentioned above, with this controversial novel, D.H.
Lawrence took a different view of the relationship between the two sexes than was
generally mentioned before. Thus, it is unsurprising that this novel was considered
as a pornographic rather than erotic work until 1960. Like its original text,
Vietnamese phiên bản also attracts countless attention from translators, readers and
literary critics. Therefore, this thesis is conducted in hope to present a
comprehensive analysis of this literary translation as well as seek the true value of
the novel.3
4. Methodology of the study
This thesis is conducted to investigate the translation quality of Chapter 6 in
the novel “Lady Chatterley‟s Lover‟ by D.H. Lawrence, applying Julian House‟s
model, which is set up on the basis of functional pragmatic theories of language use.
To conduct this research, qualitative analysis is employed to study an
individual text closely. More specific, the chapter 6 of the novel Lady Chatterley‟s
Lover‟ was selected for assessment based on J. House‟s model (1977) with eight
dimensions of language use and language user. Also, the analysis makes a strong
comparison between ST and TT in order to find out mismatches on each dimension
and declares the quality of translation. Descriptive and comparative techniques are
also used to evaluate the translation text. The data for this study is collected through
the procedure of critical analyzing, based on House‟s model.
5. Design of the study
This research is presented in three chapters as bellow:
Part A: Introduction - gives an overview of the rationale, aim, scope,
methodology and design of the study
Part B: Development
- Chapter 1: Literature Review – presents an overview of some related
concepts of translation theory and some typical models of translation quality
assessment.
- Chapter 2: Results and discussion – analyzes the source text, the
target text as well as compare the two texts based on the framework provided
in chapter 1.
Part C: Conclusion - summarizes the results of the research and suggests
some recommendations for a better translation.
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PART B
DEVELOPMENT
CHAPTER 1
LITERATURE REVIEW
This chapter is designed to re-examine some fundamental concepts in the
literary translation and introduce some typical models for assessing translation
quality in order to provide theoretical orientations for the analysis of the Chapter 6
in the novel „Lady Chatterley‟s Lover‟ including translation theory, literary
translation and translation quality assessment. Several well-known linguistics such
as Nida, Peter Newmark, Koller and J. House with their notable works are presented
in this section.
1.1. Literary translation.
1.1.1. Definition of literary translation
Among other types of translation, literary translation seems to be discussed
at greatest length due to its special features, that is, it implies the translation of all
genres of literature, which include prose, drama and poetry. As affirmed by Bush
(1998:127), “literary translation is the work of literary translators. That is truism
which has to serve as a starting point for a description of literary translation, and
original subjective activity at the center of a complex network of social and cultural
practices. The imaginative, intellectual and intuitive writing of the translator must
not be lost to the disembodied abstraction which is often described as
“translation”. With this definition, Bush put a stress on the mission of a „literary
translator‟ as well as the social and cultural factors.
Following Bush‟s idea of literary translation, Lambers (1998:130) also
asserted that “a published translation is the fruit of a substantial creative effort by
the translator, who is the key agent in the subjective activity and social practice of5
translation”. He claims that it is the literary translator who decides to translate and
gives the literary translation its existence no matter what restraints of the network of
social and cultural factors are. Literary translation, indeed, is a matter of challenges.
In order to emphasize its difficulties, Johnson (1999:1) presented it as 'an
apparently nebulous body of knowledge in oral or written form, an imitation of life,
which reflects civilization and culture, and which covers every angle of human
activities-culture, tradition, entertainment, information among others. Sharing the
same view with other predecessors, John Bester (quoted by Landers, 2011: 10)
claimed that literary translation is "an art of the possible; compromise is inevitable
and universal”. However, this art also emphasizes aspect of equivalence between
source text and target text in literary translation “the translation of texts which are
regarded as “literary” in the source culture and the translation of a text (in
principle, at least, any text) in a way that the product be acceptable as “literary” to
the recipient culture”, as affirmed by Toury (1993).
In general, literary translation is considered as one of the great creative and
universal means of communicating the emotional, spiritual and intellectual concerns
of humankind. Consequently, it may be said to have the greatest number of peculiar
problems including cultural, linguistic, stylistic factors and the text itself, which will
be discussed in the next section.
1.1.2. Difficulties in literary translation
Since every language portrays the world in diverse way and has its own
grammar structure, grammar rules and syntax variance, literary translation involves
challenges for both inexperienced and experienced translators. This section,
therefore, is designed to discover prominent difficulties that translators tend to cope
with literary translation as “when there is any kind of translation problem, literary
translation is normally (not always) out of the question” (Newmark, 1988:70).
The difficulty in translation, indeed, just lies in the fact that both the content and the
style are already existent in the original and as a result, the translator must
reproduce them as they are in quite a different language.
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Obviously, literary translation is a challenging activity and there are already
a great number of difficulties that emerge throughout the translation process.
According to Christiane Nord (1997), a translator might experience translation
difficulties if he lacks the skilled required for a certain translation job. No matter
how good and experienced he is, he is likely to encounter obstacles when translating
two different languages. To illustrate this viewpoint, he formulated a model in
which he divides different translation problems into four sub-types, namely,
cultural, stylistic, linguistic and text-specific problems, which will be briefly
discussed in the following sections.
1.1.2.1. Cultural translation problems
Undeniably, culture is also a major concern of literary translation. As a
result, cultural translation problems refer to the differences in „conventions (norms)
and habits‟ (Schjoldager, 2008) between ST culture and TT culture. One particular
genre is set up and written in a certain way in the ST culture but may have to be
different if the TT conventions are not the same in that specific genre. Certainly,
culture is a key role that enables one to understand a literary work, which is quite a
relatively difficult issue to handle even in the SL, not that of TT. It leads to a
requirement of the translator‟s understanding of the beliefs, values, attitudes of the
SL so that he can successfully transmit it to people of different sets of beliefs,
attitudes and values. It might be drawn that the closer the two cultures are, the less
challenging the work of translator seems.
In terms of the relationship between receptors and translators, Larson
(1984:436) develops the idea that “The receptor audience will decode the
translation in terms of his own culture and experience not in terms of the culture
and experience of the author and audience of the original document. The translator
then must Giúp the receptor audience understand the content and intent of the
source document by translating with both cultures in minds”. Consequently, it is not
an easy task to transplant a text steeped in one culture into another, especially it
possesses its own metaphors and allusions.7
1.2.2.2. Stylistic translation problems
Another factor challenging translators belongs to stylistic feature, caused in
rendering the style in which a ST is written. According to Landers, “style” is an
“oxymoron” to a translator. In order to perform his or her task well, it would be
suggested that the translator strives to have no style at all and disappears into and
become “indistinguishable from the style of SL author”. Preferably, translator
should adapt to the style of each author translated but always as faithful to the
original as much as possible. In narrow sense, style can be understood as the way
one says a thing or the way something is written as distinct from its subject matter.
1.2.2.3. Linguistic translation problems
The third challenge is linguistic translation problem, which is derived from
structural differences between the source language and the target language. (Nord,
1997). Linguistically, each language possesses its own metaphysics which
determines the spirit of a nation and its behavioral norms. It rejects the commonly
held belief that all people of different countries have a common logical structure
when processing with language independent of communication. Instead, it
emphasizes the influences of linguistic patterns on the way people perceive the
world. Consequently, the modes of thinking and perceiving in groups utilizing
different linguistics systems will result in basically different world views. Since
words or images may vary considerably from one group to another, the translator
need to pay attention to the style, language and vocabulary peculiar to the two
languages in question in order to produce an „exact‟ translation of the source
language text.
1.2.2.4. Text specific translation problems
The last problematic issue involves text feature. As the name indicates, textspecific translation problems are specific for this one text. The aforementioned
elements prove to be bound to this specific ST. In order to successfully translate the
now, mostly in the wood, where she was
really alone. She saw nobody there.
ngoài. Giờ đây mỗi ngày cô đều ra ngoài
dạo chơi, chủ yếu thơ thẩn trong khu
rừng, ở đấy cô mới thực sự được một
mình, chẳng phải gặp gỡ bất kỳ ai.
This day, however, Clifford wanted to send
a message to the keeper, and as the boy was
laid up with influenza, somebody always
seemed to have influenza at Wragby,
Connie said she would call at the a cottage.
Thế nhưng, hôm nay thì khác, Clifford
muốn chuyển một thông điệp cho người
gác rừng, khi thằng mõ trong nhà phải
nằm bẹp một xó bởi bệnh cúm, lúc nào ở
Wragby cũng có người nhiễm cúm,
Connie bảo cô sẽ đến nhà người gác rừng
báo cho anh ta biết.
The air was soft and dead, as if all the
world were slowly dying. Grey and clammy
and silent, even from the shuffling of the
collieries, for the pits were working short
time, and today they were stopped
altogether. The end of all things!
Không khí trong khu rừng khá dễ chịu,
như toàn thể thế giới quanh đây đang
chậm rãi chìm sâu vào cõi chết. Xám xịt,
lành lạnh, ẩm ướt và hiu quạnh, ngay cả
những hầm mỏ, sau một ca hoạt động,
giờ đây cũng đồng thanh dừng lại, lặng
im phăng phắc. Dấu chấm hết cho tất cả!
In the wood all was utterly inert and
motionless, only great drops fell from the
bare boughs, with a hollow little crash. For
the rest, among the old trees was depth
within dept of grey, hopeless inertia,
silence, nothingness.
Trong khu rừng, tất cả chỉ là không khí
chậm chạp và bất động đến cùng cực,
dăm ba tiếng rơi gãy lộp của những cành
khô lên mặt đất trần trụi, kèm theo
những tiếng lắc rắc mỏng manh đến
trống rỗng. Cả cánh rừng, giữa những tán
cổ thụ, đều chìm đắm trong không khí
lặng tờ, trơ trơ, xám xịt, tuyệt vọng và hư
vô.
Connie walked dimly on. From the old
wood came an ancient melancholy,
Connie lờ mờ tiến về phía trước. Từ khu
rừng toát ra vẻ u uẩn xưa cũ, ấy thếXXIX
somehow soothing to her, better than the
harsh insentience of the outer world. She
liked the INWARDNESS of the remnant of
forest, the unspeaking reticence of the old
trees. They seemed a very power of silence,
and yet a vital presence.They, too, were
waiting: obstinately, stoically waiting, and
giving off a potency of silence. Perhaps
they were only waiting for the end; to be
cutdown, cleared away, the end of the
forest, for them the end of all things. But
perhaps their strong and aristocratic silence,
the silence of strong trees, meant something
else.
nhưng vẫn khiến cô cảm giác dễ chịu,
cảm giác dịu dàng, thoải mái hơn hẳn
không khí vô tri vô giác ác nghiệt của thế
giới ngoài kia . Cô thích những ý nghĩa
sâu sắc mà những tàn dư vết dấu xưa cũ
của khu rừng mang đến, nỗi trầm mặc im
lìm của những tàng cây cổ thụ. Chúng
mới tràn trề sức mạnh, đầy ắp nguồn sức
mạnh ẩn sau vẻ tĩnh mịch đến bất động
kia, ấy vậy mà vẫn hiện hữu, tràn trề sức
sống. Chúng đang chờ đợi: Dai dẳng,
bướng bỉnh, nỗi chờ đợi trong trầm mặc
ngàn năm, để rồi toát ra nguồn sức mạnh
của sự tĩnh mịch, của nỗi lặng im. Có lẽ
chúng chỉ đang chờ đợi sự kết thúc;
những thân cổ thụ trầm mặc như đang
chờ đợi thời điểm bị đốn hạ, chặt trụi và
quét sạch, sự kết thúc của khu rừng, với
chúng chính là dấu chấm hết cho tất cả.
Thế nhưng có lẽ sự im lặng mạnh mẽ,
nỗi trầm mặc đầy quý phái, sự im lặng
của những thân cây cổ thụ ấy, lại mang ý
nghĩa khác biệt.
As she came out of the wood on the north
side, the keeper‟s cottage, a rather dark,
brown stone cottage, with gables and a
handsome chimney, looked uninhabited, it
was so silent and alone. But a thread of
smoke rose from the chimney, and the little
Khi cô bước ra khỏi cánh rừng mạn phía
Bắc, nhà của người gác rừng, một ngôi
nhà nhỏ bé xây bằng đá nâu, xám xịt, tối
tăm, với hàng cột trụ và một ống khói
khá xinh xắn, nom như một ngôi nhà
hoang, quạnh quẽ và cô đơn. Thế nhưng
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railed – in garde in the front of the house
was dug and kept very tidy. The door was
shut.
từ miệng ống khói, một làn khói mỏng
tang vật vờ bay lên, mảnh vườn cong
trước ngôi nhà được bao quanh bởi
những tấm liếp đan tay đã được cày xới
cuốc bẫm đánh hàng đi luống, hết sức
ngăn nắp. Cửa nhà đóng chặt.
Now she was here she felt a little shy of the
man, with his curious far-seeing eyes. She
did not like bringing him orders, and felt
like going away again. She knocked again,
but still not loudly. There was no answer.
She peeped through the window, and saw
the dark little room, with its almost sinister
privacy, not wanting to be invaded.
Đứng trước ngôi nhà lúc này, cảm giác
ngượng nghịu trước người gác rừng lại
ùa về trong cô, cô trở nên nhút nhát, rụt
rè trước đôi mắt tò mò nhìn thấu tâm can
của người đàn ông ấy. Cô không thích
mang mệnh lệnh đến cho người đàn ông
ấy, cô đắn đo, muốn quay lưng lui bước.
Cô khẽ gõ cửa, không ai trả lời. Cô tiếp
tục gõ cửa, hết sức nhẹ nhàng. Vẫn
không ai trả lời. Cô nhìn trộm qua ô cửa
sổ, đập vào mắt cô là một căn phòng nho
nhỏ, tối tăm, khá kín đáo và riêng tư, gần
như chẳng mấy thiện cảm, một căn
phòng bí ẩn, không muốn bị kẻ lạ xâm
phạm.
She stood and listened, and it seemed to her
she heard sounds from the back of the
cottage. Having failed to make herself
heard, her mettle was roused, she would not
be defeated.
Cô đứng ngoài cửa, lắng nghe, những âm
thanh mơ hồ lọt vào tai cô dường như
đến từ phía sau ngôi nhà. Cô dỏng tai
nghe ngóng, tất cả dũng khí trong cô như
được thức tỉnh, cô không thể bỏ cuộc.
So she went round the side of the house. At
the back of the cottage the land rose
steeply, so back yard was sunken, and
Cô vòng ra sau nhà. Địa hình phía sau
ngôi nhà khá dốc, mảnh sân sau hơi hõm
xuống, cuối mảnh sân là bức tường đáXXXI
enclosed by a low stone wall. She turned
the corner of the house and stopped. In the
little yard two paces beyond her, the man
was washing himself, utterly unaware. He
was naked to the hips, his velveteen
breeches slipping down over his slender
loins. And his white skim back was curved
over a big bowl of soapy water, in which he
ducked his head, shaking his head with a
queer, quick little motion, lifting his slender
white arms, and pressing the soapy water
from his ears, quick, subtle as a weasel
playing with water, and utterly alone.
Connie backed away round the corner of
the house, and hurried away to the wood. In
spite of herself, she had had a shock. After
all, merely a man washing himself,
commonplace enough, Heaven knows!
thấp tè. Cô bước đến góc nhà và dừng
lại. Giữa khoảng trống nhỏ bém cách chỗ
cô đang đứng vài bước chân, người đàn
ông đang mải mê tắm rửa, không hề phát
hiện ra cô. Nửa thân trên đánh trần, chiếc
quần ống túm bằng vải nhung trễ xuống
dưới thắt lưng mảnh dẻ. Mảng lưng trần
mảnh khảnh, trắng trẻo của người đàn
ông đang cong vút cúi xuống trước một
chậu nước bồng bềnh những mảng bong
bóng xà phòng, đầu tóc người đàn ông
mất hút trong màn bong bóng trắng xóa.
Người đàn ông khẽ lắc đầu, những
chuyển động nhẹ nhàng, hai cánh tay
trắng lóa đưa lên gạt nước xà phòng hai
bên tai, nhanh nhẹn, tinh tế như một chú
chồn đang đùa nghịch với nước và hoàn
toàn đơn độc. Connie quay lưng bỏ đi,
vội vã vào lại trong rừng. Không đếm xỉa
đến bản thân, cô đang choáng váng. Rốt
cuộc, rất hiếm khi cô nhìn thấy một
người đàn ông tự tay tắm rửa, đủ tầm
thường. Có Chúa mới biết tại sao !
Yet in some curious way it was a visionary
experience: it had hit her in the middle of
the body. She saw the clumsy breeches
slipping down over the pure, delicate, white
loins, the bones showing a little, and the
sense of aloneness, of a creature purely
Ấy vậy mà thật là kỳ khi chuyện này hệt
như một trải nghiệm hư ảo: Nó đang
giáng những đòn cật lực vào khoảng giữa
cơ thể cô. Cô đã nhìn thấy chiếc quần
ống túm xộc xệch của người đàn ông ấy
tuột xuống dưới những bắp thịt trắng
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alone, overwhelmed her. Perfect, white,
solitary nudity of a creature that lives alone,
and inwardly alone. And beyond that, a
certain beauty of a pure creature. Not the
stuff of beauty, not even the body of
beauty, but lambency, the warm, white
flame of a single life, revealing itself in
contours that one might touch: a body!
xóa, thanh tú, thuần khiết, đâu đó hằn lên
những vết xương hông mạnh mẽ, cả cảm
giác về nỗi cô đơn, một con người hoàn
toàn cô đơn, khiến cô choáng ngợp. Thật
hoàn hảo, hình hài bán trần đơn độc ấy,
thuộc về một con người đang sống trong
cô đơn, cả nỗi cô đơn thầm kín bên
trong. Ngoài những điều ấy, cô còn nhìn
thấy vẻ đẹp hoàn hảo của một con người
thuần túy. Không phải là thứ nguyên liệu
tạo nên vẻ đẹp, thậm chí không phải là
hình hài của vẻ đẹp, mà chính là sự dịu
dàng sáng mát, ngọn lửa trắng dịu dàng,
ấm áp của một đời sống đơn độc, đang tự
thân bộc lộ trong những đường nét mà cô
có thể chạm tới: Một cơ thể!
Connie had received the shock of vision in
her womb and she knew it; it lay inside
her. But with her mind she was inclined to
ridicule. A man washing himself in a back
yard! No doubt with evil-smelling yellow
soap! She was rather annoye; why should
she be made to stumble on these vulgar
privacies?
Connie choáng váng về hình ảnh mà cô
đã nhìn thấy, thấm sâu vào tận ruột gan
cô và cô biết được điều đấy; nó đã đọng
lại trong cô. Nhưng trong thâm tâm, có
vẻ tâm trí cô lại có xu hướng mỉa mai
giễu cợt. Một người đàn ông đang gội
rửa ở sân sau! Không nghi ngờ gì nữa
với thứ mùi xà phòng tắm đầy khó chịu
kia! Cô thấy khó chịu, hết sức khó chịu;
tại sao cô lại rơi vào tình cảnh đậm tính
riêng tư tầm thường này kia chứ!
So she walked away from herself, but after
a while she sat down on a stump. She was
Cô vội vã bước đi như chạy trốn khỏi
chính bản thân mình, được một lúc côXXXIII
too confused to think. But in the coil of her
confusion, she was determined to deliver
her message to the fellow. She would not be
balked. She must give him time to dress
himself, but not time to go out. He was
probably preparing to go out somewhere.
dừng lại ngồi nghỉ dưới một gốc cây. Cô
lúng túng, tâm trí cô bối rối, không thể
suy nghĩ thấu đáo. Nhưng ngay trong
trạng thái bối rối ấy, cô đã xác định sẽ
chuyển thông điệp của mình tới người
gác rừng kia. Cô sẽ không khiến người
đàn ông ấy phải giật mình. Cô phải cho
anh ta thời gian để mặc xong quần áo,
nhưng không cho người đàn ông ấy thời
gian để ra ngoài. Có lẽ anh ta đang chuẩn
bị đi đâu đấy.
So she sauntered slowly back, listening. As
she came near, the cottage looked just the
same. A dog barked, and she knocked at the
door, her heart beating in spite of herself.
Thế nên cô thong thả quay lại, chậm rãi,
lắng nghe. Khi tiến đến gần hơn, ngôi
nhà vẫn như cũ. Một con chó xồ ra sủa,
cô gõ cửa, tim cô đập thình thịch, cô vẫn
bất chấp.
She heard the man coming lightly
downstairs. He opened the door quickly,
and startled her. He looked uneasy himself,
but instantly a laugh came on his face.
Cô nghe thấy tiếng người đang nhẹ
nhàng bước xuống cầu thang. Người gác
rừng nhanh chóng mở cửa, cô giật mình.
Trông anh ta có vẻ lo lắng, nhưng lập tức
một nụ cười vụt xuất hiện trên khuôn
mặt người đàn ông.
„Lady Chatterley!‟ he said. „Will you come
in?‟.
„ Phu nhân Chatterley!‟ Gã nói. „Cô vào
nhà chứ?‟.
His manner was so perfectly easy and good,
she stepped over the threshold into the
rather dreary little room.
Thái độ của người đàn ông khá ung
dung, hoàn hảo và dễ chịu, cô bước qua
ngưỡng cửa, tiến vào căn phòng nhỏ bé,
mờ tối và ảm đạm.
„I only called with a message from Sir „ tui đến mang theo thông điệp của ngài
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Clifford; she said in her soft, rather
breathless voice.
Clifford‟. Giọng cô nhẹ nhàng, gần như
nín thở.
The man was looking at her with those
blue, all-seeing eyes of his, which made her
turn her face a side a little. He thought her
comedy, almost beautiful, in her shyness,
and he took command of the situation
himself at once.
Người đàn ông nhìn cô bằng đôi mắt
xanh biếc, thấu tâm can, khiến cô phải
quay mặt sang một bên, khẽ khàng thôi.
Người gác rừng từng mơ tưởng về vẻ
duyên dáng của cô, gần như xinh đẹp
đến hoàn hảo, ẩn sau bản tính nhút nhát
của cô và lập tức anh ta nhận mệnh lệnh.
„Would you care to sit down?‟ he asked,
presuming she would not. The door stood
open.
„Phu nhân ngồi chứ?” Người đàn ông
hỏi, đoán chừng cô sẽ không ngồi. Cửa
vẫn mở.
„No thanks! Sir Clifford wondered if you
would and she delivered her message,
looking unconsciously into his eyes again.
And now his eyes looked warm and kind,
particularly to a woman, wonderfully warm,
and kind, and at ease.
„Không, cảm ơn! Ngài Clifford tự hỏi
liệu anh có thể….” Cô nói cho anh ta biết
thông điệp của chồng mình, một lần nữa
cô lại vô tình nhìn vào đáy mắt người
đàn ông ấy. Ánh nhìn toát ra từ đôi mắt
người gác rừng giờ đây trở nên tử tế và
nồng ấm, đặc biệt đối với người đàn bà
trước mặt, cảm giác ấm áp đến lạ kỳ và
hết sức ân cần, thật dễ chịu.
„Very good, your Ladyship. I will see to it
at once‟.
„Rất tốt, thưa phu nhân. tui sẽ đến xem
xét ngay lập tức‟.
Taking an order, his whole self had
changed, glazed over with a sort of
hardness and distance. Connie hesitated,
she ought to go. But she looked round the
clean, tidy, rather dreary little sitting-room
with something like dismay.
Nhận lệnh, thái độ người đàn ông lập tức
thay đổi, vẻ đờ đẫn biến mất, thay vào
đấy là thái độ cứng rắn và xa cách đến
lạnh lung ùa về. Connie ngần ngại, cô
nên rời khỏi đây. Nhưng cô vẫn nhìn
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