莫言諾獎頒獎詞中文譯法商榷
【轉發者按語】最近在中宣部的嘉獎名單中沒有莫言的名字（被嘉獎的作家是王蒙）。隨後在國內的網絡和微信上掀起一股毛左們聲討莫言的浪潮。最近又有人翻出當年瑞典的諾獎委員會主席的頒獎詞。對於這個頒獎詞人們有不同的解讀，有人認為這說明莫言是敢講真話的人，也有的認為這是莫言當漢奸賣國賊的證據。目前 網上流傳的翻譯件，可能是翻譯者處於某種顧忌，隱去了一些敏感詞。今天發現了一篇聲稱忠實於原文的翻譯件，轉發給大家參考。

莫言諾獎頒獎詞中文譯法商榷

王澄 (博訊2012年12月23日 )

瑞典文學院諾獎委員會主席瓦斯特伯格發表的頒獎詞Award Ceremony Speech可以算作這一階段“莫言事件”的一個驚嘆號，也是一個句號。
      ……    
    我把這個頒獎詞重新譯出，也希望懂瑞典文的華人能以瑞典文版本（原本）再加以修改。
    譯文和注釋如下：
    Presentation Speech by Per Wstberg, Writer, Member of the Swedish Academy, Chairman of the Nobel Committee, 10 December 2012.
    
    瑞典文學院諾獎委員會主席瓦斯特伯格頒獎詞：
    
    尊敬的國王和皇后陛下，尊敬的諾貝爾獎得主們，女士們先生們，
    Your Majesties, Your Royal Highnesses, Esteemed Nobel Laureates, Ladies and Gentlemen,
    
    莫言是個詩人。他扯下了中共那些千篇一律的表面宣傳，使一個個他筆下的人物從芸芸眾生中生動地顯現出來。 他用嘲笑和尖銳諷刺的筆觸，抨擊了一個荒謬的中國近代歷史，那是一個人民生活和思想貧乏，政治制度虛偽的時代。莫言手法嫻熟，由着一吐為快的性格，好像在“不經意”中把最富有代表性的東西形象地表達出來。用這些手段，莫言揭露了人類社會最陰暗的一面。

Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight.
    [譯註：stereotype：a simplified and standardized conception or image。politic有城邦管理，政治體制的意思。（亞里士多德）]
    
    高密東北鄉有中國民間故事，高密的歷史也是中國人的歷史。在莫言筆下，幾乎沒有外人來過的高密，那裡驢與豬的叫聲蓋過了村里黨支書的聲音。在那裡，無論是善良還是邪惡都被賦予了超越自然的力量。
    
    North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.
    [譯註：people’s commissars “人民委員”，指蘇共和中共的幹部]
    
    莫言讓他的想象力穿越整個現實社會。他惟妙惟肖地描繪了人的本性。他幾乎知曉所有中國人過去挨餓的事情。或許，從來沒有人像莫言那樣如此直白地描寫了20世紀的野蠻人中國。這種野蠻通過他筆下的人物---有英雄，情侶，（施）暴力（者），匪徒，還有特別堅強的永不屈服的母親們---向我們一一展現出來。那是一個既沒有真理，又沒有常識，更沒有同情心的野蠻人世界，活在那個世界中的人是多麼魯莽，渺小，荒唐。
    
    Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd.
    [譯註：nature 本性。helpless和強大的國家機器比，農民顯得非常渺小。]
    
    人相食的悲劇在中國歷史上重複出現。對莫言來說，人相食的故事反映了中國人沒有任何道德約束，居然連人肉都敢吃。中國人沒有節制的消費和浪費，只剩下低級動物的快感和混沌的欲望。也只有莫言才敢突破禁區對此大加描寫。
    
    Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations.
    [譯註：unrestrained consumption, excess：失去道德的約束，什麼都敢吃。rubbish 浪費。]
    [註：這一段為下一段作準備。]
    
    在小說《酒國》中，最精緻的佳餚是燒烤三歲男童。男童淪為食物，而女童因為被岐視得以倖存，女孩連被吃的資格都沒有。這是對中國計劃生育政策的嘲諷，因為計劃生育，無以計數的女胎被墮胎。莫言寫了一本小說《蛙》講計劃生育的事。
    
    In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.
    
    莫言的故事有着神秘和寓意的內涵，他筆下人物的價值觀完全顛倒。在他描寫的中國社會中，毛澤東時代完美“工農兵高大形象”根本就不存在。莫言筆下的農民充滿活力，農民們甚至用最不道德的手段達到他們的生活目標，並試圖打破束縛他們的命運和政治牢籠。
    
    Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads.We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfil their lives and burst the cages they have been confined in by fate and politics.
    [譯註：turn all value on their heads 所有的價值觀被顛倒。ideal citizen工農兵高大形象。]
    
    與共產黨一貫的假話“人民生活幸福”宣傳不同，莫言使用誇張，嘲弄，和用神話和民間故事裡的內容來描寫“新中國”的歷史。莫言說的才是真的，是對中國共產黨五十多年來的宣傳謊言的有力抨擊。
    
    Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda.
    [譯註：communism在這裡指信仰共產主義的人（共產黨）。在整個文章中，作者試圖避免使用Chinese Communist Party。past 指fifty years of propaganda 就是“新中國”五十年的謊話宣傳。Derivation from myths and folk tales 從神話和民間故事中得到。]
    
    《豐乳肥臀》是莫言最著名的小說，以女性視角描述了1960年的大躍進和大饑荒。以其牟利的筆鋒，莫言譏諷了當時開展的前所未有的“科學實驗”，用兔子給羊受精。那個時候，被排斥的右派分子對這個“科學實驗”持懷疑態度。小說的結尾描述了九十年代的中國新資本主義社會，那些會忽悠的人靠賣豐乳產品富了起來，並想通過混種受精培育鳳凰。
    
    In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation.
    [註：right-wing elements右派分子）]
    
    莫言生動地把一個被人遺忘的中國農村社會活生生地，豐富多彩地展現在我們眼前，驚人的殘忍伴隨着愉悅的無私，每一個瞬間都那麼精彩，讓讀者有身臨其境之感。作者知曉手工藝、冶煉技術、建築、挖溝開渠、放牧和游擊隊的事，並且知道如何描述。他用筆描述了整個中國農民的生活。
    
    In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen.
    [註：sensually scented even in its most pungent vapours感受到其中的豐富多彩]
    
    莫言的作品比那些喜歡模仿拉伯雷，斯威夫特和當今的馬爾克斯的多數作家都要搞笑和震撼。語言辛辣是他文學特徵。在他對於中國過去一百年的精彩描述中，我們找不到西方幻夢般跳舞的獨角獸，也看不到在門前跳方格的天真小女孩，我們看到的是他筆下的中國人豬圈式的生活，中國人的醜陋和殘酷讓人不忍讀下去。意識形態在變化，改革時起時伏，但是人性的自私和貪婪卻一直沒變。通過他的作品，莫言為在不公正社會下生存的眾多小人物發聲，這個不公正的社會有日本占領中國那個時期，毛澤東暴政時代，也有今天的物慾橫流社會。
    
    He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of Garcia Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy.
    [譯註：skipping maidens 在家門口跳方格的女孩子。We have been there far too long（受不了） 不能再呆下去。all injustices後面跟着三個社會時期，所有可以譯成“不公正的社會”。Maoist terror讓人想起紅衛兵，但是紅衛兵的暴行並不是毛時代的全部暴行，所以，應當譯成“毛澤東暴政時代 ]
    
    高密那個地方，因為存在着人性的普遍美德和最邪惡的殘酷現實之間的劇烈衝突，才會產生文學創作的巨大成果。曾有如此史詩般的噴涌浪潮席捲過中國和世界嗎？我們當代人類的文學事業在莫言作品中達到了一個新的高度。
    
    For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries.
    
    瑞典文學院祝賀你。請你從國王手中接過2012年諾貝爾文學獎。
    
    The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.