平安夜在爾灣觀摩了一場(chǎng)大教堂里的圣誕歌會(huì)，帶有真正宗教色彩的圣誕節(jié)我也是第一次過(guò)。

我想到了兒子學(xué)期末的寫作課考試，題目是寫一篇文藝評(píng)論。他寫了關(guān)于安魂曲的翻譯，也是關(guān)于宗教。

一個(gè)亞洲理工男，高中里寫作文都是老大難，一進(jìn)大學(xué)突然要寫西方宗教與拉丁文的翻譯，你說(shuō)嚇人不嚇人。

我撇了一眼題目就知道完蛋了，恨不得替他寫。

結(jié)果，人家花了三天時(shí)間，分別在安娜堡的酒店里、底特律的機(jī)場(chǎng)里、3萬(wàn)英尺的飛機(jī)上、鳳凰城的餐廳里，卡著deadline改了一百八十遍，終于把作文交了。

我心想：兒大不由娘，是時(shí)候讓他嘗一嘗寫作不及格的滋味了。

結(jié)果前兩天考試成績(jī)出來(lái)，作文總分是A+。

這回我可不困了，我倒要看看這家伙到底寫了點(diǎn)啥，能讓英語(yǔ)寫作老師給了他一個(gè)滿分。

實(shí)不相瞞，這篇文章我拿著英漢詞典都看不懂，因?yàn)槔锩孢€有拉丁文。

我覺(jué)得吧，作為一個(gè)搞寫作的中年婦女，對(duì)兒子這篇文章我也不敢指手畫腳，因?yàn)橐胫更c(diǎn)他，我首先得跟他一樣花四個(gè)星期去了解拉丁文不同版本的安魂曲的注解，再花兩個(gè)禮拜去把詩(shī)經(jīng)看一遍，才能明白他到底在寫什么。

看來(lái)，兒大確實(shí)是不由娘，因?yàn)槟锊辉谏磉吶思腋菀组_(kāi)竅，而且，遲到的開(kāi)竅也是開(kāi)竅，雖然以前他寫作文不咋地，但是，現(xiàn)在可能還是不咋地。

不過(guò)，雖然不咋地，但也許學(xué)?？疾斓牟皇亲魑谋旧?，而是那個(gè)過(guò)程。

美本的通識(shí)教育，讓學(xué)生需要閱讀大量資料，查找，研究，思考，再給出觀點(diǎn)，這是很磨人的。

我想這個(gè)A+并不是因?yàn)檫@篇文章真的寫得特別好，而是因?yàn)槔蠋熆吹搅怂牟檎遥芯?，思考全過(guò)程。

一個(gè)亞洲理工男，用心寫了一篇文藝評(píng)論，不管遣詞造句是否高級(jí)，也不論語(yǔ)法和結(jié)構(gòu)是否完美，寫作呈現(xiàn)的是研究和洞悉的過(guò)程，這個(gè)過(guò)程就值得一個(gè)A+。

為了湊字?jǐn)?shù)，下面我貼出兒子的原文（可以直接跳到后面看中文翻譯）。

Translating the Latin Requiem

Requiem is a Mass of the Catholic Church offered for the repose of the souls of the deceased. Written in Latin, it is an important liturgical poem that reflects the relation between the live and dead as well as human and the God. When preparing for the concert of Verdi’s Requiem, I watched the video recording of this work with subtitles in Chinese, my native language. Then I read the English translation of the same text on the UMS program. Although I do not understand Latin, I have taken the French course in this semester, which enables me to decode the syntax and meaning in Latin a bit clearer than in the scope of English.

Therefore, as a foreigner with background of several languages, I am naturally intrigued by the translation of Requiem in context of my culture. I want to present a glance of the charm of Chinese to western readers through the lens of translation. Despite the huge differences between Latin and Chinese, certain literature tradition and translation backgrounds in China bridge the linguistical gap, enabling religious communication between eastern and western cultures.

Undeniably, translating the text of Requiem into another language presents great challenges due to the syntactic structures and phonological qualities of Latin. Here, syntax refers to the grammatical arrangement of words in a sentence, and phonology means the study of sounds in language. For example, the line ‘Requiem aeternam dona eis, Domine’ means ‘Give them eternal rest, O Lord’. The adjective ‘a(chǎn)eternam’ (eternal) is placed after the word it is modifying, ‘requiem’; and the entire object (eternal rest) precedes the verb ‘dona’ (give). Such kinds of inversion play an important role in creating the holy atmosphere of this text. If this sentence begins with ‘dona’, the tone would lack humility, as this line is the supplication to God.

Another example is ‘quia pius es’, meaning ‘for you are merciful’. Actually, there is no word meaning ‘you’ in this line, but this information is implied because the word ‘es’ is the second person conjugation of ‘to be’. Similar pattern can be found in French, where different conjugations correspond to different persons. But this complicated conjugation system is not easy to understand for non-romance language speakers.

What’s more, the intricate vocabulary system of Latin makes it extra challenging to render while maintaining original tone and meaning. For example, both ‘saeclum’ and ‘mundus’ mean ‘world’, but with very subtle difference in context. And the most critical problem is about the religious words such as ‘Domine Jesu Christe’. They incorporate deep cultural and historical backgrounds, which makes it almost impossible to find their equivalents in other languages. It is heavy work to introduce these concepts to people in non-Catholic worlds.

However, thanks to the deep cultural background and the expertise of translators in China, it is possible to render Requiem into Chinese in an authentic manner. In certain aspects, Chinese may even surprisingly do better than European languages. For one, in Requiem, syllable count plays an essential role in maintaining musicality, which is also an important focus in traditional Chinese poetry. Many verses in Requiem have eight syllables in each line, such as ‘Dies irae dies illa’. While in The Book of Songs, the earliest collection of poems of China, each line carries two four-character phrases, which is almost identical with the phonology in Requiem. In a well-known song in the book, the poem goes, ‘Guān guān jū jiū, zài hé zhī zhōu…’. Here is the translation of an excerpt of this verse.

The fishhawks sing gwan-gwan

On sandbars of the stream.

Gentle maiden, pure and fair,

Fit pair for a prince.

Watercress grows here and there,

Right and left we gather it.

Gentle maiden, pure and fair,

Wanted waking and sleep.

The use of repetition is another similarity between Latin and Chinese poetry that we can discover from the song above. In successive stanzas, some lines and phrases are repeated verbatim, like ‘Gentle maiden, pure and fair’. Similarly, the line ‘Requiem aeternam dona eis’ also appears multiple times. What’s more, besides the repeated parts, certain phrases vary from stanza to stanza. In the song above, the lines after ‘Gentle maiden’ change as the poem develops, depicting the increasing desire of the prince to chase the maiden. This pattern is also shown in verses like Agnus Dei.

Agnus Dei,

Qui tollis peccata mundi,

Dona eis requiem.

Agnus Dei,

Qui tollis peccata mundi,

Dona eis requiem sempiternam.

Lamb of God,

You who take away the sins of the world,

Grant them rest.

Lamb of God,

You who take away the sins of the world,

Grant them eternal rest.

The second stanza just repeats, adding one word ‘eternal’, thus expressing the emotion of supplicants. Therefore, I can feel an amazing sense of familiarity when reading the Latin Requiem, as the literature tradition lying beneath this ancient hymn echoes with the cultural backgrounds of mine.

The tradition in translation also helps Chinese people understand the theological concepts better. In Chinese, there is a special group of paroles and methods of translation dedicated to the religious language. I remember that feeling when I took a glance of the Holy Bible in childhood. In the Genesis it goes, ‘And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.’ The first sentence is rendered into two four character words, matching the musicality of ancient Chinese, thus establishing the epic style of the Bible. Since the earth was also void in Chinese legend, this narration seems very natural and authentic for me. Then, I was attracted by the second sentence, where ‘Spirit’ is literally translated into a single character without further explanation. In modern Chinese, two-character nouns are preferred because they clarify and articulate the meaning, while single-character words are common in ancient Chinese for simplicity. Therefore, a gap of age appears in this sentence, indicating the mystery of the God. I couldn’t help marvel at such smooth, seamless translating method that brings readers into the religious world unconsciously. It is this sophisticated mastering of Chinese literature tradition that promotes the understanding of the religion. As a result, most people in China are familiar with religious names like Jesus and Maria. Even though many are nonreligious and do not know the stories in the Bible, they have learnt to respect foreign religions because of the beautiful localization of western religion. And this can help a lot in translation of religion-related literature works like Requiem.

Retrospectively, I find the Chinese translation of the Latin Requiem exhibiting the advantages mentioned above really well in certain aspects. The titles of the chapters are rendered the most beautifully. For example, Introitus, the name of the first verse, is translated into a three-character word, ‘Jìn táng yǒng’, which literally means ‘The song of entering the hall’. Other title names are also rendered in three characters, neat and elegant, which fully represents the ability of expression of Chinese. Meanwhile, there is still space of improvement for the translation of main text. Currently there is no standard Chinese version of the poem, and the Chinese subtitles in some videos were badly-written. Sentences such as ‘Place me in your right hand’ is literally rendered in plain language, lacking the sense of holy, as well as the necessary explanation of what right hand implies. I look forward to a version rendered by professional translators that is as authentic as the Chinese Bible.

Why is the translation of religious text important? Given that Catholics are minorities in China, and even in western countries there are fewer and fewer believers nowadays, does Requiem still matter? My answer is yes. I believe that religion plays a key role in mutual communication between cultures, just like arts and literature. It does not really matter whether people believe in the religion; instead, it is important whether people are inclusive towards religions. In a healthy social atmosphere, people do not hold rejection or hatred to foreign religions just because they differ from the world view of local culture. People are curious of different religions, willing to explore various systems of viewing this world. And in order to intrigue people, it is crucial that translators do a good job tailoring the religion to local culture. Imagine the Bible rendered into Chinese without those brilliant translation techniques. Lacking the epic and holy style, people would probably see the book as a poorly-written fiction novel and treat Catholicism as heresy.

Moreover, studying foreign cultures deepens one’s understanding of their own civilization. It is after we have seen various worldviews that we become able to recognize the special characteristics in our culture, thus finding the place of ourselves in this world. For Chinese citizens, being exposed to Catholicism or any other religions helps them broaden the horizons. They can take advantage of the essence from both foreign religion and local wisdom, such as Buddhist and Confucianism. In a word, multi-religion experience enriches one as a person on this planet.

In conclusion, Chinese boasts a healthy soil for religion-related translating, making elegant translation of Requiem perfectly possible. Translators should provide the public with a more professional version of this work in Chinese. By focusing on translating the Latin Requiem, we are not only discussing a linguistic and literature issue, but also promoting the intercultural communication that enriches every one of us. The words of Chinese scholar Fei Xiaotong about the beauty of cultures perfectly depicts our hope. ‘Every form of beauty has its uniqueness; precious is to appreciate other forms of beauty with openness. If beauty represents itself with diversity and integrity, the world will be blessed with harmony and unity.’

下面是中文翻譯（可以直接跳到最后看結(jié)束語(yǔ)）：

《安魂曲》是天主教會(huì)為安息逝者靈魂而舉行的彌撒。它以拉丁文寫成，是一首重要的禮儀詩(shī)歌，反映了生者與逝者、人與上帝之間的關(guān)系。在準(zhǔn)備威爾第《安魂曲》音樂(lè)會(huì)時(shí)，我觀看了帶中文字幕的演出錄像。隨后，我又閱讀了演出節(jié)目單上同一文本的英文譯文。雖然我不懂拉丁文，但這學(xué)期選修的法語(yǔ)課程，讓我對(duì)其句法和意義的理解比僅憑英語(yǔ)時(shí)略清晰一些。

因此，作為一個(gè)具備多語(yǔ)言背景的外語(yǔ)學(xué)習(xí)者，我自然對(duì)《安魂曲》在我自身文化語(yǔ)境中的翻譯產(chǎn)生了濃厚興趣。我希望通過(guò)翻譯的透鏡，向西方讀者展現(xiàn)一絲中文的魅力。盡管拉丁文與中文差異巨大，但中國(guó)特定的文學(xué)傳統(tǒng)與翻譯背景，能夠彌合語(yǔ)言間的鴻溝，促成東西方文化間的宗教交流。

不可否認(rèn)，由于拉丁文的句法結(jié)構(gòu)和語(yǔ)音特質(zhì)，將其翻譯成另一種語(yǔ)言面臨著巨大挑戰(zhàn)。此處，句法指句中詞語(yǔ)的語(yǔ)法排列，語(yǔ)音則指語(yǔ)言中的聲音研究。例如，“Requiem aeternam dona eis, Domine”意為“求主賜予他們永恒的安息”。形容詞“aeternam”（永恒的）置于其所修飾的名詞“requiem”（安息）之后；而整個(gè)賓語(yǔ)（永恒的安息）又位于動(dòng)詞“dona”（賜予）之前。這類倒裝結(jié)構(gòu)對(duì)營(yíng)造經(jīng)文的神圣氛圍至關(guān)重要。若此句以“dona”開(kāi)頭，其語(yǔ)氣將缺乏謙卑感，而這正是對(duì)上帝的懇求。

另一例是“quia pius es”，意為“因你是仁慈的”。實(shí)際上，此行并無(wú)表示“你”的詞匯，此信息是通過(guò)動(dòng)詞“es”（是）的第二人稱變位隱含的。類似的模式在法語(yǔ)中亦可見(jiàn)到，其不同的動(dòng)詞變位對(duì)應(yīng)不同人稱。但對(duì)于非羅曼語(yǔ)系的使用者而言，這種復(fù)雜的變位系統(tǒng)不易理解。

此外，拉丁文錯(cuò)綜復(fù)雜的詞匯體系，使得在保持原有風(fēng)格和意義的同時(shí)進(jìn)行翻譯尤為困難。例如，“saeclum”與“mundus”皆意為“世界”，但在語(yǔ)境中存在細(xì)微差別。最關(guān)鍵的問(wèn)題還在于諸如“Domine Jesu Christe”（主耶穌基督）之類的宗教詞匯。它們承載著深厚的文化和歷史背景，幾乎無(wú)法在其他語(yǔ)言中找到完全對(duì)等的表達(dá)。將這些概念介紹給非天主教世界的人們，是一項(xiàng)艱巨的工作。

然而，得益于中國(guó)深厚的文化底蘊(yùn)和譯者的專業(yè)素養(yǎng)，將《安魂曲》地道地譯為中文是可能的。在某些方面，中文甚至可能出乎意料地比歐洲語(yǔ)言做得更好。其一，在《安魂曲》中，音節(jié)計(jì)數(shù)對(duì)保持音樂(lè)性至關(guān)重要，而這同樣是中國(guó)古典詩(shī)歌的重要關(guān)注點(diǎn)?！栋不昵分性S多詩(shī)行每行有八個(gè)音節(jié)，如“Dies irae dies illa”（震怒之日）。而在中國(guó)最早的詩(shī)歌總集《詩(shī)經(jīng)》中，每行常由兩個(gè)四字短語(yǔ)構(gòu)成，這與《安魂曲》的音韻特點(diǎn)幾乎一致。如《詩(shī)經(jīng)》中著名的《關(guān)雎》：“關(guān)關(guān)雎鳩，在河之洲……”以下是該詩(shī)一段的英譯：

關(guān)關(guān)雎鳩，在河之洲。

窈窕淑女，君子好逑。

參差荇菜，左右流之。

窈窕淑女，寤寐求之。

運(yùn)用重復(fù)是拉丁文與中文詩(shī)歌的另一相似之處，從上詩(shī)可見(jiàn)一斑。在連續(xù)的詩(shī)節(jié)中，某些詩(shī)行和短語(yǔ)會(huì)逐字重復(fù)，如“窈窕賢淑女子”。同樣，“Requiem aeternam dona eis”（賜予他們永恒的安息）也多次出現(xiàn)。此外，除了重復(fù)部分，某些短語(yǔ)在各節(jié)間又有變化。上詩(shī)中，“窈窕淑女”之后的詩(shī)句隨詩(shī)意發(fā)展而變化，描繪了君子追求淑女日益增長(zhǎng)的情思。這種模式在《羔羊經(jīng)》等經(jīng)文也有所體現(xiàn)：

天主羔羊，除免世罪者，求賜他們安息。

天主羔羊，除免世罪者，求賜他們永恒的安息。

第二節(jié)僅重復(fù)前節(jié)，唯增“永恒的”一詞，從而表達(dá)了祈求者的情感。因此，當(dāng)我閱讀拉丁文《安魂曲》時(shí)，能感受到一種奇妙的熟悉感，因?yàn)檫@首古老圣歌之下流淌的文學(xué)傳統(tǒng)，與我自身的文化背景產(chǎn)生了共鳴。

翻譯的傳統(tǒng)也有助于中國(guó)人更好地理解神學(xué)概念。中文中存在一套專門用于宗教語(yǔ)言的獨(dú)特詞匯和翻譯方法。我仍記得童年時(shí)初次瞥見(jiàn)《圣經(jīng)》的感覺(jué)。在《創(chuàng)世記》中，經(jīng)文寫道：“地是空虛混沌，淵面黑暗；神的靈運(yùn)行在水面上?！笔拙浔蛔g為兩個(gè)四字詞，契合古漢語(yǔ)的音韻美感，從而確立了《圣經(jīng)》的史詩(shī)風(fēng)格。因中國(guó)神話中亦有天地混沌之說(shuō)，此敘述對(duì)我而言顯得自然而貼切。接著，我被第二句吸引，其中“靈”字采用單字直譯，未加額外解釋?，F(xiàn)代漢語(yǔ)偏好雙字名詞以明晰意義，而古漢語(yǔ)為求簡(jiǎn)練則常用單字。因此，此句中出現(xiàn)了一種時(shí)代距離感，暗示了上帝的神秘。

我不禁贊嘆如此流暢、不著痕跡的譯法，能將讀者不知不覺(jué)帶入宗教世界。正是這種對(duì)中文文學(xué)傳統(tǒng)的精深掌握，促進(jìn)了人們對(duì)宗教的理解。因此，大多數(shù)中國(guó)人對(duì)耶穌、瑪利亞等宗教名稱并不陌生。盡管許多人并無(wú)宗教信仰，也不熟悉《圣經(jīng)》故事，但因西方宗教優(yōu)美的本土化譯介，他們學(xué)會(huì)了尊重外來(lái)宗教。這對(duì)翻譯《安魂曲》這類宗教文學(xué)作品大有裨益。

回顧之下，我發(fā)現(xiàn)拉丁文《安魂曲》的中文譯本在某些方面確實(shí)很好地展現(xiàn)了上述優(yōu)勢(shì)。各章節(jié)標(biāo)題的翻譯尤為精美。例如，第一首詩(shī)歌的名稱“Introitus”被譯為三字“進(jìn)堂詠”，字面意為“進(jìn)入圣堂之歌”。其他標(biāo)題亦多用三字譯出，整齊典雅，充分體現(xiàn)了中文的表達(dá)能力。同時(shí)，主體經(jīng)文的翻譯仍有改進(jìn)空間。目前該詩(shī)歌尚無(wú)標(biāo)準(zhǔn)的中文譯本，一些視頻中的中文字幕也欠佳。例如，“將我置于你的右手”這樣的句子僅以平白語(yǔ)言直譯，缺乏神圣感，也未能對(duì)“右手”的隱含意義進(jìn)行必要解釋。我期待能有由專業(yè)譯者呈現(xiàn)的、如同中文《圣經(jīng)》那般地道的譯本。

為何宗教文本的翻譯如此重要？鑒于天主教徒在中國(guó)屬于少數(shù)群體，即便在西方國(guó)家，如今信徒也越來(lái)越少，《安魂曲》是否依然重要？我的答案是肯定的。我相信，宗教與藝術(shù)和文學(xué)一樣，在跨文化交流中扮演著關(guān)鍵角色。人們是否信仰該宗教并非核心；重要的是人們是否對(duì)宗教持有包容態(tài)度。在健康的社會(huì)氛圍中，人們不會(huì)僅僅因?yàn)橥鈦?lái)宗教與本土文化的世界觀不同，就對(duì)其抱持排斥或敵意。人們會(huì)對(duì)不同的宗教感到好奇，愿意探索各種看待世界的體系。而要激發(fā)這種興趣，譯者能否出色地將宗教內(nèi)容融入當(dāng)?shù)匚幕陵P(guān)重要。試想，若《圣經(jīng)》的中譯未曾運(yùn)用那些精妙的翻譯技巧，缺乏史詩(shī)般的神圣風(fēng)格，人們或許只會(huì)將其視為一部拙劣的小說(shuō)，并將天主教視為異端。

此外，研習(xí)外來(lái)文化能深化人們對(duì)自身文明的理解。正是在見(jiàn)識(shí)了多樣的世界觀之后，我們才更能辨識(shí)自身文化的獨(dú)特之處，從而找到自己在這個(gè)世界上的位置。對(duì)于中國(guó)民眾而言，接觸天主教或其他任何宗教，都有助于拓寬視野。他們可以汲取外來(lái)宗教與本土智慧（如佛教和儒家思想）的精華?？傊?，多元的宗教體驗(yàn)?zāi)茇S富一個(gè)人作為地球居民的生命內(nèi)涵。

綜上所述，中文擁有適宜宗教翻譯的豐厚土壤，使《安魂曲》的優(yōu)美翻譯成為可能。譯者應(yīng)為公眾提供更專業(yè)的中文譯本。通過(guò)聚焦拉丁文《安魂曲》的翻譯，我們不僅在探討一個(gè)語(yǔ)言與文學(xué)的議題，更是在推動(dòng)豐富我們每個(gè)人的跨文化交流。中國(guó)學(xué)者費(fèi)孝通先生關(guān)于文化之美的論述，恰如其分地描繪了我們的期望：“各美其美，美人之美，美美與共，天下大同。”

是不是直接跳到這里了？別說(shuō)英文版了，中文版都看著費(fèi)勁是吧？我也是。

所以，大家的娃現(xiàn)在作文水平你看不上也不用著急，等他開(kāi)竅了，寫出來(lái)的東西哪怕全是漢字你也看不懂的，遲到的開(kāi)竅也是開(kāi)竅。我老公40了還沒(méi)開(kāi)竅，我也不急。