本文透過閱讀三個會被視為充滿「誤譯」的譯本，說明譯者在翻譯行為中往往「回歸」自我，反思其在翻譯當下所處的情緒狀態。文中將探討的三個翻譯文本分別是波特萊爾《巴黎的憂鬱》的最後一首〈結語〉（“Épilogue”）、《惡之華》的〈出航〉（“Le Voyage”）以及葉慈的〈被邀寫首戰爭詩〉（“On Being Asked for a War Poem”）三個翻譯文本所產生的無論是「社會批判」、「愛國論述」，或者是「政治論述」，都可說是「誤」讀及「誤」譯的結果，卻使我們除了譴責以外，不得不被引領進入某些歷史時刻，體會這些譯者想要傳達的訊息，（儘管這些訊息僅代表其個人觀點或立場），也不得不暫時擱下以「信」或者是「忠實」為標準的翻譯理論，重新思考「翻譯」是怎麼樣的行為、「翻譯文本」是怎麼樣的文本、除了譴責以外如何對待（或閱讀）「誤」譯的文本。

The paper deals with three translated texts which are fraught with mis-translations. The three texts in question, Baudelaire’s “Épilogue” of Le Spleen de Paris, and “Le Voyage” of Les Fleurs du Mal, and Yeats’ “On Being Asked for a War Poem,” are read in such a way that the respective subtexts of “social ciritique,” “patriotic discourse” and “political discourse” are unveiled. These readings show that in translating, what is often translated is a translator’s “prejudices of perception” and “local concerns,” calling for an alternative understanding of the nature of translated text, translation behavior, and the discourse on translation.

誤譯;對等;忠實;語用學;規範;規範性翻譯理論;波特萊爾;南方朔

mis-translation; equivalence; fidelity; pragmatics; norm; normative theory of translation; Baudelaire; Nan Fang Suo