2018年3月31日 星期六

Rodin訪維也納的說法之兩種解釋?造形藝術


被愛的藝術: 愛爾瑪‧馬勒與五大名人的情史 

作者  /  法蘭莎‧吉露 Giroud, Francoise  (弗朗索瓦斯吉魯)

譯者  /  柯翠園

出版社 / 望春風文化事業股份有限公司

出版日期 / 2007/09



本書翻譯者 (從英文本重譯)在藝術名詞失誤多,如267頁的"德意志塑膠藝術協會",

顯然是造形藝術 (Plastic Arts)的誤會。







頁36是此次聚會的說法。
中譯者有幾處可能該討論的地方。
她把frieze 誤以為一定是"飾帶雕塑",其實KLIMT的《貝多芬 Frieze》是繪畫 (如下,羅丹說是Beethoven fresco 貝多芬的壁畫),也不是用來裝飾的。
口譯者Berta Zuckerkandl ,究竟是藝評家the art critic,如下英文,或是 上面引書說的記者呢?

最大誤會的是Rodin與Klimt的對話內容,被愛的藝術: 愛爾瑪‧馬勒與五大名人的情史 》的作者可能也有誤會:


The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic, Berta Zuckerkandl, they sat down "beside two remarkably beautiful young women at whom Rodin gazed enchantedly.
"That afternoon, slim and lovely vamps came buzzing around Klimt and Rodin, those two fiery lovers," Zuckerkandl recalled.
"Rodin leaned over and to Klimt and said, 'I have never before experienced such an atmosphere - your tragic and magnificent Beethoven fresco, your unforgettable, temple-like exhibition, and now this garden, these women, this music. What is the reason for it all?' And Klimt slowly nodded his beautiful head, and answered only one word: 'Austria.'"

Gustav Klimt: a life devoted to women - Telegraph

https://www.telegraph.co.uk/culture/art/.../Gustav-Klimt-a-life-devoted-to-women.html
May 10, 2008 - ... and to meet the artist whose monumental work, the Beethoven Frieze, was at the heart of the display: Gustav Klimt. The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic, Berta Zuckerkandl, they sat down "beside two ...

2018年3月29日 星期四

劉慕沙 1935~2018



翻譯家劉慕沙與作家朱西甯結婚,育有3個女兒:朱天文、朱天心、朱天衣。
劉慕沙翻譯的日本小說已60多部,包括日本作家川端康成、三島由紀夫、石川達三、曾野綾子、吉本芭娜娜、大江健三郎、井上靖等的作品,個人也有短篇小說創作,集結出版《春心》。

翻譯[編輯]


  • 《甘露》作者:吉本芭娜娜(日本)
  • 《換取的孩子》作者:大江健三郎(日本)換取的孩子 , 時報出版 , 出版日期: 2002
  • 《憂容童子》作者:大江健三郎(日本)憂容童子    , 時報出版 , 出版日期: 2005
  • 《拇趾P紀事》作者:松浦理英子(日本)
  • 《紫鈴蘭》刊登在《皇冠》
  • 《床上的陌生人》作者:夏樹靜子(日本)
  • 《女身》作者:川端康成(日本)女身川端康成    , 遠流 , 出版日期: 1991
  • 《冰層下》作者:井上靖(日本)
  • 敦煌井上靖      涂芝嘉 , 遠流 , 出版日期: 1993-04-13

  • 《樓蘭》

孔子  , 井上靖    , 時報出版 , 出版日期: 1990

守靈夜的訪客 , 井上靖/原著    , 麥田 




潮騷 , 三島由紀夫      趙曼如 , 遠流 , 出版日期: 1991



甘露 吉本芭娜娜    , 時報出版 , 出版日期: 1995

無情∕厄運吉本芭娜娜      奈良美智 , 時報出版 , 出版日期: 2009-




幸福的界線 , 石川達三      陳美玲 , 遠流 , 出版日期: 1991


儷人行 ,  , 大地 , 出版日期: 1990

芥川獎作品選集(一) ,  , 大地 , 出版日期: 1972




編譯論叢第7卷2期-2014.09

 本論文以譯者劉慕沙(1935-)為研究對象,分析其翻譯作品與創作作品之語體特徵的相異與共同之處。將劉慕沙歷年來的幾部重要翻譯作品製作成日中平行語料庫,而早期的創作作品則成為對照譯文與體特徵的對比語料庫,藉由語料庫語言學所提供的量化研究手法,檢討劉慕沙的翻譯作品及創作作品的語言使用──特別是詞類運用語連續詞串使用的特徵,發掘譯者之行為特徵,並探討影響該語體特徵的可能原因。

2018年3月25日 星期日

Tikkun/Tikun等;Paladin 、聖騎士、パラディン


The city's guardian

The statue of Roland has stood on the market square in Bremen since 1404. It depicts a real knight who was a paladin of the Holy Roman Emperor Charlemagne. According to legend, Bremen will remain free and independent as long as Roland stands watch over the city. Along with the historic town hall, the Roland statue is a listed UNESCO World Heritage Site.

聖騎士(Paladin)或稱「聖武士」,在歐洲歷史上是指公元800年前後跟隨查理曼東征西討的十二位勇士。



......隨著現代奇幻文學的興起,聖騎士演變為信奉神祇,為了光明與正義而戰的戰士,身穿雕紋華麗的全身重鎧,除了武藝外同時重視信仰面的修行。西方文學裡的聖騎士可說是牧師與戰士的結合,能使用神聖魔法,多半使用不見血的鈍器做為武器;東方版本的聖騎士同樣信仰光明與神聖,但武器則多為劍或長槍,形象較接近中世紀騎士。

詞源[編輯]

聖騎士,即帕拉丁詞彙的最早記錄為英語paladin,約為1592年,出現在塞繆爾·丹尼爾(Samuel Daniel)的詩篇當中。[1]它來自法語paladin,後者來源與拉丁語palatimus[1]其中,查理曼大帝的十二位勇士來自拉丁語palatinus,可能是源於古法語palatin[1] 拉丁語的palatinus指代羅馬帝國位於帕拉蒂尼山上的帝國宮殿;隨著時間的推移,該詞變為指代帝國或朝廷的高級官員。[2]在中世紀歐洲,詞彙palatine也是有類似的演變。[2]
到了十三世紀,詞彙在歐洲語言中特指查理曼的勇士;最早的是義大利語paladino[1]現代法語也有paladin,西班牙語有paladínpaladino(顯示出從法語和義大利語的演變),德語也有Paladin[1]詞彙「paladin」可以引申指稱其他的騎士英雄如亞瑟王圓桌騎士的勇士們。[1]

パラディンPaladin)は、「パラティン」(palatine)、そしてラテン語の「パラティヌス」(palatinus)」から派生した語で、中世および初期近代ヨーロッパの多くの国で見られた、一定の高位にある騎士である。......英語の「paladin」は、イタリア語形の「paladino」から近代英語に借用されたものである。これは後期中世の「フランスの主題」の論述の大部分は、ルドヴィーコ・アリオストマッテオ・マリア・ボイアルドといった、イタリア人によってなされたからである。

概要[編集]

本来パラディンは、古代ローマ皇帝ディオクレティアヌスによって、侍従として、また親衛隊(praetorian guard)と呼ばれる宮殿の護衛兵として作られた。中世初期には意味が変わり、ローマ教皇に仕える高官と、神聖ローマ帝国の「パラティン伯」(count palatine)と呼ばれる高位の貴族になった。同種の称号は19世紀ハンガリーで、また20世紀の初頭のドイツ帝国イギリスでも使われた。


*****
我一向佩服賈士蘅先生的翻譯,十多年前細談過她的《西方思想史》的翻譯。

這一次翻書,她翻譯的
《 醫學恩仇錄:醫學史上的十大爭端》2011,) 特別"參考資料/書目"的 翻譯,有的很好,譬如說,
將Circle 翻譯成"志同道合的人"; cause 翻譯成"志業等等。頁328
猶太的文獻等,也很有意思。
可是,有時候可能思慮不夠周到,譬如說,332頁末的刊物  《 Tikkun》,這辭Wikipedia有簡單解釋:大要如下:她採用傳統的語意,其實,這是新聞評論季刊Tikkun (magazine), a quarterly newsmagazine of politics and culture from a progressive Jewish point of view,
就像午四時代的《新青年》,不必將它的外文名字意思《(借歐洲的/來催生中國的)文藝復興》翻譯出來。




Tikkun/Tikun (תיקון‬) is a Hebrew word meaning "Fixing/Rectification". It has several connotations in Judaism: Traditional: Tikkun (book), a book of Torah scroll text, used when learning to chant Torah portions or for correct-fixed scribal calligraphy.

Tikkun - Wikipedia

https://en.wikipedia.org/wiki/Tikkun



From Wikipedia, the free encyclopedia
Tikkun/Tikun (תיקון‬) is a Hebrew word meaning "Fixing/Rectification". It has several connotations in Judaism:
Traditional:
  • Tikkun (book), a book of Torah scroll text, used when learning to chant Torah portions or for correct-fixed scribal calligraphy
  • Tohu and Tikkun: The two stages of Existence described in the Kabbalah of Isaac Luria. The initial Olam-World of Tohu-Chaos collapses, to be replaced by the World of Tikkun-Rectification; Tikkun also describing the esoteric active spiritual work of rectification
  • Tikkun refers to the nightly/early morning synagogue readings on the following Jewish holidays: Seventh Day of PassoverShavuotHoshanna Rabbah, and the Seventh of Adar
  • Tikkun HaKlali refers to ten psalms (16, 32, 41, 42, 59, 77, 90, 105, 137, and 150) that correspond to ten types of melody, that have the power to heal according to the Chassidic teacher Rabbi Nachman of Breslov
  • Tikkun olam, the popular Jewish concept of "mending the world", terminology derived from Isaac Luria, but applied more widely to ethical activism in contemporary society
Contemporary:
  • Tikkun (magazine), a quarterly newsmagazine of politics and culture from a progressive Jewish point of view

2018年3月19日 星期一

畫上題詩英譯還原; 我喜歡當年年輕的譯者


 畫上漢詩的英譯還原,各博物館作法不一。紐約大都會博物館可能有還原漢字;大英博物館沒。

British Museum

‘What sort of man is this holding a staff, gently walking and considering a poem as he goes?’
Japanese painted scrolls often feature poems that complement the image. Artist Suzuki Shōnen has painted himself into this scene and inscribed it with a Chinese-style poem. http://ow.ly/ttOo30j4U8H
It’s #WorldPoetryDay – who’s your favourite poet?


  • Inscription Transliteration

    Meiji hinoe uma kajitsu sha oite Tokinro narabi [ni] dai [su] / Shonen senshi
  • Inscription Translation

    For ten leagues only the shade of pines./A single valley sings with the voice of waters./What sort of man is this holding a staff/Gently walking and considering a poem as he goes?
    Painted and inscribed at the Tokinro [?Studio], a day in summer, 1906, by Shonen















COMPASS Title: Suzuki Shonen, Composing a Poem among the Pines, a hanging scroll painting

http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=776041&partId=1
*****

我喜歡當年年輕的譯者。
"旺山兄,
......以前請您帶回歌德的書送彭先生。他已仙逝:我將您講入漢清講堂第209講,請參考。
又,我很想知道,當初您為何選擇William Morris來翻譯? (聯經版 牛津 Past Masters叢書)"
" .....至於William Morris的翻譯,則是我在讀研究所時,一位朋友找我幫忙的。當時,我對這位英國思想家完全無知。
記得當時,為了進一步較具體地瞭解Morris在倫敦的生活與居住狀況,我還寫信給英國的觀光局之類的單位,要了一份倫敦的街道圖。
想起來,當時年輕,知識淺薄而勇氣十足,思之令人汗顏。
旺山上"
https://williammorrissociety.org/virtual-tour/
"The William Morris Society 分享了 1 條連結"

PLEASE NOTE THAT KELMSCOTT HOUSE ITSELF IF PRIVATELY OWNED AND NOT OPEN TO THE PUBLIC. The Society is based in the Coach house and Basement.
WILLIAMMORRISSOCIETY.ORG

2018年3月11日 星期日

English translations of Anna Karenina: 索引的學問不小:The Naive and the Sentimental Novelist By Orhan Pamuk (HUP 2010)《率性而多感的小說家:帕慕克哈佛文學講堂》(台灣麥田 2012)

Image result for craftsman 1901 october



Sep 5, 2014 - Do we really need another English translation of Anna Karenina? This is a bit like asking whether we need a new recording of Beethoven's Ninth.





*讀Thomas Mann 1939年為Random House版Anna Karenina 作序,
Leo Tolstoy 原作; Constance Garnett俄譯英; Thomas Mann 序; Philip Reisman 插圖
內容很不簡單,很有洞見。搞不清楚Mann 懂不懂得俄文:他說,托爾斯泰的俄文當藝術,精益求精,這點即使在大打折扣的英譯本,都還可以感受到:......





https://en.wikipedia.org/wiki/Anna_Karenina

Translations into English[edit]

  • Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1887; Walter Scott Publishing Company Ltd., London, 1889)

  • Anna Karenin, Translated by Constance Garnett. (1901) Still widely reprinted. Revised by Leonard J. Kent and Nina Berberova (New York: Random House, 1965). Revised version reprinted by Modern Library.

  • Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
  • Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
  • Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
  • Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
  • Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
  • Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
  • Anna Karenina, Translated by Kyril Zinovieff and Jenny Hughes (Oneworld Classics 2008) ISBN 978-1-84749-059-9
  • Anna Karenina, Translated by Rosamund Bartlett (Oxford University Press)[8]
  • Anna Karenina, Translated by Marian Schwartz (Yale University Press)[8]

Comparisons of translations[edit]

Writing in the year 2000, academic Zoja Pavlovskis-Petit compares the different translations of Anna Karenina on the market. Commenting on the revision of Constance Garnett's 1901 translation she says: "The revision (1965) ... by Kent & Berberova (the latter no mean stylist herself) succeeds in 'correcting errors ... tightening the prose, converting Briticisms, and casting light on areas Mrs Garnett did not explore'. Their edition shows an excellent understanding of the details of Tolstoy's world (for instance, the fact that the elaborate coiffure Kitty wears to the ball is not her own hair–a detail that eludes most other translators), and at the same time they use English imaginatively (Kitty's shoes 'delighted her feet' rather than 'seemed to make her feet lighter'–Maude; a paraphrase). ... the purist will be pleased to see Kent & Berberova give all the Russian names in full, as used by the author; any reader will be grateful for the footnotes that elucidate anything not immediately accessible to someone not well acquainted with imperial Russia. This emended Garnett should probably be a reader's first choice."
She further comments on the Maudes' translation: "the revised Garnett and the Magarshack versions do better justice to the original, but still, the World's Classics edition (1995) ... offers a very full List of Characters ... and good notes based on the Maudes'." 

On Edmonds's translation she states: "[it] has the advantage of solid scholarship ... Yet she lacks a true sensitivity for the language ... [leading] to [her] missing many a subtlety." 
On Carmichael's version she comments: "this is a–rather breezily–readable translation ... but there are errors and misunderstandings, as well as clumsiness." 
On Magarshack's translation she comments: "[it] offers natural, simple, and direct English prose that is appropriate to Tolstoy's Russian. There is occasional awkwardness ... and imprecision ... but Magarshack understands the text ... and even when unable to translate an idiom closely he renders its real meaning ... This is a good translation." 
On Wettlin's Soviet version she writes: "steady but uninspired, and sounds like English prose written by a Russian who knows the language but is not completely at home in it. The advantage is that Wettlin misses hardly any cultural detail."[9]
In In Quest Of Tolstoy (2008), Hughes McLean devotes a full chapter ("Which English Anna?") comparing different translations of Anna Karenina.[10] His conclusion, after comparing seven translations, is that "the PV [Pevear and Volokhonsky] translation, while perfectly adequate, is in my view not consistently or unequivocally superior to others in the market."[11] He states his recommendations in the last two pages of the survey: "None of the existing translations is actively bad ... One's choice ... must therefore be based on nuances, subtleties, and refinements."[12] He eliminates the Maudes for "disturbing errors" and "did not find either the Margashack or Carmichael ever superior to the others, and the lack of notes is a drawback." On Edmonds's version he states: "her version has no notes at all and all too frequently errs in the direction of making Tolstoy's 'robust awkwardness' conform to the translator's notion of good English style."[13]
McLean's recommendations are the Kent–Berberova revision of Garnett's translation and the Pevear and Volokhonsky version. "I consider the GKB [Garnett–Kent–Berberova] a very good version, even though it is based on an out-of-date Russian text. Kent and Berberova did a much more thorough and careful revision of Garnett's translation than Gibian did of the Maude one, and they have supplied fairly full notes, conveniently printed at the bottom of the page."[14] McLean takes Pevear and Volokhonsky to task for not using the best critical text (the "Zaidenshnur–Zhdanov text") and offering flawed notes without consulting C. J. Turner's A Karenina Companion(1993), although he calls their version "certainly a good translation."[14]
Reviewing the translations by Bartlett and Schwartz for The New York Times Book ReviewMasha Gessen noted that each new translation of Anna Karenina ended up highlighting an aspect of Tolstoy's "variable voice" in the novel, and thus, "The Tolstoy of Garnett... is a monocled British gentleman who is simply incapable of taking his characters as seriously as they take themselves. Pevear and Volokhonsky... created a reasonable, calm storyteller who communicated in conversational American English. Rosamund Bartlett... creates an updated ironic-Brit version of Tolstoy. Marian Schwartz... has produced what is probably the least smooth-talking and most contradictory Tolstoy yet." Gessen found Schwartz's translation to be formally closer to the original Russian, but often weighed down with details as a result; Bartlett's translation, like Pevear and Volokhonsky's, was rendered in more idiomatic English and more readable.[15]
~~~

http://hcbooks.blogspot.com/2018/03/the-naive-and-sentimental-novelist-by.html

The Naive and the Sentimental Novelist By Orhan Pamuk率性而多感的小說家:帕慕克哈佛文學講堂


三十歲那年,已讀遍法國重要小說的我首次來到巴黎,立刻趕往自己在書頁中邂逅的地點。我學巴爾札克的主人翁拉斯蒂涅,來到拉榭茲神父墓園(Père Lachaise)高處俯瞰巴黎,愕然發現景致竟是如此尋常。然而在我的小說處女作《貝氏父子》(Cevdet Bey and Sons)中,我還是創造了一個明顯以拉斯蒂涅為典範的主角人物。到了二十世紀,那些充當小說藝術舞台的歐洲主要城市湧入大批懷抱憧憬的非西方作家,這些人透過小說認識了這個世界,也想相信自己的所知所聞不啻是憑空想像。小說愛好者手持一本《唐吉訶德》遊歷西班牙,已是司空見慣的事。當然,諷刺的是塞萬提斯的主角自己也頭腦不清,混淆了騎士文學與現實。被困在小說與現實間的學者專家之中,最令人驚異的莫過於納博科夫,他曾說過所有小說都是童話,卻又試圖編纂《安娜卡列尼娜》註解版以披露小說背後的「真相」。雖然計畫始終未能完成,他仍作了研究,畫出安娜往返莫斯科與聖彼得堡所搭列車的車廂配置圖。他仔細地記錄女性專用車廂的簡單樸素、哪些是分配給較窮乘客的座位、暖爐的位置、窗戶的樣貌,以及莫斯科到聖彼得堡距離有幾英里──凡此種種托爾斯泰忽略未提的資訊。我認為類似的註解對於理解小說或安娜的想法並無太大幫助,但讀起來依然樂在其中,會覺得安娜的故事是真的,會更加相信她的存在,也會暫時忘卻失望與不足之感。

我們作為讀者的努力當中包含一項重要元素:虛榮心,我現在想來談談這個。我已經說過,閱讀小說不像欣賞畫作,不會遇見任何真實事物,其實是靠我們自己將文字轉化為意象並運用想像力讓小說世界成真。每位讀者都會以自己獨特的方式、獨特的影像記住某一部特定小說,當然了,說到運用想像力,有些讀者頗為怠惰,也有些十分勤奮。迎合怠惰想像力的作家會明白地向讀者傳達:每當心眼中出現某一特定影像,應該有什麼感覺與想法。至於信任讀者想像力的小說家則只會以文字形容與定義那些構成小說各個時刻的影像,並將感覺與想法留與讀者。有時候(其實是常常)想像力無法形成畫面或任何對應的感覺,最後我們便對自己說「看不懂這本小說」。不過我們也時常努力地讓想像力動起來,想方設法去想像作者所暗示或是內文想在我們內心創造的影像。正因為我們努力去理解、去想像,不禁慢慢對小說生出一股驕傲的占有慾,開始覺得這部小說完全是為我們而寫,也只有我們真正了解它。

這種占有慾也來自於一個事實:是我們讀者在心眼裡想像之後,才讓小說成真。小說家畢竟需要像我們這種勤奮、寬容、感覺敏銳的讀者,才能讓小說完整實現,讓小說「順利運作」。為了證明自己是這種特殊讀者,我們會假裝忘記小說是想像的產物,而想去造訪事件發生的城市、街道與房屋。這份渴望包含著一股衝動,想更深入了解小說世界,同樣也想看到一切「正如我們所想像」。在真實的街道、房屋與物品中看見(因小說家使用適切字眼而喚起的)適切影像,不僅有助於緩解小說帶來的不足感,也能讓我們讀者因為正確地想像出細節而充滿驕傲。

這種自豪與其諸多變化都是連結小說與博物館,或是連結小說讀者與博物館參訪者的共同感覺。我們現在的主題不是博物館而是小說。但為了說明在讀小說時激發想像力的動機,我要繼續沿用驕傲感與博物館的例子。別忘了,正如同下棋時預測對手的下一步,小說家也總會斟酌讀者的想像力以及刺激這份想像力的欲望與動機。讀者的心可能如何反應?這是小說家最重要的考量之一。

關於博物館與小說的複雜主題,若能分成三部分來討論會容易一些。但是要謹記這三部分相互關聯,而驕傲感則是它們的共同元素。


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 The Naive and the Sentimental Novelist  By Orhan Pamuk (HUP 2010)《率性而多感的小說家:帕慕克哈佛文學講堂》(台灣麥田 2012)
索引的學問不小。以此書的美國哈佛大學出版社和台灣麥田出版社的索引之一條來對比說說:
台灣麥田出版社的索引:
《安娜卡列尼娜》23,59,72,84,86,93,113,132,178,183,189

美國哈佛大學出版社的Anna Karenina 分兩則:請讀者思考為何需要如此區分:
Anna Karenina  (Tolstoy), 《安娜卡列尼娜》(托爾斯泰), 61,75~76, 105, 178; knowledge of life and, 173; landscape of novel and, 8~10, 73; Nobokov's annotated edition, 125~126; object time in, 83; as a realist novel, 184; sensory experience in, 45~46. See also  Karenina, Anna (fictional character):

Karenina, Anna (fictional character): 《安娜卡列尼娜》(小說人物), 12, 47, 64,80, 81,178; gaze of, 178; knowledge from every day experience and, 22; landscape of novel and, 8~10, 73, 84`85; Nabokov's annotations and, 126;  reader's identification with, 45~46, 75; transformation of words into images and, 104~105. See also  Anna Karenina  (Tolstoy),






......被困在小說與現實間的學者專家之中,最令人驚異的莫過於納博科夫,他曾說過所有小說都是童話,卻又試圖編纂《安娜卡列尼娜》註解版以披露小說背後的「真相」。雖然計畫始終未能完成,他仍作了研究,畫出安娜往返莫斯科與聖彼得堡所搭列車的車廂配置圖。他仔細地記錄女性專用車廂的簡單樸素、哪些是分配給較窮乘客的座位、暖爐的位置、窗戶的樣貌,以及莫斯科到聖彼得堡距離有幾英里──凡此種種托爾斯泰忽略未提的資訊。我認為類似的註解對於理解小說或安娜的想法並無太大幫助,但讀起來依然樂在其中,會覺得安娜的故事是真的,會更加相信她的存在,也會暫時忘卻失望與不足之感。