試譯外評An Occult Spain Reborn from Paganism

************這篇影評可能有雷************

喜歡這部電影，欣賞這篇評論，在翻譯中學到不少東西，但終究對諸多宗教、政治、歷史問題搞不明白，只能硬著頭皮直譯～
原帖連結http://www.traditioninaction.org/movies/011mrPansLabryinth.htm

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An Occult Spain Reborn from Paganism
西班牙異教信仰的一次神秘重生

Pan's Labyrinth reviewed by Atila S. Guimares
Alila S. Guimares評《潘神的迷宮》

An interpretation of a parable, as director Guillermo del Toro described his film, is always open to dispute, unless the author himself clarifies the meaning he intended. Since I do not imagine such explanation will be forthcoming, I will describe how I interpreted that parable.
    關於聖經寓言故事的演繹，正如導演Guillermo del Toro描述這部影片時所說的那樣，總是會成為觀眾熱烈討論的話題，除非作者本人親自澄清他所要傳達的意思。鑒於我猜測諸如此類的官方解釋不會馬上發佈，下面不妨談談我對這部影片的看法。

The symbolism of the personages
主要人物的象徵意義

The girl Ofelia represents Spain. She was a princess when Paganism still dominated Spain, that is, she had a vocation to rule over different peoples someday if she remained under her father, the king of the subterranean world, the Devil. But the girl fled the world of the darkness and entered Christendom. The light she saw - the Catholic Faith – blinded her so that she forgot her origins and promise.
女孩Ofelia顯然代表西班牙。在異教信仰依舊主導西班牙的時期，她的身份是一名地下王國的公主，無憂無慮地生活在他父親——地下王國的國王（代表異教信仰中的惡魔）的庇護之下，直到她能夠擔負起統治臣民的重任。但是嚮往人類世界的公主從黑暗的地下王國中偷跑了出來，闖進了地面之上的基督教世界。影片開頭強烈的陽光（代表基督教信仰）灼瞎了她的眼睛，抹去了她的記憶，她忘卻了自己是誰，來自何方，從此留在了人間。

This mention to the Catholic Faith as a harmful light is the first insinuation of the battle between the two gods of Theosophy - the black god, who at present is defeated and in darkness; and the victorious God of light, whom we Catholics adore as the true God. According to the theosophical fable, the White God is the bad one, and vice-versa. Thus, the goal of Theosophy is for the Black God - Satan - to depose the White God. This is the background of the fight between darkness and light present in this film.
把基督教信仰視作有害的光忙，源自神智學中兩位主神的水火不容，一位是戰敗的黑暗之神，藏身在地下王國，另一位是戰勝的光明之神，即我們天主教徒信奉的上帝。按照神智學的說法，光明之神是異端的，黑暗之神才是正統的。因此，神智學的目的在於宣揚黑暗之神——撒旦，貶斥光明之神。以上就是本片中黑暗和光明兩派的鬥爭背景。

After leaving the world of darkness, the princess had many reincarnations, that is, Spain assumed many different faces during its history. The film focuses only on the 20th century transition from Monarchy to the Franco Regime and then from this one to the new Monarchy we are witnessing today. The Spain of that time, Ofelia, had been born from the marriage of her mother, Carmen - the Catholic Church - with the monarchical regime that preceded the Civil War - her father, is presented as a tailor, a man concerned only with appearances. It is an understandable portrayal of the superficial monarchy of Alphonse XIII that preceded the Civil War, very concerned about status, titles and appearances.
離開地下王國之後，公主歷經多次轉世託付靈魂，暗指西班牙歷史上先後出現過各種各樣的國家面貌，而影片則把焦點鎖定在20世紀西班牙從君主政體轉變為弗朗哥獨裁政權的歷史時期，只不過之後西班牙又歸於我們今日所見的新君主國。影片中的女孩Ofelia，即當時的西班牙，她那軟弱妥協的生母Carmen代表天主教教會，生父則是一名從事面子工作的裁縫，影射內戰前夕的君主制。這樣的設定恰好契合了內戰之前阿方索十三世脆弱的執政根基，因為他只關心皇室的身份地位和衣著光鮮。

Soon after the death of her husband - the end of the old Monarchy - the Catholic Church married Francoism, represented by Captain Vidal. In this marriage, a son - a new regime - was conceived. During her difficult pregnancy, the Church is sick and completely dominated by Francoism, which obliges her to come to his headquarters to give birth to the infant.
Carmen在他的丈夫去世之後（影射舊君主制的終結），嫁給了Vidal上尉，暗指天主教教會委曲求全於弗朗哥政權。他們結合之後，Carmen就懷上了一個孩子，意味著一個新的政權正在悄悄形成。然而在孕育新政權度的過程中，教會始終軟弱無力、任人擺佈，受到弗朗哥政權的嚴密監控，正如影片中Vidal上尉堅持要求Carmen前往他的駐地，在他的面前生下這個孩子。

As Carmen travels to the headquarters of Captain Vidal, that is, as the Church aligns herself with the right, she has a crisis, and Spain, Ofelia, is attracted to the occult Paganism of her deep past. She restores the eye to a stone idol - a faun. With this help Paganism, still petrified and unable to move, finds the way to see again. From the silent, gaping mouth of that idol comes an insect, a kind of preying mantis, which later transforms itself into a devil-like 揻airy?and becomes the normal means of communication between the faun - the occult Paganism - and Ofelia.
當Carmen長途跋涉抵達Vidal上尉的駐地（暗指教會選擇與右派站成一排）之時，她沒有意識到自己正遭遇嚴重的危機，而Ofelia（西班牙）也將受到神秘的異教信仰的誘導，回憶起她遙遠的過去。她把一尊潘神石頭雕像掉落的眼睛放回了原處，於是石像所代表的異教信仰得以再次觀察外面的世界，儘管目前它還無法動彈。一陣沉默過後，石像嘴巴處的洞穴中爬出一隻螳螂，這隻捕食昆蟲在此後的日子裡變成了一個惡魔模樣的精靈，充當Ofelia和潘神（代表神秘的異教信仰）之間的信使。

So Ofelia’s mother, the Church, enters Franco’s headquarter and is treated like a paralytic, completely subservient to Francoism. She does all she can to make Spain accept Francoism as her father, but the girl refuses.
Ofelia的母親，即教會，在弗朗哥的政治指揮所內如同一個癱瘓病人，完全附庸於弗朗哥政權。她極盡所能想讓西班牙接受弗朗哥獨裁政府，但是女孩拒絕稱呼上尉為父親。

In one scene between mother and daughter, at Carmen’s request, Ofelia tells her brother-to-be a fairy tale setting out for him the new ideal of Spain. The brother is the coming Monarchy of Juan Carlos, made by Franco with the agreement of the Church. In her story, Ofelia tells her brother to enter the world of occult and look for a mysterious rose at the top of a dark mountain covered with thorns.
有一場母親和女孩的對手戲，Carmen請求Ofelia為將要出生的弟弟講個童話故事，暗指為新生的西班牙設定一個新的社會理想。這個弟弟就是不久之後由弗朗哥徵得教會同意後宣佈恢復的胡安•卡洛斯君主政權。在童話故事中，Ofelia告訴她的弟弟要走進那個隱秘的世界，登上一座佈滿荊棘的黑暗山峰，尋找一朵神秘的玫瑰。

During her stay in this Francoist headquarters, the Church is assisted only by the Leftist Bourgeoisie - the physician Dr. Ferrero - and by Socialism, represented by Mercedes, the kitchen maid. Mercedes secretly helps her brother Pedro and his guerilla companions - who represent Communism and live in the hills surrounding the Francoist headquarters. Socialism, that is, the maid Mercedes, serves Francoism, but she also assists Communism, feeding the guerillas with food from the storerooms of Francoism.
在弗朗哥的政治指揮所內，Carmen（教會）能夠得到的幫助只有來自於Ferrero醫生所代表的左派資產階級，以及廚房女傭Mercedes所代表的社會主義。Mercedes還在暗地裡資助她的弟弟Pedro和他的游擊隊，他們代表的是共產主義，在環繞弗朗哥政治指揮所的山林中流竄。Mercedes（社會主義）為弗朗哥獨裁政府服務，但是她同樣資助共產主義，在影片中表現為從弗朗哥政權的倉庫中弄出食物提供給游擊隊。

Demands of the occult
對神秘世界的需要

Soon after Ofelia enters the Francoist headquarters, the "fairy" appears to her and shows her the way to the labyrinth her initiation - that will allow her to return to the subterranean world. To get there, she must retrace the steps of her conversion. Just arriving in the underworld, at the sound of her voice, a stone statue of a faun takes on life. Back to life, the faun - the occult Paganism invites Ofelia to return to her ancient vocation of serving the king of darkness, the Devil, her true father. She accepts and is submitted to three tests that she must succeed before the labyrinth抯 portal will open, that is, a new era wherein an occult Spain will reign.
Ofelia進入弗朗哥政治指揮所後不久，精靈就出現在她面前，引導她來到迷宮入口找尋她身世的開始，從而回到她本來屬於的地下世界。但要回到那兒，她必須先改回自己的信仰。同時，當她剛剛走到地下入口的時候，一尊石像因為聽到她的聲音立即活了過來。甦醒的潘神（神秘的異教信仰）提請Ofelia重新擔負起使命追隨地下王國的惡魔國王，也就是她的親生父親。她同意了潘神的提請並答應接受三項神秘任務——在迷宮入口打開之前她必須完成，然後才能進入一個神秘異教信仰的西班牙主導的新紀元。

Death of Feudalism
封建制度的滅亡

In the first test, the faun gives Ofelia three magic stones - three ideas that she must place in the belly of a gigantic frog that lives in the roots of a huge dead tree, which represents society. With this, the frog will die and the tree will recover its life. Even though these three ideas are not clearly specified in the film, it seems to me they are Liberty, Equality and Fraternity. Then Ofelia is to return with a gold key she will find in the frog’s belly.
在第一個考驗中，潘神交給Ofelia三顆魔石（影射三種思想），她必須把它們塞進一隻巨型青蛙的肚子裡。巨蛙寄居在一顆枯死的大樹根部，枯樹象徵當時的西班牙社會。巨蛙吞入魔石後就會死亡，大樹即能恢復生命，重新生長。儘管影片中沒有挑明這三種思想究竟是什麼，不過我認為應該指的是自由、平等、博愛。Ofelia隨後在巨蛙的肚子中找到一把金鑰匙，並帶了回來。

Spain takes off her beautiful dress given to her by the Church and paid for with Francoist money, and creeps into the deepest roots of society. As she crawls along in the deep mud - into the social movements and encounters ugly beetles - the poor people - she comes upon the enormous frog Feudalism - which faces Ofelia to defend its quarters and continue feasting on the miserable bugs. Feudalism, which had killed society and prevented it from taking on new life, according to the occult saga, also tries to eat Ofelia. The girl tricks the frog, pretending to throw it a beetle, but actually giving it the three magic stones. As soon as that old Feudalism swallows them, it vomits everything it had eaten and dies.
西班牙脫下教會送給她的由弗朗哥政權買單的華麗衣裙，爬進社會最深的根部。當她在厚厚的爛泥中弓腰爬行（暗指漸漸深入社會運動）並且周圍不斷出現醜陋的甲蟲（代表窮人）時，她突然撞見巨大的青蛙——封建主義。巨蛙為了保住他的地盤擋在Ofelia面前，同時還不忘大快朵頤地享受著悲慘無力的甲蟲。封建主義不僅像神秘異教傳說中描述的那樣謀殺了社會進而阻止社會獲得新生，甚至還想把Ofelia也吞噬掉。於是女孩假裝扔給它一隻甲蟲，誘騙巨蛙吞下三顆魔石。就在老邁的巨蛙（代表封建主義）吞下魔石的剎那，它把肚中所有的東西都吐了出來，一命嗚呼。

Amid its innards is the key that gives life to Feudalism which is, I believe, the concept of private property, also central to Capitalism. Ofelia retrieves the key and brings it to the faun. The first test is accomplished. Spain killed its old Feudalism.
巨蛙內臟中的那把鑰匙維繫著封建主義的存在，在我看來，鑰匙象徵的就是私有制，這個概念對於資本主義而言也是至關重要的。Ofelia取回鑰匙，帶給了潘神，第一個考驗順利完成。西班牙就此消滅了舊時代的封建主義。

Rejection of Capitalism
拒絕資本主義

The second test is to enter the secret halls that are in the underground of the Francoism headquarters where a terrible monster exists. The monster presides over a fabulous banquet table filled with tempting food and drink. This eyeless monster slumbers immobile at the head of the table, only awakening when someone eats something from his table. Then he starts up and consumes the naive who benefited from his offers.
第二個考驗是進入位於弗朗哥政權指揮所地下的一座神秘廳堂，裡面住著一隻可怕的怪物。怪物的臉上沒有眼睛，卻佔著一大桌令人難以置信的美味佳餚。它一動不動地坐在桌子頂端沉睡，可一旦有人吃了桌上的食物，它就會馬上醒來，抓住那個享受美食的天真傢伙，然後吃掉。

Although Ofelia was warned to eat nothing, she cannot resist taking a few grapes. At her first swallow, the monster awakens, and we realize that his eyes are on his hands, which he raises to his empty sockets so that he can see - in order to seize and devour her. By this we are to understand that he can only see what is palpable. What monster is this but Capitalism turned to devour everything it seizes.
儘管潘神警告過Ofelia不要碰任何食物，可她還是忍不住嘗了幾顆葡萄。她吃第一口的時候，怪物就突然醒了過來，我們能注意到怪物的眼睛嵌在手掌上面，它必須把手掌舉到臉前才可以看見Ofelia，然後抓住她，吃掉她。通過這個細節，我們明白了怪物只能看見觸摸得到的東西。怪物其實指的就是吞噬一切可得之物的資本主義。

Before eating the two grapes, however, Ofelia had found the tabernacle of Capitalism, and with the gold key of private property, she opened it and drew out the dagger that would immolate the coming Monarchy. I cannot imagine what this dagger would be but a secret doctrine of self-destruction to finish with either Capitalism or Monarchy.
不過，Ofelia偷吃葡萄之前已經找到了怪物（資本主義）的壁龕，並且用金鑰匙（私有制）打開壁龕，取出了日後將用來祭殺君主制的短劍。在我看來，這把短劍只可能像徵一種自我終結的神秘教義，一併終結資本主義或者君主制度。

It was easier for Spain to face and defeat its old Feudalism than to resist the temptations of Capitalism. Because she enjoyed some fruits of its table, she barely escapes alive. Although she retrieved the dagger, which the faun takes, he is angry with her for her self-indulgence. He tells unhappy Spain that she lost the possibility of being eternal and will never return to the underworld. At any rate, Capitalism lost its secret, and Spain learned that she should reject Capitalism.
對於西班牙，迎頭擊敗封建主義要比抵制資本主義誘惑容易得多。就為了桌上一些美味的水果，Ofelia差點丟了性命。雖然她取回了短劍交到潘神手上，但是潘神因她沒能克制住自己而感到非常生氣。它很不高興地告訴Ofelia（西班牙），她失去了獲得永恒生命的機會，再也無法回到地下王國。但是不管怎樣，資本主義的秘密被挖了出來，西班牙也因此明白自己必須拒絕向資本主義妥協。

Meanwhile, the baby is born, Ofelia’s mother, the Church of the right - dies during the delivery, and Francoism loses strength. The secret support Dr. Ferrero was giving to heal the wounded Communism is discovered, and he is killed by Francoism. Captain Vidal also learns of Mercedes』 assistance to her brother Pedro; he plans to torture and kill her, but she frees herself, Socialism inflicts Francoism with some painful wounds that change its face, and then joins her brother, Communism. Ofelia is accused of complicity with Mercedes and is locked in her room.
與此同時，Ofelia的弟弟出生了，然而她的母親（支持右派的教會）在分娩時不幸身亡。弗朗哥政權也在此期間收到重創。Ferrero醫生秘密幫助共產主義勢力的事實暴露，隨即他被弗朗哥政權處死。Vidal上校還發現Mercedes暗中接濟她的弟弟Pedro，於是準備先行拷打再殺了她，但是Mercedes（社會主義）成功自救，並且狠狠刺傷上校（弗朗哥政權），毀了他的面容，隨後加入她弟弟的隊伍，成為共產主義陣營中的一員。Ofelia不幸被指為Mercedes的同謀，被鎖在她的房間裡面。

Immolation of the Monarchy
祭殺君主制

In this difficult situation, the faun appears again, to present Spain with the third test. Ofelia must bring him the newborn Monarchy to be sacrificed on the altar of the occult so that Spain can fully return to Paganism and the kingdom of darkness. But Spain protects her half-brother, the new regime, and is forced to return the infant to the hands of a wounded and drugged Francoism, who has pursued Ofelia into the labyrinth.
危機時刻，潘神再次出現，給予西班牙接受第三次考驗的機會。Ofelia必須帶走她剛出生的弟弟（君主制）作為神秘異教祭壇上的祭品，只有如此才能真正回到異教信仰的地下王國，回到黑暗國王身邊。但是，西班牙最終選擇保住她同母異父的弟弟，這個新生的政權。隨後，傷痕纍纍又誤食迷藥的Vidal上校（弗朗哥政權）追到了迷宮的入口，從Ofelia手中強行奪過了嬰兒。

Francoism, which always had an attraction to Socialism (Mercedes), realizing that his death is near, gives the infant, its new monarchy, to Mercedes to raise it. Socialism takes the baby - a clear reference to the present day situation where Juan Carlos does whatever Socialism instructs him. After he hands over the baby, Francoism is shot and killed by Communism. This victory of Communism, not complete yet, is what the movie is trying to favor in order to revenge its defeat in the Civil War.
從未徹底否定社會主義的弗朗哥政權意識到自己即將覆滅，於是把嬰兒，即新生的君主制，交給Mercedes撫養。Mercedes（社會主義）接管了這個新生兒，暗指在當今的西班牙，胡安•卡洛斯總是順著社會主義政黨的想法行事。當交出嬰兒之後，弗朗哥政權就被共產主義一槍擊斃。雖然共產主義的勝利並不徹底，但是影片中安排的這場勝利，也算是對西班牙內戰中弗朗哥擊敗共產主義這一事實的報復。

After refusing to hand the baby over to the faun to be sacrificed, Ofelia herself is shot and killed by Francoism. The death of this true Spain, however, is accepted as a expiatory homage by the Devil. There will be a new reincarnation of Spain in her infant brother as long as he is well raised by Socialism and follows the same occult path returning to Paganism.
Ofelia拒絕把新生兒交給潘神當作祭品，自己卻被弗朗哥政權射殺。現實中西班牙的滅亡，在影片中被表現為惡魔國王的一種補償性的致敬。西班牙將在她的弟弟身上獲得又一次的轉世，而這個小男孩也將在社會主義的培育下不斷成長，然後像她的姐姐那樣踏上通往異教信仰世界的神秘幽徑。

Mystically speaking, Ofelia, the true Spain, returned as a princess to the underworld, where she finds her father, the Devil, reigning in a throne of light. But, the movie ends assuring us that even dead, Ofelia’s traces may be found by those who have the eyes to see where the flowers of the occult are blooming...
代表真實西班牙的Ofelia死後神秘地回到地下王國，找到了她那高居金光寶座的惡魔父親，自己也恢復了公主身份。然而，影片結尾的一個細節讓我們相信，縱然Ofelia的死亡毫無爭議，但只要看到枯樹上神秘綻放出的鮮花，就有可能找到女孩仍然存在的蹤跡……