To Chin2333 participants (05)

Dear Chin2333 attenders, So we have revisited the topic of Foreignization vs. Domestication, as we did last Saturday (Feb 23). And that F/D strategy decision will come back to our discussion again and again. It is more meaningful to would-be professionals in translation and interpreting (as most of you are) than the earlier dichotomy between “直譯” and “意譯”, as greater cultural consciousness is now emphasized. Amy has raised a question about the test, which may be shared by others among you. Please come and read the feedback.

老同學 / Old Boys

老同學 金雨田	Old Boys Jin Yu Tian
多年來不見面的兩個中學同學無意間碰頭，話頭一起，竟互相羡慕起對方來。	TWO old boys of the same secondary school chanced upon each other after years of separation.  They had a chat, and soon found themselves envying each other greatly.
一個是商行高級人員，一個是小廠主，都是在生活線上努力掙來的。隔行如隔山，自己有欠缺之處，好象總能在他人身上尋得補償似的。別人的苦水，到底沾不上自己的唇。	One was a senior executive with a business firm, and the other owned a small factory, both having struggled their way through life to what they were.  Coming from different trades, each felt the drawback of his own career and seemed to find the grass greener in the other’s field, but neither bothered to delve into the other’s problems.
在商行裏幹的，大學生，安安穩穩，自嘲“爲他人做嫁衣裳”。小廠主則是中學畢業，憑一把勁，跌倒了又爬起來，開拓一片天空，爲幾乎每個星期都要反被來應徵工作者“面試”的角色轉移大發牢騷。	Despite a secure job resulting from his university degree, the senior executive likened himself to a seamstress toiling away at other girls’ bridal dresses.  The factory-owner had only secondary education but, in an unyielding spirit, had overcome many a setback until prospering in his own business.  Yet he lamented that, almost every week, he had to swallow the humiliation of being questioned like an interviewee by those coming for a job interview.
你一杯我一杯，啤酒都喝了幾大瓶。他們起身去找另一位聽說搞的不錯，念書時常一起打籃球的朋友。在購物中心經營小食店，這位老同學滿得意說生意不錯，但一天得幹十六小時，“真羡慕你們”，他也這麽說。	They talked and talked, over mug after mug of beer until they had emptied several bottles.  Then they got up and went to see another old boy, a basketball pal in the old days, but now manager of a thriving snack bar at a shopping centre. The restaurateur was well pleased with his business except that he had to work 16 hours a day.  “How I envy you guys!” he sighed, too.
三個人到酒廊喝酒，半醒半醉話當年說人生。“你看我好我看你好”，哈哈哈，他們踉踉蹌蹌的走出酒廊，在夜風裏抛下了人到中年的結語。	The three went over to a pub and had a hearty drink, chatting about life then and now, all half-intoxicated.  “I envy you and you envy me, ha ha ha!”  The conclusion about life in middle age wafted in the night air as the old boys staggered out of the pub. (Translated by Allen Zhuang)
[原載新加坡《聯合早報》(2000)；收入《不着地族 / A Lift-Off People》(潘正鐳著、Allen Zhuang 英譯；Singapore: All Publishing House, 2002)]

中國文化學習進言 / On Studying Chinese Civilisation

中國文化學習進言 鄭培凱	On Studying Chinese Civilisation Pei-kai Cheng
學習中國文化最困難的地方，在於中國歷史太悠久，文化內涵太豐富，博大精深，包羅萬象。經史子集，諸子百家不說，三教九流也都是學問，可以作為終身研究的領域。不啻佛家想像的三十三層廣闊天地，任鳶飛，任魚躍，任你化鯤為鵬，扶搖直上九萬里，窮畢生之力也遨遊不盡，總在你自以為到了天涯海角之際，才發現眼前原來還有一個新的宇宙，讓你去探索，讓你去發現。	THE MOST formidable obstacle to studying Chinese civilisation lies in the very nature of the subject – the nation just has a history too long and a wealth of civilisation too vast and profound and yet intricate for any aspiring student. Leaving aside the Big-Four disciplines of Confucian classics, history, philosophy, and literature, and ignoring the various other schools of thought and their works, one may still devote an entire lifetime to studying any of the lesser-known subjects in the field. Chinese civilisation thus seems like the multi-layer universe in the Buddhist belief, in which neither fish could dive too deep nor fowl could soar too high, nor could the legendary fish-turned-roc roam far or wide enough till its last day, despite its magic power to swirl upwards thousands of miles like a hurricane. Likewise, a student of Chinese civilisation could never expect to exhaust his field. Wherever he feels himself reaching the edge of the frontier, he finds yet another uncharted territory lying out there to be discovered and explored.
莊子曾經感歎，“生也有涯，而知也無涯，以有涯隨無涯，殆矣。”是對知識領域的無邊無涯感到無奈，多少有點廢書不觀，讓空靈的想像逍遙齊物，在“坐忘”中與天地終始的意思。假如我們用實證的態度想一想，莊子生活的戰國時代，知識範疇能有多大多廣多無涯呢？在兩千年後的今天，知識的領域不知拓寬了多少，要對中國文化有通盤深入的理解，其難其殆，更不知要比莊子超過多少。所以，有人說，中國文化包羅的太博，太難學。甚至口出讕言，說費那麼大勁，學了又沒用，乾脆別學了。	Zhuangzi the ancient sage once lamented, “Human life is limited whereas knowledge is limitless. How precarious it is to spend all one’s limited life pursuing limitless knowledge!” In a way, the philosopher had despaired of the boundless territory of knowledge. He would rather discard all reading but let his untroubled mind stroll in absolute freedom, taking a relativist view of all things, and finally becoming oblivious of his own existence along with the very universe he was in. Yet, when we think of it matter-of-factly, we can see the entirety of knowledge was rather limited during Zhuangzi’s time, or in the period of the Warring States (475 – 221 BC). Today, the scope of knowledge, as a whole, has grown immeasurably wider and more inclusive. It is much more demanding and “precarious” for students today to gain an overall understanding of Chinese civilisation than it would have been for Zhuangzi some two millennia ago. So there are people complaining about the scope of Chinese civilisation being too extensive, hence too tough for students. Some even go so far as to declare that, since knowledge of the subject is useless, it is not worth the trouble and one might as well drop it altogether.
面對浩如煙海的中國文化，教師與學生面臨同樣的挑戰與困境，如何去教，如何去學，如何在有限的教學資源與課時的限制中，讓同學達到人文通識的基本標準與要求，本身就值得探究。最好當然是博通，儒釋道的學說理解個大概，二十四史知道來龍去脈，詩詞歌賦讀得通，文章戲曲看得懂，琴棋書畫有興趣，考古發現也知曉。但是，除了少數才高八斗的學生，這簡直是強人所難的奢求，而且是不切實際的空想。	Now, instructors as well as students have to face the challenge of the apparently all-embracing courses, either in teaching or in learning. It is essential to find a way of teaching and learning that would help students meet the basic requirements for liberal education within the constraints of limited resources and class hours. Of course, it would be ideal for one to gain an all-round mastery of Chinese civilisation – some essential concepts about Confucianism, Buddhism, and Taoism; a general idea of those dynasties in history; an ability to read classical poetry, prose, and drama; an interest in the cultured pursuits of music, chess-playing, painting and calligraphy; and some knowledge of archaeological findings. Yet, this would be a wild wish except for the few blessed with extraordinary talent. It is simply an impracticable, extravagant hope.
博通不成，簡約學學，成嗎？無法都學，挑有興趣的學。喜歡文學，學點詩詞歌賦；喜歡表演，學點戲曲琴箏；對人生意義感興趣，學學儒學佛理。對一般的大學生而言，不論專業是什麼，是理工醫農也好，法商傳媒也好，既是中國人，總不能不知道一些中國文化常識，起碼要人模人樣，有一點文化修養，不至於大學畢業之後，一開口就令人感到傖俗，遭人恥笑。跟洋人打交道，人家講莎士比亞，講易卜生，自己也能對應，侃侃而談關漢卿與湯顯祖；人家講蘇格拉底、柏拉圖，自己也能談談孔孟老莊；人家講基督教新舊教派的分歧，自己也能分疏佛教與道教的異同。	While broad and deep knowledge can’t be expected, one can well select certain topics of his personal liking for focussed learning. For example, those literarily-minded can learn some classical poetry and prose, those keen on performing arts can learn about traditional drama and music, and those concerned about the meaning of life can study teachings of Confucius and Buddha. A university student, being a Chinese, ought to have some elementary grasp of Chinese civilisation, whatever subject or discipline he majors in – be it science or engineering, medicine or agriculture, law or business, or mass communication. At least he should be properly cultivated while studying at university, so that after graduation he would not sound vulgar and uncouth and hence silly when communicating with people. For example, when conversing with westerners who talk about Shakespeare or Ibsen, a Chinese graduate should be able to readily share his comments on Chinese dramatists Guan Hanqing and Tang Xianzu. To those quoting Socrates and Plato, he can cite sayings of Confucius or Mencius, Laozi or Zhuangzi. And, when the other interlocutor tells about how Protestantism differs from Catholicism, he can compare and contrast Buddhism and Taoism.
或許有人問，知道一鱗半爪的文化知識，有什麼用？能幫我找到適當的職業，給我發薪水嗎？能加薪升級嗎？能談成一筆生意嗎？能賺錢嗎？這樣的問題，在香港時常有人問，大學生更是問得理直氣壯，好像文化修養是他發家致富的障礙，學習中國文化更使他無法出人頭地，害他無法登上福布斯富豪榜。	Some may doubt whether such a smattering of knowledge is useful, whether it can help them land a well-paid job, secure a promotion or a salary hike, or lead to a business transaction that brings profit. Questions like these are common in Hong Kong, particularly from university students who feel well justified in so asking. They sound as though cultural studies hinder them from making a fortune, and the learning of Chinese civilisation particularly stops them from rising above others, blocking their way into the Forbes rich list.
我要敬告如此發問的大學生，最好醒醒頭腦，不要發昏。你們是大學生，是社會未來的棟樑。香港過去是殖民地，“搵錢大哂”也就罷了，未來的前途還有待創造，絕不能唯利是圖。學習文化，從中國文化的變遷中汲取資源，思考香港的前景，是每一個大學生責無旁貸的使命。香港的前途就在你們身上，香港的興亡也在你們身上，不能只想着賺錢，只從錢眼中看世界。	May I venture to advise the students who ask such questions to wake up, and sober up? You are university students today and, I would say, pillars of society tomorrow. Admittedly, in this former colony the adage “Making money is all-important” is accepted, but now Hong Kong’s future depends on the work of its people, who cannot succeed if they seek nothing but money. As university students you are duty-bound to think over the future of Hong Kong by drawing upon what you have learnt about the evolving of Chinese civilisation. On your shoulders rests the responsibility for Hong Kong’s future, a future of either prosperity or failure. You cannot discharge your duties if you care about making money alone, confining your vision to the hole in an old Chinese coin, so to speak.
我不是假充道學，在這裏說教，我說的是真心話。	I am not moralizing or sermonizing here. Rather, I am speaking my mind – sincerely.
[本文是香港城市大學中國文化中心2007-08年上學期講座概覽之前言“主任的話”。]	[This is CCIV Director’s Message, or foreword to the catalogue of lectures for Semester A of 2007-08 at CCIV, City University of Hong Kong.] (Translated by Allen Zhuang)

To Chin2333 participants (04)

Dear Chin2333 attenders, 　　It is gratifying to see you are becoming more sensitive to culturally meaningful points in a text that is supposedly the source of a translation task, as evidenced by the latest assignment that you’ve done (picking out words/terms in "The Clown Prince" and explaining them, for Saturday, Feb 2). Keep up the good work! 　　And it seems more of you are now making use of this website for communication about Chin2333. Please do; it is more effective than emailing, as fellow Chin2333 attenders can share your feedback.

送鞋 / Giving Shoes Away

送鞋 金雨田	Giving Shoes Away Jin Yu Tian
我是一个不容易买鞋的人，不过，我买过不少鞋，送人的也有数可计。不是我喜欢送鞋，而是迫不得已。	I ALWAYS have difficulty shopping for shoes that fit me, but I’ve bought lots of pairs and given away many of them. Not that I like doing so, but I can’t help it.
都怪当年一辆巴士的大轮子，拿我的脚当垫，使我的脚踝侧骨，能迁就它的鞋真的是鞋海难寻。	I blame it on the big bus wheel that rolled over my foot and deformed it years ago. With a dislocated ankle, my foot is hard to please for all shoes that exist, except few.
每回到鞋店试鞋，试多了不好意思，尤其对方服务周到时，总要先买再说，结果就可想而知啦。	Yet each time I shopped around at footwear stores, I ended up making a purchase anyway because, having tried on several pairs, I would feel guilty if I didn’t buy any, particularly when the salesperson served me obligingly. Of course, such purchases have always proved regrettable.
所以，为了免付这周到债，我如今买鞋必选百货公司，“试到够本”。	To get out of the woes, I have decided to shop at department stores instead, where I can keep trying until I’m really satisfied with a pair.
有人讥人：“我穿过的鞋他才捡。”这种话大多出自沙猪男人之口，而且多是失意之辈的借口。	“That guy’s got her, just a pair of worn shoes of mine” – mostly this remark is from a male chauvinist, an ex-lover who tries to downplay his frustration.
送鞋，有人把它当成禁忌。我有个鞋行老友，拿双鞋给我，也伸手要一块钱，因为鞋是让人“走路”的，不可乱送，而且送鞋送邪，对他人也不敬。所以我送鞋给人，即使是亲人，也伸手要个铜板。	Some people believe in a taboo against giving away shoes. An old friend in the footwear trade asked for a token price of one dollar when giving me a pair. Giving it as a present would bring me bad luck because shoes are meant for a journey – to the other world, they say. Besides, giving shoes away sounds like shooing somebody away, which is rude. So, I also demand a coin whenever giving my shoes away, even to my own relatives.
不过，送给情人却例外，因为存有私心，打个文艺腔：“要那人走向你嘛！”	The only exception would be making your sweetheart a gift of shoes – with a special motive so that “She walks in beauty, coming unto thee”, as a poet would quip. (Translated by Allen Zhuang)
[原载新加坡《联合早报》(2000)；收入《不着地族/A Lift-Off People》(潘正镭著、Allen Zhuang 英译；Singapore: All Publishing House, 2002)]

中國文化與集體記憶 / Chinese Civilisation and Collective Memory

中國文化與集體記憶 鄭培凱	Chinese Civilisation and Collective Memory Pei -kai Cheng
城大中國文化中心的教學模式結合了網絡教學與傳統課堂講授，同時特別注重呈現學術研究的新知，以深入淺出的講座方式，提供給同學。我們在2007年暑期課程中，也設計了幾個專題，聯繫中國文化傳統與現代變遷，希望引起大家思考歷史文化的意義，特別是通過追索集體記憶的傳承，認識自己與文化傳統的關係。	THE MODE of instruction as offered at our Chinese Civilisation Centre (CCIV) combines the strengths of both modern web-based teaching and conventional classroom lecturing. Moreover, CCIV lays great emphasis on the latest of academic researches, continually presenting them to our students by means of public lectures delivered in plain and yet illuminating language. For the summer semester of 2007, we have prepared yet more of such lectures on a number of themes in connection with the Chinese cultural heritage and its changing today. It is our hope that they will encourage in-depth thinking about the significance of history and culture and enable our students, particularly by reviving a collective memory, to better realise how their cultural heritage relates to them.
阮儀三教授通過他對江南城鄉的研究，向我們揭示，上海這個大城市與江南古鎮的歷史文化遺存，都在當今經濟急遽發展的浪潮中，面臨人文環境的斷裂與破壞，逐漸喪失維繫人際關係與社會秩序的空間架構，並因此對整個社會造成文化心理的失衡與失序。趙世瑜教授更通過對北京歷史文化及民俗生活的研究，向我們展現，北京城與北京的文化風情是如何建構的，北京人是如何生活的，一般老百姓與皇親貴戚是如何交織出一幅錯綜複雜的皇都覽勝圖卷。特別呈現出來的是，老百姓的衣食住行與生活娛樂，描繪出活生生的日常百態。這樣的探討，並非只是懷舊，只是對過去時光難以割捨的留戀，而是希望從具體的材料中明白過去生活的實況，重新建構起集體記憶，藉著文化歷史的深入理解，認清潛伏在自己內心深層的文化因子，為自己生命意義做出清楚的定位。	With his researches in the south-of-the-Yangtse towns and villages, Professor Ruan Yisan highlights the dents and damages in humanistic environment suffered by China’s top metropolis Shanghai and adjacent old-time towns amid the breakneck economic growth today. As a result, he points out, the spatial structure that used to nurture human ties and societal order in those areas has been falling apart, causing loss of balance and order to people’s cultural mentality. On a related topic, through his many-faceted studies of the history, culture, and ethnology of China’s capital city, Professor Zhao Shiyu presents a series of pictures portraying how yesteryear’s Peking has grown into today’s Beijing, how the customs and lifestyle of its residents have evolved, and how the lives of commoners and the nobility interwove to make a kaleidoscopic scene of the old imperial capital. Particularly noteworthy is the vivid depiction of the daily lives of the broad masses – their food and clothing, shelter and transport, and ways of entertainment. These lectures, however, seek not to arouse a mere nostalgia, nor a persistent yearning for the good old days. Rather, they aim to help our students visualise the real life of the past so as to rebuild a collective memory of their history and civilisation. By gaining insights into the history and civilisation, they will re-discover the cultural genes deep in their being and find a clear orientation for their life.
香港回歸十年了，香港人到底是什麼樣的中國人？為什麼有人堅持自己是香港人，不是中國人？香港人為什麼和上海人、北京人、江南鄉鎮的人如此不同？上海人、北京人、山東人、四川人，為什麼沒有作為中國人的困惑，而我們香港人卻感到承認自己是中國人有這麼多的心理障礙？我們應該通過對歷史文化的瞭解，逐漸解開這個心結。	It has been a full decade since Hong Kong returned to Chinese sovereignty, yet puzzlement lingers with some hongkongers. They are Chinese, but what brand of the Chinese? How is it that some of them insist they are Hong Kong residents rather than China nationals? Why are they so different from those living in Shanghai and Beijing, or in the south-of-the-Yangtse areas? The Shanghainese, Beijingnese, Shandongnese and Sichuanese don’t feel puzzled over their identity as members of the Chinese, but hongkongers feel psychologically hindered from admitting that identity, why? To untie the psychological knot, one needs to understand more about China’s history and civilisation.
這個暑期我們還有兩個學術研討會，都涉及文化認同與文化傳承，也對語文學習及戲曲傳承在瞬息萬變的現代社會所面對的問題，深入剖析，探討大家關心的集體記憶及相關的文化講題。	During this summer semester, CCIV will host two symposia, both connected with cultural identity and cultural heritage. Academics will analyse various problems facing language learning and theatrical heritage in today’s fast changing society and, in this connection, discuss the issue of collective memory and other related topics.
在視覺藝術與表演藝術方面，我們也特別安排了一些講座，請到世界各地的專家來解說，與大家分享中國藝術的精華。	In the fields of visual and performing art, we have arranged a number of lectures and demonstrations to be given by specialists from across the world, who will share with the audience some gems and jewels of Chinese art.
2007年的暑期，多彩多姿，是文化知識與藝術欣賞的饗宴。 [本文是香港城市大學中國文化中心的2007年暑期講座概覽之前言“主任的話”。]	At CCIV, the summer of 2007 has in store for people a sumptuous feast of knowledge and pleasure in both culture and art. [This is CCIV Director’s Message, or foreword to the catalogue of lectures for 2007 summer semester at CCIV, City University of Hong Kong.] (Translated by Allen Zhuang)

Youth / 青春

Youth Samuel Erman	青春 Samuel Erman
Youth is not a time of life, it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees, it is a matter of the will, a quality of imagination, a vigor of the emotions, it is the freshness of the deep spring of life.	青春非關年齡，而關乎心態；青春不在於紅顏朱唇、腿腳靈便，而在於精神方面的想像豐富、情感充沛，在於生命深處的泉源清新。
In the center of your heart, and my heart, there is a wireless station: so long as it receives messages of beauty, hope, cheer, courage and power from men and the infinite, so long as you are young.	在你、我的心底，有一座無線電台：只要持續從世人和無限時空接收到的信息是美，是希望、鼓舞，是勇氣、力量，就能長葆青春。
When the aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then you’ve grown old, even at 20; but as long as your aerials are up, to catch waves of optimism, there’s hope you die young at 80.	若是天線落下，精神陷於憤世悲觀，如遭冰封雪凍，則縱使年方二十，卻已衰老；若是天線直立不倒，源源接收樂觀的電波，則可望至八旬而終卻仍為青年。 ( Allen Zhuang 譯)
[英文摘自 “Youth”一文，載《世界英文散文精粹》(最新修訂版)，江西文化音像出版社。書中此文附有華文翻譯，但本網頁不取。]

人文教育與創意產業 / Liberal Education and Creative Industry

人文教育與創意產業 鄭培凱	Liberal Education and Creative Industry Pei-kai Cheng
創意產業的物質根本，從唯物的觀點來看，當然是生産力與生産工具的發展，由此而提供了物質基礎，有可能上升爲產業結構的因素。但是，有了物質基礎與可資上升的因素，不見得就能出現產業結構，更不用説“創意”產業結構了。 到了二十一世紀，創意產業的硬体，也就是後工業化發展出來的製造業基礎，在中國已粗具規模，可是，創意產業顯然十分落後，追隨歐美與日本走出來的軌跡，力爭上游。 有人說，這是無可避免的歷史現實，歐美霸業所造成的強勢文化，領導了世界潮流與風尚，籠罩了全世界人們思維的方向。在全球化的過程中，由於資訊流通的快捷方便，更造成強勢文化獨霸天下的形勢。在創意產業上，中國只好瞠乎其後了。	FROM a materialistic point of view, the foundation of a creative industry is of course the development of the productive force and tools, which forms the material basis on which creative activities and operations evolve into a higher form of “industry”. Yet, the mere existence of such a basis and the evolutionary factor does not suffice to bring about an industry, let alone a “creative” one. Now, in the 21st century, the hardware for a creative industry – namely, the manufacturing sector that has matured in this post-industrial era – has been largely ready in China. Yet, obviously China’s creative industry is still lagging behind those in Europe, America, and Japan, trying hard to catch up. Some may argue that this situation is unavoidable, since the more powerful US-European cultures along with the Western hegemony have prevailed in global trends and fashions, dictating how people think. They believe that, amid globalisation, the stronger cultures will gain dominance worldwide, aided by the fast and easy flow of information. China can do nothing but fall behind struggling to catch up, they conclude.
我有不同看法，以爲中國的創意產業，可以異軍突起，獨辟蹊徑，而關鍵就在於“創意”的文化屬性。 創意產業出現的關鍵，到了二十一世紀，在中國這片土地上，不在於有沒有產業的物資基礎[因爲已經有了]，而在於有沒有“創意”[還不太有]。 創意屬於“軟實力”的範疇，說俗了就是有沒有“點子”，有沒有整合現存文化資源[包括中外]的思維能力。有沒有開闊的視野，在全球化的現代環境中，以中國悠久歷史文化的資源為基礎，以全球近十四億華人及其文化歸屬為後盾，開創富有人文内涵的新思維，以此帶動文化產業，並以之作爲創意產業的活水源頭。	Yet I would disagree. China’s creative industry, I believe, could make great strides by taking a different route of growth. The critical point is the “creativeness” of its cultural heritage. Now in the 21st century, in the land of China, the crucial issue for a creative industry is no longer whether the country has a necessary material basis (it already does), but whether it has “creativeness” (it doesn’t seem to have much yet). Creativeness is part of “soft power” or, in plain words, is a matter of “ideas” – one must be brainy enough to integrate existent cultural resources (either Chinese or otherwise) into fruitful efforts. Particularly, China needs to widen its outlook so that, amid today’s drive towards globalisation, it can tap into the resources of its age-long history and culture while gaining support from the 1.4 billion ethnic Chinese worldwide with their cultural affinity. It needs to nurture a fresh thinking rich in humanistic concerns, so that cultural activities will thrive and prosper to constantly energise a creative industry.
因此，一個國家的人文教育及人民的藝術修養，就成了創意產業的精神資源，是把物質基礎化作產業結構的“造物者” (creator)，是賦予產業以“創意” (creativeness) 的關鍵。	Thus, a country can well draw intellectual and spiritual resources for a creative industry from liberal education that nourishes arts and humanities for its people. This forms the “creator” that turns the materialistic basis into an industry, and the source of “creativeness” that makes the industry flourish. (Translated by Allen Zhuang)

To Chin2333 participants (03)

Dear Chin2333 attenders, 　　The sample translation given to you yesterday (Sat, Feb 2), namely, “Mr Soong Misspeaks Himself” (in 3 versions) is now posted on this website, in case some of you missed the hard copy. 　　This is the first passage-length translation you’ve done for Chin2333. The 3 variant versions of the same text are meant to show you how a particular Chinese language/cultural point can be conveyed to the English reader, by means of a footnote, or notes in brackets, or just a bit of paraphrasing. 　　Wish you a Happy Lunar New Year, 　　Allen