广西师范大学硕士研究生学位论文
A Study of Wang Zuoliang’s Views on Translation
王佐良的翻译思想研究
院、系：外国语学院
年级：2002级研究生
学科专业：英语语言文学
研究方向：翻译理论与实践
导师姓名：袁斌业教授
研究生姓名：黄晓云
完成时间：2005年4月
Acknowledgements
I‘d like to take this opportunity to thank all those who helped me write this thesis. First of all, with heartfelt gratitude, I express my deepest thanks to my tutor, Prof. Yuan Binye whose insightful suggestions and valuable instructions on my thesis and repeated scrupulous revision of several drafts of my manuscript contribute to the completion of my graduation thesis. But for his assistance, my graduation thesis would not have been completed. I am obliged to him for all the help he has offered me in various ways in the past three years.
I am also indebted to all the teachers who imparted lots of knowledge to me, especially to Bai Jingze, Zhou Liangren and Zhang Xianglin who gave lectures on translation.
Last but not the least, my deep thankfulness extends to all my classmates for the encouragement and support during the process of writing my thesis.
王佐良的翻译思想研究
研究生:黄晓云导师:袁斌业专业:英语语言文学方向:翻译理论与实践
年级:2002级
摘要
本论文研究的是翻译家王佐良的翻译思想。
王佐良先生是我国外语界的老前辈，对外国文学的研究做出了重大的贡献，对翻译理论和实践的探索也建树颇多，他的译作不仅有诗歌和散文,还有小说和戏剧，尤其是对彭斯诗歌的研究和翻译在国内堪称一流。其翻译思想丰富而深刻，涵括文化，文体等多个方面,值得人们的深入研究。
本文第一部分介绍了人们对王佐良的翻译思想研究，指出现有研究的不足之处。
第二部分介绍王佐良的生平和在翻译方面取得的成就。王佐良很早就涉足翻译，曾将《雷雨》译成英文。50年代参加《毛泽东选集》的翻译工作。其翻译理论的探索主要收集在《翻译：思考与试笔》和《论新开端：文学与翻译研究集》。
第三部分重点描述王佐良的翻译思想。王佐良从民族文化建构的角度评价翻译的作用，认为如果去掉翻译，每个民族的文化将大为贫乏；整个世界也将失去光泽。他觉得一部作品要靠读者来完成，读者的因素应该考虑进去。他在评论严复的翻译时，认为严复的目的是吸引心中特定的读者――19世纪末二十世纪初的士大夫，因此严复调动各种手段来打动他心中的读者，成功地翻译了《天演论》等著作。他是20世纪80年代中国文化翻译研究的积极倡导者。1984年和1985两年王佐良先后发表了《翻译中的文化比较》和《翻译与文化繁荣》两篇文章，论述了文化和翻译的关系。他强调译者要成为文化意义的人，因为译者处理的是个别的词，面对的则是两大片文化。我们应该进而探讨翻译的文化意义和历史作用，或者更进一步把翻译同比较文化这个新学科结合起来。王对文化和翻译关系的研究同西方翻译研究的文化转向几乎是同步的，所以他的观点是具有前瞻性的。同时他在这方面的研究在我国具有广泛而深远的影响。另外，王把文体学的研究和翻译研究结合起来，为当今把文体学和翻译研究结合起来铺路。七八十年代中国的翻译研究注意吸收其它相关学科的新成果，不少新理论被引进翻译理论中，王佐良是较早作出尝试的人。1979年，他发表了《词义·文体·翻译》，运用文体学的知识解决一些翻译问题。王佐良先生在这方面的著作有《英语文体学引论》、《英语文体学论文集》等。他讨论了语域和变异等概念，认为翻译和文体学有着密不可分的关系。一个好的翻译不能不注意到两种文字的文体风格。关于诗歌翻译，王佐良是从诗艺和语言的角度来看待诗歌翻译的，语言处于活跃状态时有利于翻译。同时他认为要以诗译诗，形式上尽量接近，而诗的意境，形象和比喻都很重要，有时可以做必要的变通以保持整首诗的效果。同时他认为只有诗人才能把诗译好。诗人译诗有利于他的诗歌创作。
本论文第四章主要用王佐良翻译的《雷雨》和《我的爱人像朵红红的玫瑰》来观照王佐良的翻译思想。翻译思想来自实践，同时指导翻译实践的。从王佐良的翻译我们可以更深刻地了解其翻译思想。
第五章指出王的翻译思想中值得商榷的地方。他的观点只有诗人才能译好诗歌值得商榷。诗人译诗有其优势。但是，在诗歌翻译的第一阶段主要依赖于外语的水平，而且诗人在翻译当中若不区别翻译和创作的界限，容易把翻译变成创作。
关键词：王佐良翻译作用译文读者文化文体诗歌翻译
A Study of Wang Zuoliang’s Views on Translation Postgraduate:Huang Xiaoyun Supervisor:Yuan Binye Major: English language and literature Speciality:Translation Theory and Practice Grade: 2002
Abstract
This thesis studies Wang Zuoliang‘ views on translation.
Wang Zuoliang is a famous figure in foreign languages circle in China. He has made great contribution to foreign literature research. He has achieved outstanding accomplishment in translation theories and translation practices. His translations include poems, essays, novels and drama. His translation and study of Robert Burns are regarded as first-rate level at home. His views on translation are rich and profound, covering culture and stylistics etc. His views on translation deserve our thorough study.
In the first part of the thesis, the author presents an overview of studies on Wang Zuoliang‘s translation ideas and points out the shortcomings of the present studies.
In the second part, the author introduces Wang‘s life and his translation achievements. Wang started translation practice in his early years. He has translated Thunderstorm into English. In 1950s‘, he participated in the translation of Selected Works of Mao Zedong. Most of Wang‘s papers on translation are collected in Translation: Experiments and Reflections and A Sense of Beginning: Studies in Literature and Translation.
In the third part, the author mainly describes Wang Zuoliang‘s views on translation. From the perspective of the construction of national culture, Wang evaluates the role of translation, thinking that the whole world would become shabbier without the splendid translations of literary works from all nationalities. He thinks that works is completed by readers and the factor of target text readers should be taken into account. When commenting on Yan Fu‘s translation, he thinks that Yan Fu‘s purpose is to attract the attention of scholar-bureaucrats at the end of the 19th century and at the beginning of 20th. So Yan Fu used various means to touch the readers. As a result, Yan Fu successfully translated Huxley‘s Evolution and Ethics. Wang is an active participator in translation studies from cultural perspective. In 1984 and 1985, Wang Zuoliang published Cultural Comparison in Translation and Translation and Cultural Prosperity to discuss the relation between culture and translation. He emphasizes that a translator should be aware of cultural differences, for what a translator deals with is separate word while the translator is actually faced with two different cultures. We should probe further into the cultural significance of translation and the historical role of translation or further combine translation with comparative culture, a new subject. Wang‘s study of the relation between culture and translation is almost at the same time when cultural turn took place in western translation studies. So his views are far-sighted. And his research on cultural studies in translation has produced profound and far-reaching impact. Besides, Wang combines the study of stylistics with translation studies and paves the way for today‘s study of the combination of stylistics and translation studies. In 1970s and 1980s, many new fruits of research of other relevant subjects were introduced into Chinese translation studies and many new theories were introduced into translation theories. Wang is one of the forerunners who made trials.
In 1979, he published Sense, Style, Translation, using the knowledge of stylistics to
solve some problems in translation. His works on this aspect are Papers on English Stylistics and An Introduction to English Stylistics. He discusses the concepts of
variety and deviation etc. and Wang has the view that translation is closely related
with stylistics. The style of the two languages cannot be neglected in good translation.
On verse translation, Wang Zuoliang viewes verse translation from the perspective of
poetic art and language. When the language is active, it is beneficial to translation. At
the same time, he thinks that verse should be translated into verse. The form should be
kept by all means while the artistic concept and the images and metaphors are equally important. When necessary, alternative methods should be adopted to keep the whole
effect of the poem. He affirms that only poets are qualified to render verse well. On
the other hand, verse translation is helpful to verse creation.
In the fourth part of the thesis, the author uses Wang Zuoliang‘s translations of Thunderstorm and A Red, Red Rose to further analyze Wang‘s views on translation.
His views on translation come from practice and can serve as a guidance in translation.
From his translation, we can get a deeper understanding of his views on translation.
In the fifth part, the author mentions one point open to question. Wang‘s viewpoint
―only poets are qualified to render verse well‖ is questionable. Poets do have some advantages in verse translation. But the first stage of verse translation depends mainly
on the level of foreign language and if a poet cannot distinguish the boundary of verse translation and verse creation, he is prone to turn translation into verse creation.
Key words: Wang Zuoliang the role of translation target text readers culture stylistics verse translation
Contents
Acknowledgement (ⅰ)
Abstract in
Chinese (ⅱ)
Abstract in English (Ⅳ)
Ⅰ Introduction (1)
1.1 An overview of studies on Wang Zuoliang‘s translation ideas (1)
1.2 The significance of the research (2)
ⅡWang Zuoliang’s Life and His Translation Achievements (3)
Ⅲ Examining Wang’s views on translation (5)
3.1 The important role of translation in the construction of national culture (5)
3.2 Concern for the target text readers (8)
3.3 Views on the combination of cultural studies and translation studies (10)
3.4 Combination of stylistics with translation studies (12)
3.5 Wang‘s views on verse translation (15)
Ⅳ Examining Wang’s views from his translation practices...................... . (18)
4.1 The translation of Thunderstorm (18)
4.2 The translation of A Red, Red Rose (24)
Ⅴ One Point Open to Question (28)
5.1 Poets may not have advantages in the comprehension of foreign language (28)
5.2 Excessive creation by poet translators will violate the nature of translation (29)
5.3 Two typical examples run counter to Wang‘s view (30)
Ⅵ Conclusion (34)
Bibliography (36)
Ⅰ Introduction
1.1An overview of studies on Wang Zuoliang’s translation ideas
Wang Zuoliang is a famous figure in Chinese translation circle. And he has made outstanding accomplishment in translation theories and translation practices. Inheriting the fine tradition of Chinese translation studies and constantly combining new subjects with translation studies, Wang has put forward some incisive views on translation. So far some researches have been conducted on Wang Zuoliang‘s views on translation. Liu Lihua in her article A Study of Wang Zuoliang’s Thought on Translation affirms that a study of the translator, including his purposes, methods and his aptitude, is an indispensable part to the translation theory in our country and Liu Lihua probes into Wang Zuoliang‘s thought on translators and intends to indicate its instructional significance to our country‘s translation theories. Yi Lixin in Translating Verse as Verse, Poets Translating Poetry----A Study of Wang Zuoliang’s Verse Translation gives a brief introduction to Wang Zuoliang‘s ideas about verse translation, and points out that his ideas can be summed up as ―translating verse as verse, poets translating poetry‖. He holds the view that Wang puts his ideas into practice and the circles of translation particularly verse translation of today will get much inspiration from his original ideas. Hu Dexiang and Zhou Weijun through Wang‘s book Translation: Experiments and Reflections observe Wang‘s views on translation and Wang‘s translation practice. They think that prose translation can better reflect Wang‘s views on translation, so they analyze Wang‘s translation of William Cobbett‘s Rural Rides. Zhang Jianjia in Synopsis of Translation Viewpoint of Professor Wang Zuoliang introduces briefly Wang‘s viewpoints on translation, including Wang‘s views on translation, cultural translation and poetry translation. Among the research papers, one paper written by Guo Zhuzhang merits our great attention. Guo Zhuzhang in his book A Series of Studies in Translation Masters analyzes Wang‘ s views on translation and his translation practice. Guo uses a whole chapter to study Wang‘s views on translation in details. Wang Bingxin in his book analyzes Wang‘s viewpoints and his historical achievement in translation. The above-noted articles touch upon Wang‘s views on translation but most of them are not detailed and systematic studies.
The current thesis tries to make a systematic and more thorough study of the famed professor‘s translation ideas including his viewpoints on the role of translation in the construction of national culture, readers in target text, the combination of cultural studies and translation studies, the combination of stylistics and translation studies and verse translation. The paper also points out that Wang‘s view ―only poets are qualified to render verse well‖ is open to question.
1.2 The significance of the research
Professor Wang Zuoliang attaches great importance to translation practices. In the course of his translation practice, he gradually forms his views on translation. The study can help us to have a better understanding of Wang Zuoliang‘s translation ideas and translation practice. Now it has been widely accepted that the celebrated translators, scholars and their views on translation are an important part of establishing Chinese translation studies. By the study, the author hopes to do something useful for the effort.
Ⅱ Wang Zuoliang’s life and his translation achievements
Wang Zuoliang, an eminent expert on English and American literature and an accomplished translator, was born in Shangyu county, Zhejiang province in 1916. Through many years of hard work, Wang Zuoliang became one of the most distinguished translators in China.
Wang Zuoliang spent his childhood in Wuhan city with his father who was an office clerk in a small company. And he studied in Ningbo primary school in Hankou and Boone School, a missionary school run by Christianity in Wuchang. In Boone School all the courses except Chinese were taught in English. Therefore he laid solid foundation for his later studies of language and literature. When he graduated from Boone School, he intended to go to university. But his father went bankrupt and he managed to support himself to continue his studies. In 1935, Wang Zuoliang entered Tsinghua University. Among his classmates were Li Funing, Xu Guozhang, Zhou Jueliang, Zha Liangzheng who became well-known experts on foreign language and literature later in China. When studying in Tsinghua University and South-West Associated University, Wang learned philosophy from Jin Yuelin and He Lin, literature from Wu Mi and Qian Zhongshu. He also learned from some famous scholars such as Zhu Ziqing, Wen Yiduo and Pan Guangdan. In the year of 1947, Wang Zuoiliang became a postgraduate of Oxford University, majoring in British literature in the 17th century.
Wang Zuoliang started his translation very early. He translated Thunderstorm in his early years. He once said, ―I do like translation. Sometimes, when I finished a ?research‘ paper, I always feel that I‘d rather translate a foreign writer‘s works than to comment on him, which may be beneficial to the readers.‖(王佐良, 1989: 92) Wang‘s translations include essays, drama, prose and poems. Wang‘s translation of William Cobbett‘s Rural Rides and Francis Bacon‘s essays are praised by many people. And his verse translation are seen in Robert Burns: Selected Poems, Love and Liberty and Selected Translations of British Poems. In the early 50s‘, he participated in the translation of Selected Works of Mao Zedong.
Considering the role of translators, Wang thinks, ―They (translators) are the able people of recreation. They bridge different cultures. Their effects turn translation into a kind of heroic cause.‖ (王佐良，1989: 17) Wang is just the person who makes great effects in translation. In the course of translation, he has accumulated much experience and brought forth many novel and useful ideas on translation. He is one of the scholars who carries out translation studies from the perspectives of stylistics and culture, which brings new approaches to the translation studies in 1970s‘ and 1980s‘.
Most of his papers on translation studies are seen in his works: Translation: Experiments and Reflections and A Sense of Beginning: Studies in Literature and Translation.His views on translation are valuable and still useful today and they deserve our thorough research.
Ⅲ Examining Wang’s views on translation
Wang Zuoliang‘s views on translation touch upon many controversial problems in the contemporary translation studies. He inherits the excellent tradition of Chinese translation studies and proposes his far-reaching and penetrating views on translation, which will undoubtedly enrich the repertory of Chinese translation studies.
3.1 The important role of translation in the construction of national
culture
Wang Zuoliang holds that the literary translation is beneficial to any national literature and culture. He points out, ―Translation benefits the very fabric of any national literature, indeed, any culture. It does something more than opening new windows; it helps rejuvenate a culture, in a way that touches the very inner being of it, by giving its languages a shakeup and a sharpening so that it becomes sensitive and alive again.‖(Wang, 1991: 86) ―Indeed, the whole world would become shabbier without the splendid translations of literary works from all nationalities.‖(Wang, 1991:86)Talking about the tremendous impact translation in the 20th century has brought to China, Wang expresses his idea as follows, ―Indeed, the whole movement championing vernacular literature around 1919 got its inspiration from the translation of foreign literary works. The English Romanticism and Whitman helped to usher in Chinese vernacular poetry, Ibsen and Shaw gave the Chinese ideas about a new kind of drama, and Western and Eastern European writers supplied models for the new fiction.‖ (Wang, 1991: 83)
In Wang‘s opinion, translation helps to construct national culture. Translation plays an irreplaceable role in the construction of national culture and Chinese cultural modernization. It is convincingly argued that translation leads people who have no knowledge of the other language to the culture which they would never experience
otherwise and translation expands the culture and expressions of their own language. The May Fourth Movement ushered in Chinese new literature and Chinese cultural modernization. One remarkable feature during May Fourth Movement was the abundant translation of foreign literary works. Because culture covers many things, my discussion in this part only focuses on the impact translation produces on Chinese language and Chinese literature, the two integral parts of Chinese culture.
With translation, one language may import grammar and modes of expression. One only needs to mention the translation boom around May Fourth Movement. In a long period of time, Chinese language develops in a relatively static culture while around 1919 Chinese language experienced radical changes. Under the influence of learning from the west, translation boom took place in the early years of 20th century. Since it was carried out through language, undoubtedly, translation would produce a great impact on Chinese language. One noticeable influence exerted by translation was Europeanization of Chinese language. Around May Fourth Movement, the classical Chinese was dismissed and replaced by vernacular Chinese. Nonetheless, vernacular Chinese was regarded too vulgar to express complicate modern thoughts. Since the new thoughts were from western countries, so the language expressing such thoughts should be learned from western languages. As a result, Europeanization became a remarkable feature in Chinese language history around May Fourth Movement. Europeanization helps vernacular Chinese to establish itself as writing language. Translation not only introduces the contents of the original to readers, but also helps to create modern Chinese. The fact that Baihua in the 1930s‘ were more mature than that in the period of May Fourth Movement could be attributed to the European elements. Europeanization is closely related with literal translation, that is, the imitation of western sentence structure and expressions which on the one hand results in some fresh expressions and grammatical innovation, on the other hand produces some negative impact. Due to the translation, many new expressions are created. For example, many words translated from foreign languages are contained in Chinese language. At first, they are awkward-sounding and strange. Through historical testing, some are kept and become an integral part of Chinese language, and some are eliminated. For instance, ―咖啡‖(coffee) ―坦克‖(tank) ―逻辑‖(logic) ―幽默‖(humor) are originated from translation. Europeanization also influences Chinese language in terms of sentence level. For example, in traditional Chinese, subordinate clause is followed by main clause in many sentences. Europeanized sentence order, commonly accepted in Chinese today, is characteristic of the main clause followed by subordinate clause. For example, “我把这本书拿走了，如果你不介意的话。”“这篇文章的内涵极其丰富,虽然(即使,尽管)它很短。”To sum up, it is translation that helps Chinese language more and more expressive after the May Fourth Movement.
The outbreak of May Fourth Movement gradually led to fighting against imperialism and feudalism on national scale. In literary circle, proletariats advocated
New Culture and Baihua (vernacular Chinese) and stood firmly against old culture and Wenyan (classical Chinese). Large amounts of foreign literary works were translated to aid the reform. According to statistics, from the year of 1912 to the year 1940, 5299 foreign books were translated and the books translated from America and Britain were 2988, making up 56.4% of the total translations in that period. (王克非，1997：183) These translations made a great impact on traditional Chinese culture.
Lun Xun‘s slogan of ―Taking from the foreign‖did add fuel to the fire. At that time, many people enthusiastically translated and introduced Western literature into China, especially realistic works and romantic poems.
In terms of new dramas, dramatists found examples from the Western drama. The themes of tradition Chinese plays at that time were kings and ministers or talented scholars and beautiful ladies. In Western world, many dramatists like George Bernard Shaw flourished with their realistic plays that touched on the theme of social problems. And the actors‘ lines were derived from ordinary people. Ouyang Yuqian proposed drama reform through the construction of play, drama critics and review. Many translated plays were published and lots of western playwrights were introduced in New Youth（a magazine that introduced new thoughts）to Chinese audience. Chinese plays at that time were modeled on Western drama, combining the Chinese situations with the techniques of Western drama. For example, Cao Yu, a great figure in writing Chinese drama, wrote many dramas based on the Chinese social reality. In his dramas, we can see clearly the theme and techniques were borrowed from western drama.
The translation of western poems helped the growth of Chinese modern poems. Guo Moruo, whose poems established the foundation for modern Chinese poems, admitted that his Goddess, a collection of his free verses written in the vernacular, were under the influence of Walter Whitman. The reform in poetry during May Fourth Movement aimed at shaking off the traditional rules and forms of Chinese poems and expressing poets‘ ideas in relatively free form. The poets found suitable forms while pursuing new forms in Western poems. And the revolutionary spirits contained in western poems aroused sympathetic chord in the new poet s‘ minds. ―The May Fourth Movement gave birth to quite a few schools of poetry, … In one word, we may as well say that all the schools and their representatives were more or less inspired and influenced by foreign poems (including the English poems of the East and West)‖(刘重德，1991:164)
The translated novels improved the social status of Chinese novels and changed the writing methods of Chinese novels. When foreign novels were translated by Lin Shu etc., people were surprised to see that novels occupied an important corner in western countries and that there were various kinds of writing methods, while in China novels were a pastime. And around the period of May 4th Movement, novels encouraged people to fight against feudalism and imperialism. Referring to his
writing novels, Lu Xun talked straightly that his creation began when he had read hundreds of foreign novels and had acquired some medical knowledge. It is obvious that Lu Xun‘s Madman's Diary and Medicine were created under the influence of foreign literature. Through the translation and introduction of foreign novels, we know better the tradition, life and struggle of other peoples. ―Most of the writing conceived in New Literature around May Fourth Movement were grown out of the realism, democratism and socialism in world literature. ‖（茅盾，1984:502）remarks Mao Dun, a famed Chinese novelist.
The above-cited examples can demonstrate the definite correctness of Wang‘s viewpoint on the role of translation in the construction of national culture. Wang Zuoliang treats the role of translation from a higher theoretical angle, that is, the construction of national culture. He studies the significant impact translation brought to culture, its role in cultural history and especially when we assimilate the foreign essence through translation, what role translation plays and what translation has achieved. In his paper, Across Literature: the Translation Boom, Wang talks about the crucial role of translation in the construction of national culture in great details. Such examination by Wang Zuoliang is far-sighted. It‘s obvious that Wang‘s viewpoints complement Lu Xun‘s and Mao Dun‘s views on the role of translation but Wang‘s views are more profound than Lu Xun‘s and Mao Dun‘s views.
3.2 Concern for the target text readers
Wang Zuoliang mentions target text readers in translation many times. He stresses that works is completed by readers and the effect of the works relies on the reception of the readers, so the readers and their reception should be considered. When commenting on Yan Fu‘s translation, Wang highlights the importance of the reception of the target text readers and regards Yan‘s translation as good translation.
Yan Fu‘s translation aroused controversial comments. Some scholars like Fu Sinian argued that Yan‘s translation violated the translation principle of fidelity and severely criticized Yan. Some, Hu Shi, Lu Xun for example, argued that Yan‘s translation occupied an important corner in history.
If Yan Fu‘s translation is judged by present translation criteria or his own criteria, his translation will be regarded as betrayal to the source text. By comparing the first paragraphs of the source text and the target text, we can see to what extent his translation is faithful to Huxley‘s Evolution and Ethics. The whole paragraph are reorganized. The complex sentences are rendered into short sentences and the first person in the original is changed into the third person ―Huxley‖. At the same time, some new words are created. To take into account readers‘difficulty in comprehension, Yan maximized new expressions. What‘s more amazing is the fact that Yan Fu employed the expressions and syntax of the era before Han Dynasty which, he insisted, could express subtle thoughts than latter-day journalese.
Such translation doesn‘t result from Yan Fu‘s inadvertent attitude towards translation. Yan Fu‘s attitude towards translation is esteemed by his contemporaries and followers. And his translation skills should not be given negative critical judgment. According to Wang Zuoliang, Yan Fu‘s real purpose is to divert the readers‘ attention to the Western thoughts. Yan Fu‘s translations are aimed at scholar-bureaucrats of his time, so different translation strategies are employed.
Then what are the scholar-bureaucrats like? At the end of Qing Dynasty, China suffered from the invasion of western powers and the ordinary Chinese people led extremely miserable life. Due to the separation from international intercourse, most of the scholar-bureaucrats at that time were self-conceited, reluctant to learn from others, especially western powers. But Yan Fu could only lay hope of reform on such scholar-bureaucrats since they were the decision-makers. To save China and to enlighten the masses, Yan Fu carefully chose a series of books on western thoughts, convinced that the change of minds might help to accelerate reform. Undoubtedly, it is hardly possible for such radical western thoughts running through the books to be accepted by the decision-makers. Therefore Yan Fu took great pains to render such books with certain translation strategies. He always bore the target readers in mind and purposefully adapted the translation to the scholar-bureaucrats by making the translation kind of Chinese ancient prose. Elegant language is a useful tool to suit the demand. If it had been translated in vernacular language, the decision-makers would have criticized the book under the pretence of vulgar language and opposed reform. The scholar-bureaucrats resisted foreign culture, however, elegant language had a lower resistance to pass. Eugene A. Nida holds such view that ―The target audience for which a translation is made almost constitutes a major factor in determining the translation procedures and the level of language to be employed.‖ (Nida, 2001:102) So Wang justifies Yan‘s translation. Yan Fu‘s ―Expressive ness‖and ―Elegance‖ actually centered on the specially targeted readers to attract their attention. ―Yan Fu‘s translation is indeed fine rendering. He bears his target readers in mind, that is, the scholar-bureaucrats and the intellectuals who are concerned with the political situation. Yan Fu‘s purpose is to make them accept western thoughts through his translation.‖(王佐良，1989:36)
Facts speak louder than words. What was dubbed as awkward translation by Fu Sinian, turned out to be the most successful translation at that times. Those who disgusted Western thoughts read Yan Fu‘s translation attentively and probed into the book. Such viewpoints as ―natural selection‖ and ―the survival of the fittest‖ became the vehicle through which the intellectuals fought with the feudalists and wove into the theoretical foundation for Constitutional Reform and Modernization of 1898.
The target text readers should not be neglected by translators. Wang‘s view can be proven by Susan‘s views. According to Susan Bassnett, translation is made to meet the demand of a certain culture and different reader groups in a certain culture. (Bassnett, 1990:4) Accordingly, different translations with different strategies are
made to meet the demand of different readers in a certain culture. For example, if Gulliver’s Travels is translated for children, the translation methods will be different from methods of translation for adults. Few people will literally translate like this: Gulliver urinates to put down the fire on the palace. Instead the translators will deal with the source text like this: Gulliver runs to the seaside, scooping some water with his cap to put down the fire. And to meet the demand of children, the translator can seek the equivalent target language which is functionally equivalent. Liu Miqing also agrees the source text is static while the receptors are active and variable and the factor of the receptors shouldn‘t be neglected. What we focus on should be receptors, not merely the source text. (刘宓庆，1999:70)
Wang‘s view breaks the tradition and broadens the vision of the translators. In traditional translation studies, translators should be responsible for the source text while the receptors are ignored. Then the translation becomes a self-sufficient unsocial activity and the quality of translation will be unavoidably affected. In traditional translation theories, there exists such tendency that translation activity is one-way operation, from source text to translator and target text. Wang‘s view breaks the central position of the source text in translation. The demand of the target text readers and the reception of the readers are taken into the process of translation. So translation activities turn into dynamic and multi-channel activities.
3.3 Views on the combination of cultural studies and translation
studies
The nature of translation was deemed to be pure linguistic transfer. But actually the process of translation is a mental, multi-factorial activity that cannot be exhaustively investigated within a linguistic framework, which shows that translation should be associated with other factors. Hans J. Vermeer states, ―Linguistics alone won‘t help us. First, because translating is not merely and not even primarily a linguistic process. Secondly, because linguistics has not yet formulated the right question to tackle our problems. So let‘s look somewhere else.‖ (Nord, 2001:10) In 1980s‘, Susan Bassnett and Andre Lefevere formally proclaimed the cultural turn in translation, combining cultural studies with translation studies. Language and culture are interwoven. A translator needs proficiency in two languages and he must be at home in two cultures. In 1980s‘, in the upsurge of cultural studies in China, Wang was an active participator in the combination of cultural studies and translation studies. In 1984, he published Cultural Comparison in Translation. And in 1985, his Translation and Cultural Prosperity came out.
―Anyone who do es not know the social culture contained in a language cannot master a language in the real sense. ‖（王佐良，1989:18）Culture is defined by Tyler as ―The complex whole which include knowledge, belief, art, morals, customs, and any other capabilities and habits acquired by man as a member of society.‖ (刘宓
庆，1999: 27) Language is an indispensable part of culture and the heart within the body of culture. Culture exerts an enormous influence on language. A language does reflect in certain aspect the culture of a society. Translation is a kind of linguistic transfer, but it is also a cross-cultural activity.
―What he (translator) deals with is a separate word. But he is faced with two cultures‖（王佐良，1989，19）Take ―rest room‖ for example. It shouldn‘t be literally translated into ―休息室‖in Chinese or it will surprise the native speakers. Another instance, for Chinese, the word of ―dog‖ has derogatory sense, the Chinese idioms ―狼心狗肺‖ ―狗腿子‖ for example. But for English people, dogs are their faithful companions, their friends and their lovely pets. So the word of ―dog‖ in English has no derogatory sense, for example, ―You lucky dog‖ (你这个家伙真幸运) ―Every dog has its day.‖(人人都有得意之时)
Due to the difference in beliefs, values, geographical positions etc., cultural diversity is unavoidable. Just like the differences in language, cultural differences will disturb the communication. Obstacles resulting from cultural differences should be overcome to ensure smooth communication. Translators should be conversant with source language and target language and be sensitive to cultural differences. Then he should make a comparative study of these two cultures and employ different strategies to deal with a separate word. A translator who lacks cultural sense may neglect culture behind language, which will lead to misunderstanding and false translation.
―What‘s the most difficult thing in translation? T hat‘s the differences in two cultures. Sometimes it is well known to everybody in a certain culture, but in another culture you have to take great pains to explain it. You have to explain to the foreign readers something which you don‘t have to explain to the native speakers.‖ （王佐良，1989:34）Then Wang cites some examples to support his viewpoint. He says that in English, there is such phrase ―love with my heart‖ which is equivalent to ―用我的心爱你‖ in Chinese, but Nida in one article mentions many different expressions in other languages: ―love with my liver‖ ―love with my stomach‖―love with my throat‖. Therefore we should not overestimate target-audience‘s familiarity with the unique source-language culture. What‘s perfectly normal in one culture may sound absurd in another. Unlike the original, a translation cannot count on the target audience‘s familiarity with all the features. This unfamiliarity may render the translation unintelligible.
At the end of his paper Cultural Comparison in Translation, Wang makes such an appeal that we should study the role translation plays in culture and history and combine translation with comparative culture, a new subject.
Cultural studies in translation has enormously widened and deepened the studies on the nature of translation. Traditional translation studies treat translation as pure linguistic transfer. Contrasting with linguistically-oriented translation studies, translation studies from cultural perspective can provide more angles to look at translation instead of concentrating merely on linguistic level. The cultural approach
breaks the stifling influence of the concept of equivalence by turning attention to factors which exert constraints on the text production. Studying translation from the perspective of culture can broaden the horizon of translation studies and research of translation from the cultural perspective will result in a series of theoretical transition. Wang‘s appeal of combining translation studies with cultural studies is almost a concurrence with the ―cultural turn‖of translation studies in the west. The prolific scholars Bassnett and Lefevere proclaimed a cultural turn in Translation Studies in the 1980s‘: ―The object of study has been redefined; what is studied is the text embedded in its network of both source and target cultural signs and in this way Translation Studies has been able to utilize the linguistic and cultural approach and move out beyond it‖ (Bassnett, 1990:123) Wang‘s views took place at the times when ―culture turn‖was initiated, which could fully demonstrate his great foresight. So Wang‘ s views on culture are a great strive in the research sphere of Chinese translation theories.
His appeal and his study of cultural aspect in translation studies have made enormous impact on Chinese translation studies. Since Wang proposed his views, China has witnessed great interest in translation studies from cultural perspective. Translation has moved on from endless debates about ―equivalence‖ to discussion of the factors involved in text production across linguistic boundaries. Wang took a leading role in the study, followed by valuable papers written by his contemporaries. From 1984 to 1988, Cai Yi, Tan Zaixi, Yang Yongguang, Ke Ping etc. published their papers on cultural study in translation. Influenced by Wang‘s thoughts, some useful books such as Translation Studies from Cultural Perspective by Wang Binxin and The History of Translative Culture by Wang Kefei came out.
3.4 Combination of stylistics with translation studies
In the 1970s‘and 1980s‘, Chinese translation studies combined with many new and relevant subjects, which accounts for the great breakthrough Chinese translation studies have made. Many new theories in linguistics were introduced into translation studies. One of the forerunners is Wang Zuoliang who studies translation from a new angle and introduces stylistics into translation studies. In 1979, he wrote Sense, Style, Translation to probe into some translation problems by means of semantics and stylistics, which had far-reaching implications. The combination of stylistics with translation studies has broadened the scope of the field. In the past hundred years, traditional Chinese theories centered on Yan Fu‘s ―Faithfulness‖―Expressiveness‖―Elegance‖and ―literal translation‖vs ―free translation‖. The focus on merely the comparison of the texts and the translation techniques stopped translation studies from developing, so no great breakthrough was made. It is no doubt that such theory as ―Faithfulness‖―Expressiveness‖―Elegance‖ has produced enormous and far-reaching impact. But due to the historical limitation, traditional translation theories cannot
constitute complete and independent theory system, for they lack the nature of modern science. Traditional translation theories, in a sense, are the sum-up accumulated in experience or they are comparatively fuzzy translation standards. So they cannot systematically reveal the objective rules of translation. In recent years, the development of stylistics has shed light on the translation studies. In the past, in a sense, the understanding of a text mainly depended on a translator‘s instinctive feel for the language. Stylistics can help a translator to understand the text from the internal and external aspect of language and the language usage in the society. Therefore Wang‘s efforts on the combination of stylistics and translation studies can never be neglected.
Wang Zuoliang attaches great importance to the relation between stylistics and translation. In1950s‘, Wang Zuoliang began to write articles on style. In 1980, he published fruits of his studies----Papers on English Stylistics. Co-authored with Ding Wangdao, he combined An Introduction to English Stylistics. In the preface to Papers on English Stylistics, Wang puts it expli citly, ―I…am interested in the use of English, especially in some issues related to styles. In recent years, I have done some research on them. And I find that the study of stylistics is of some help to further study of language and literature.‖ (王佐良，1980: preface)‖
While discussing the relation between translation and stylistics, Wang mainly mentions the three aspects: (1) Resemblance in spirits rather than form (2) Register (3) Deviation
The concept of ―spirit‖ and ―form‖ can be traced to Jin Dynasty in the sphere of arts. ―Spirit‖vs ―form‖, a central problem in arts, is also the bone of contention between the two groups: realistic group and xieyi (freehand brushwork) group. Gu Kaizhi in Eastern Jin Dynasty put forward his viewpoint: ―convey the spirit‖and ―convey the spirit through the form‖. Later the concept of ―resemblance in spirit‖ and ―resemblance in form‖were introduced into translation. ―Resemblance in form‖generally refers to keeping the original form intact while ―resemblance in spirit‖ aims at retaining the spirits of the original. To be true, the ideal is the combination of the two, without the one in any way impinging on the other. Wang lays emphasis on the spirit of the original and the total effect of the translation which shares similarity with Fu Lei‘s ―Resemblance in Spirit‖.
Register means different words are used in different situations. For instance, when we translate ―油漆未干‖ into English, we should use the suitable equivalence ―Wet paint‖, not ―The paint is not dry.‖ The translator has to judge the semiotic value which is conveyed when particular stylistic options are selected; for example, the translation of legal documents will be different from literary translation in style and specific terms. ―The soul of stylistics lies in studying what kind of language should be adopted on a given situation. The responsibility of the translator is to reproduce the feature and spirit of the original.‖（王佐良，1980: 108）Stylistics is concerned with the style of a text, normal language usage and deviation and appropriateness of language etc. And
a translator should consider these aspects. The purpose of stylistics is to use appropriate language on certain occasions. Stylistics helps to achieve appropriateness in translation. Due attention should be given to appropriateness in translation.
The use of English is sometimes accompanied with deviation in various degrees. The purpose of using deviation is to be different and to arrest readers‘ attention. For a translator, he should be familiar with the normal usage of a language. Only by this can he know the deviation of a language. And a translator should have the ability to deal with variation appropriately and achieve the same effect of the original language.
In a paper, Wang Zuoliang points out, ―As far as the translator is concerned, his qualities determine which style of language he is suitable to translate.‖（王佐良，1995:135）That is to say, the translator should choose the works similar to his style to translate. Choosing works in every style will inevitably lead to bad translation.
The stylistics can be divided into stylistics in the narrow sense of the term and stylistics in the broad sense of the term. Stylistics in the narrow sense of the term means rhetoric that existed in ancient times and is regarded as an inseparable part in writing. ― The style is the man.‖ It is universally acknowledged that style represents the essential characteristics of each writer‘s creation. The style is associated with other factors such as the author‘s life experience, character, artistic culture and values and it is an indissociable part to be conveyed in translation. So in translation the works of Byron cannot be translated into something like the style of Wordsworth. Prior to translating, the translator should read and study the original text so as to grasp its overall style. In Essays on the Principles of Translation by Alxander Fraser Tyler, one of the three well-known principles is the emphasis on style: ―That the style and manner of writing should be of the same character with that of the original.‖ (Bassnett, 2004:128)In ancient China, the style in translation was discussed.But the application of stylistics in the broad sense (modern stylistics) to translation began in recent times. Modern stylistics, that is new stylistics, focuses on the normal language and deviation and the appropriateness of language, the analysis, comprehension and appreciation of the style of literature and other types of works. In 1960s and 1970s, with the efforts of Malinowski, Firth, Michael Halliday and so on, the study of stylistics developed. Especially in the 1970s‘, the study of stylistics deepened while in China the study lag a little bit behind.
At Wang‘s times, there were not so many theoretical papers on stylistics at home, so Wang‘s papers helped to popularize stylistics. He devoted his life and energy to the study of style and wrote valuable papers on stylistics so as to give us a deeper understanding of stylistics, which is of great help for translators. Wang combines modern stylistics with translation studies, making great contribution to the combination of stylistics and translation studies and paving the way for present-day studies.
3. 5 Wang’s views on verse translation
In Wang Zuoliang‘s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn‘s ―A Red, Red Rose‖ brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems.
Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for ―The poet-translator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ‖(Wang, 1991:112).
Then how ca n we translate poems? According to Wang‘s understanding, the translation of poems is related to three aspects: A poem‘s meaning, poetic art and language.
（1）A poem‘s meaning
―Socio-cultural differences are formidable enough, but the matter is made much more complex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.‖ (Wang, 1991:93).
（2）Poetic art
According to Wang, ―Bly‘s point about the ?marvelous translation‘ being made possible in the United States only after Whitman, Pound and Williams Carlos Williams composed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.‖ (Wang, 1991:93).
（3）Language
―Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation‖(王佐良，1997:523) ―This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncras ies, its past and present, what it can do and what it choose not to do.‖ (Wang, 1991:94).
Wang expresses the difficulties of verse translation. Frost‘s comment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic comprehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times‘ poetic art, but also the impact language‘s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earth-shaking success. The relation between the state of language and translation is so
收稿日期: 2009-12-16 基金项目:湖南省哲学社会科学规划基金项目(09Y B A 005) 作者简介:刘 彬(1974-),男,湖南长沙人,长沙理工大学外国语学院讲师,清华大学外语系博士研究生,研究方向为翻译理论与实践。 勒菲弗尔操控论视野下的十七年文学翻译 刘 彬 (清华大学外语系,北京100084) 摘 要:建国初17年间(1949)1966),迎来了新中国成立后的第一次文学翻译高潮。这一时期经历了从主要译介苏联社会主义现实主义文学作品,到广泛引入以反帝反封建为主题的古典和经典英美文学作品及亚非拉反殖民主义作品的过程。从勒菲弗尔操控理论所强调的意识形态、诗学形态和赞助人等因素来看,在当时翻译政策和文艺思想指导下引入的外国文学作品对于巩固新生共和国政权、传播马列主义思想体系具有积极的意义。 关键词:勒菲弗尔;操控理论;意识形态;诗学形态;赞助人中图分类号: I046 文献标识码:A 文章编号:1002-722X (2010)04-0093-05 0.引言 对于建国17年(1949)1966)的文学成就,许多当代文学评论家都认为没有太多评论的价值。德国汉学家顾彬(W 1Kubin)曾说道:/但以貌似客观、积极的方式来谈论1949年以后几十年的中国文学却是无益的。0(2008 :12)在国内,丁帆、王世沉认为,建国后27年文学(包括文革10年)缺乏现代性元素。(1999:58)笔者认为,翻译是文学创作的重要途径,译介则是促进本国文学发展的重要手段。1949至1966年这17年间文学译介的发 展过程长期以来未被论及,究其原因有二:一是许多人误以为17年没有什么文学译介或译介成就不大;二是以为17年文学译介完全意识形态化了,没有什么研究价值。(方长安,2002:79)本文运用勒菲弗尔翻译即操控的宏观理论,研究建国后17年的文学翻译状况,用实证的观点来探讨该时期的基本倾向,客观地描述其中的特色和取得的成就,认为全球本土化是国际文化交流中的必然趋势。 1.翻译即操控论 意识形态对翻译的影响由来已久,但对这一问题的深入讨论却还是近年来的事情。从上世纪80年代以来,国外勒菲弗尔(A 1Lefevere)、赫曼斯(T 1H er m ans)和国内蒋骁华、王东风等学者针对意识形态对翻译,尤其是对文学翻译的操控现象进行了大量的研究。其中,以翻译文化研究学派的代表 勒菲弗尔的操控理论更加系统,更加完备。勒菲弗尔明确提出,翻译当然是改写;一切改写,无论意图如何,都反映一定时间阶段的意识形态和诗学形 态;改写是在权力操控下进行的,有助于一种文学和一个社会的进化。他进而提出:重写可以引进新观念、新流派、新词语;因此翻译史也是文学的革新史,一种文化对另一种文化的影响史。(L e fevere , 2004b : v ii) 勒菲弗尔操控论的详细描述体现在其 5翻译、改写以及对文学名声的制控6一书中。勒菲弗尔指出,在不同的历史条件下,改写主要受3 个方面的限制:意识形态、诗学形态和赞助人。在这里,对意识形态的理解不能局限于政治领域,而应理解为由用于规范我们行为的模式、惯例、信仰所形成的框架体系,它对于文学作品的形式以及主题的选择和展开起到一定的限制作用。(L e fevere , 2004b : 16) 意识形态可能是译者所信奉的,也可能 是某个赞助人以某种限制形式强加给译者的。(L efe -vere ,2004b :41) 诗学形态包括两个方面:一方面是 指文学技巧、文类、主题、人物原型、情境和象征;另一方面是指文学作为一个整体在社会体系中扮演的角色。一旦诗学形态形成,就会在文学体系的进一步发展过程中约束其必须取得社会认同。 (Le fev ere , 2004b : 26) 赞助人是指那些可以促进或阻 碍文学的阅读、书写或重写的力量,可以是一些个人、宗教团体、政党、社会阶层、权力机构、出版 第33卷 第4期2010年7月解放军外国语学院学报 Journal o f PLA U n i versity o f Fo re i gn L anguages #93#
思 辩 的 译 论———介绍法国翻译理论家J .R .拉德米拉尔 俞佳乐 R ésum é:Il s ′agit l d ′une pr ésentation de J .R Ladmiral ,th éoricien fran ais de la traductologie .Y sont abord és les diff érents aspects et les approches de la th éorie de Ladmiral . Mots cl és :Ladmiral ,traductologie . J .R .拉德米拉尔这个名字对于中国译界来说,应该已不陌生。早在1998年,由许钧、袁筱一编著的《当代法国翻译理论》一书就曾辟专章评介其代表坐作《翻译的理论要素》①。该书于1979年首次出版,1994年被收入著名的伽利玛出版社的TEL 丛书集,被认为是继乔治·穆南《翻译的理论问题》②之后法国翻译研究的又一重要成果。可喜的是,在承袭了穆南的语言学立场之后,拉德米拉尔又从数十年法德哲学翻译体验出发,结合翻译实践教学经验,发展出了一套以思辩为特色的译论。在巴黎十大进修期间,笔① ②M ounin ,Georges ,Les Probl èmes th éoriques de la traduction ,G alli -mard ,Paris ,1963. Ladmiral ,Jean -Ren é,Traduire :th éor èmes pour la traduction ,Pay ot ,Paris ,1979;《当代法国翻译理论》(许钧、袁筱一编著,南京大学出版社,1988年),第60—86页。
第22卷 第2期 牡丹江大学学报 Vol.22 No.2 2013年2月 Journal of Mudanjiang University Feb. 2013 96 文章编号：1008-8717（2013）02-0096-03 王佐良翻译思想的生态翻译学诠释 曹 芳 （长沙理工大学外国语学院， 湖南 长沙 410014） 摘 要：王佐良先生是我国外语界的老前辈，对外国文学研究做出了重大的贡献，对翻译理论和实践的探索也建树颇多。本文拟从生态翻译学这一全新的视角来诠释王佐良先生的翻译思想。文章认为,从以下五个方面来看，王佐良先生的翻译思想同样体现了生态翻译学思想: 翻译生态的“和谐统一”；翻译行为的“适应/选择”；翻译过程的“汰弱留强”；译者追求的“译有所为”以及译品生命的“适者长存”。 关键词：王佐良翻译思想；生态翻译学；五方面 中图分类号：H315.9 文献标识码：A 引言 王佐良（1916-1995），浙江上虞人，我国著名的外国文学评论家，同时还是翻译家、翻译理论家、语言学家以及作家与诗人，是一位“文艺复兴式的 人”[1] ，译著有《苏格兰诗选》、《英国诗文选译集》，Thunderstorm（曹禺《雷雨》英译），《培根散文先译》，弥尔顿的《失乐园》，蒲柏的《道理》，雪莱的《奥西曼提斯》、《哀歌》，刘勰的《文心雕龙》以及鲁迅的《论语一年》等。王先生对我国的翻译事业不仅在实践方面做出了许多的贡献, 而且在翻译理论方面也提出了独到的翻译见解。他的这些翻译主张不仅指导着他自己的翻译实践，对我们现在翻译学习者也有着十分重要的现实意义。[2] 本文拟从生态翻译学理论来诠释王佐良的翻译思想。生态翻译学是胡庚申教授于2008 年在对翻译适应选择论的理论本质进一步挖掘与升华的基础上提出来的。它是关于译者与翻译生态环境互动的生态学视角的翻译研究。它是以翻译生态与自然生态的类似性和同构性为基础，以生态学的整体观为方法论，以译者与翻译生态环境的相互关系为研究对象，从“适应”与“选择”的视角对翻译的本质、过程、标准、原则和方法以及翻译现象和翻译生态体系等做出了新的描述和解释。翻译界普遍认为，生态翻译学为翻译学研究提供了一个崭新的视角，将有助于译界重新审视和解读各种翻译现象 和翻译思想。[3]除此之外，译界学者认为，翻译适 应选择论是“译学研究的一个新视角”。基于这种认识，本文研究期望有助于审视生态翻译学解释翻译现象的适用性；更重要的是，或将有助于对王佐良翻译思想和学术价值做出更进一步的探寻和挖掘。[4] 一、王佐良翻译思想的生态“和谐统一” 生态翻译学认为，翻译是一个整合一体的、和谐统一的系统。或者可以说由于翻译生态系统是一个和谐统一的整体，那么这个系统中的每个子系统也应当是和谐统一的。[5]纵观王佐良的一生，无论是他在英国的进修时兢兢业业的学习态度和新中国成立毅然决然地回到祖国报效的爱国主义情怀以及他在翻译实践中体现出的翻译思想都能体现出这种“生态‘和谐统一’”理念。 王佐良既是翻译理论家又是翻译实践家，在他身上很好地体现了翻译理论与实践的高度统一。在他的翻译论著《翻译：思考与试笔》（1989）的内容体系也充分反映了他的理论与实践统一观。他在《词义、文体、翻译》一文中明确地指出了两者的统一关系：“近年来有两个方面的发展, 值得引起翻译界的注意。一是翻译的规模越来越大, 质量也显著提高, 而且这是中外皆然, 已经成了一种世界性的现象。二是现代语言学的研究提供了一些新见解, 可能会对讨论翻译问题有点帮助。”[6]文中王先 收稿日期：2012-12-17 作者简介：曹芳（1989—），女，湖南郴州人，长沙理工大学外国语学院11级在读研究生，研究方 向：翻译理论与实践。
中国著名翻译家杨宪益逝世 时间：2009年11月24日作者：看世界分类: [ 墙旮旮 - 零碎的其他 ] 永久地址：https://www.doczj.com/doc/833782821.html,/user/kanshijie/200911248099 11月23日电中国著名翻译家、《红楼梦》英译本作者、外国文学研究专家、诗人杨宪益23日在北京煤炭总医院逝世,享年95岁。 杨宪益先生 杨宪益1915年生于天津。1934年天津英国教会学校新学书院毕业后到牛津大学莫顿学院研究古希腊罗马文学、中古法国文学及英国文学。1940年回国任重庆大学副教授。1941至1942年任贵州贵阳师范学院英语系主任,1942年至1943年任成都光华大学教授,1943年后在重庆北碚及南京任编译馆编纂。 自1953年起,杨宪益任外文出版社翻译专家,与夫人戴乃迭翻译了中国古典小说《魏晋南北朝小说选》《唐代传奇选》《宋明平话小说选》《聊斋选》《儒林外史》《老残游记》及《离骚》《资治通鉴》《长生殿》《牡丹亭》《唐宋诗歌文选》等经典作品。
上世纪60年代初,杨宪益戴乃迭夫妇开始翻译《红楼梦》,最终于1974年完成并由外文出版社分三卷出版。该三卷本《红楼梦》在国外皆获好评,有着广泛影响,与英国两位汉学家合译的五卷本(译名《石头记》),被誉为西方世界最认可的《红楼梦》英译本。1993年,杨宪益获香港大学名誉博士学位。 1982年,杨宪益发起并主持了旨在弥补西方对中国文学了解的空白“熊猫丛书”系列,重新打开了中国文学对外沟通窗口。这套丛书里,既有《诗经》《聊斋志异》《西游记》《三国演义》《镜花缘》等中国古典文学经典,也收录了《芙蓉镇》《沉重的翅膀》以及巴金、沈从文、孙犁、新凤霞、王蒙等人的中国现当代文学作品。 杨宪益和夫人戴乃迭 24岁译《离骚》惊动周恩来
摘要：杨宪益与许渊冲在中国古典诗词译论上的差异主要是译文忠实观的差异。这一差异的产生在于两人文学翻译标准的不同。许渊冲主张为了读者的审美感受可以破除一切限制，而杨宪益的翻译标准建立在“信”的基础上，根本目的在于维护原文的文化特质。 关键词：《琵琶行》许渊冲杨宪益翻译思想差异 许渊冲与杨宪益并为我国翻译界德高望重的翻译大家。特别是两位前辈都致力于把中国优美的古典诗词译成英文，且成绩斐然。然而在翻译理念上两位大师又大相径庭，形成了各自独特的译风。现结合对二人都曾翻译过的七言古诗《琵琶行》的文本，对他们关于中国古典诗词翻译思想的差异作一述评。 首先，两位译者对于译文的形式美有各自不同的追求。许渊冲曾这样评价自己：“世界上唯一把中文诗翻译成英法韵文的。”中文古诗词平仄、韵律及句数的要求非常严格，就像“戴着手铐脚镣跳舞一样”。许渊冲在翻译中也自觉地戴上了这副“手铐脚镣”，他主张译诗除了要传达原诗内容外，还要尽可能传达原诗的形式和音韵，使译文拥有和谐统一与美感。在论及译诗“意美”、“音美”与“形美”这三者的关系时，许渊冲认为：“三美的重要性不是鼎足三分的。最重要的是‘意美’，其次是‘音美’，再次是‘形美’。押韵的‘音美’和整齐的‘形美’是必要条件，而‘意美’既是必需条件，又是充分条件。”［1］（P131）这首《琵琶行》的英译也正体现了他的上述艺术追求。许译是以古法文诗的“亚历山大体”，即每行含十二个音节的抑扬格来译七言诗的。通篇成对押韵，而且对一些汉语特有的语言手法也应尽量照顾到。如把“弦弦掩抑声声思”译为“the note on note she struck with pathos deep and strong.”，连续两个“note”的叠用不仅保持了原文的形式美，而且很好地向读者传达了琵琶女在音乐中感情的起伏。再如“水泉冷涩弦凝绝，凝绝不通声渐歇”，许译作“but the stream seemed so cold as to congeal the string，and from congealed strings no more sound was heard to ring.”把原作的顶真格很自然地表现了出来。 杨宪益认为译诗并不必须要与原作诗词的形式美相契合，以诗译诗固然是可供选择的翻译手段，但不是唯一的手段。以诗译诗是以决不损害原意为前提的。在这首《琵琶行》的翻译上，杨宪益通篇用散体翻译。不过，在有些诗句的翻译上我们还是可以看出他对形式美的考虑。如“添酒回灯重开宴”一句，杨宪益译作：“Call for more wine，trim the lamp and re-sume our feast.”与原作句子结构一致，同时也对应了原作中欢快的情绪。可以明确的是，两人翻译理念在译诗形式美的问题上并无冲突。只是许强调形美音兼备（在三者不可得兼得的情况下，那么，可以先不要求音似，也可以不要求形似），而杨更强调意在形先而已。 其次，在翻译的忠实观方面，许渊冲认为翻译的忠实包括内容﹑形式﹑风格三个方面。既忠实于原文的内容又忠实于原文的形式是直译，但是在有些情况下直译只能做到明确（意似）和准确（形似），而无法做到精确（神似）。这个缺憾要靠只忠实于原文内容而不忠实于原文形式的意译来弥补，所以他提出直译、意译并用以求通顺。“如果符合对等原则的译文，不如再创论和神似论的译文更能使人知之、好之、乐之，那么，应该修改或放弃的是对等原则的译文，而不应该是再创论和神似论的译文”。［2］（P55）而杨宪益的翻译观大体上可归入直译一类。他强调“译者应尽量忠实于原文的形象，既不要夸张，也不要夹带任何别的东西”。［3］（P287-288）必须非常忠实于原文是他翻译实践中一贯的原则，从他的翻译实践来看，他对忠实于原文的内容与形式考虑较多，而对忠实于原文的风格考虑较少或作次要处理了。两人的这种翻译观同样在这首英译的《琵琶行》中得到了体现。如“主人忘归客不发”一句。杨译完全按原文直观的意思译出：“the host forget to turn back，the guest de-lays going.”而许渊冲译作:“I forgot go home and the guest stood spell-bound.”为什么主人忘了回家客人也不走了呢？是被琵琶曲的魅力吸引住了，所以许译就补出了原文内容所有而原文内容所无的东西，这按许氏译论说来就叫传神。应该明确一点，杨译是直译，而非硬译（宁信勿顺），他对原作形式的忠实并不是亦步亦趋的。比如起首两句：“浔阳江头夜送客，枫叶荻花秋瑟瑟。”这句诗的诗眼也是翻译的难点都在最后的三个字上。“瑟瑟”，乃指风吹枫荻的声音。这句诗纯由名词短语相缀。杨宪益变通地把“瑟瑟”转成了形容词形式：“chill the autumn，red the maple leaves and in flower the reeds.”许渊冲则把“瑟瑟”转成了动词“叹息”把这句译为：“One night by riverside I bade a friend goodbye/In maple leaves and rushes au-tumn seemed to sigh.”当然，把秋天拟人化的表达更能表现秋意萧索、醉不成欢的气氛，尽管这种表达是原作所无的。由此我们也可以看到许渊冲翻译观中对语言美的不遗余力的追求。他认为翻译是艺术而非科学，既然是艺术，就要勇于为了语言美而突破各种清规戒律。优化的译文不仅要达意，更要传情。杨宪益主张为了达意而有限的变通，而许渊冲主张为了传情可以破除一切限制（达意在他看来只是一个低标准）。再举两个例子。“未成曲调先有情”杨译作：“Touching our hearts before even the tune is played.”许译作：“Before a tune was played we heard her feelings sing.”“先有情”是说在琵琶声中听众被演奏者流露出的情感所打动。两人的译文都做到了达意。但“we heard her feelings sing”显得更轻灵隽永，在传情上更胜一筹。“说尽心中无限事”杨宪益是这样译的：“as if voicing the disillusion of a lifetime.”原诗中的“无限事”在意义上涵盖了女主人公值得同情的个人遭遇，但只是含蓄地说“无限事”，就收到了不言辛酸而辛酸自见的艺术效果。而原文的这种微妙的表达形式是不可能对等译出的。杨宪益以达意为最高要求，于是就在译文中直接明确地用“生活的幻灭”替换了原作的语言形式。而许渊冲显然不愿接受以艺术感染力的丧失为代价换取的达意：“on and on to pour out her over-flowing heart.”“overflowing heart”一词既含蓄，又赋予无形的愁绪以形象感，可谓深得原诗情韵。 最后，文化信息理解的重构问题。许渊冲赞同袁霈的观点，认为中国诗词富有情韵美，而西方对等的词语只能译出这些词语本身原来的含义，无法译出诗化的各种感情和韵味，所以只能用再创作的方法才能解决真与美的矛盾。中文的优势是含意丰富，英文的优势是精确，在翻译的时候就要尽可能发挥译语的优势，把模糊的原文译为明确的英文。而杨宪益认为：“在文学中有许多其它的因素构成原文的某些含义，要在翻译中把这些涵义传达给文化不同的人则是根本不可能的。例如：对中国读者来说，中国诗词中的一棵垂柳就有某种油然而生的联想，已成另一种语言，则不可能自然而然地引起这种联想。”［3］（P287-288）既然在翻译中传达一种文化意义是不可能的，所以杨宪益反对过分强调创造性。“因为这样一来，就不是翻 从《琵琶行》英译试论许渊冲与杨宪益翻译思想的差异 （重庆工业职业技术学院流通管理系，重庆401120） 陈丽丽 40
96 F L C M a r . 2015 V o l.12 N o .2 (G e n e r a l S e r i a l N o .64) 安托万?贝尔曼（Antoine Berman）是法国当代著名的哲学家、翻译家和翻译理论家。由于英年早逝，他的大多数关于翻译的思考都成文于20世纪的80年代，主要代表著作有：《异的考验：德国浪漫主义时期的文化与翻译》（以下简称《异的考验》）（1984）、《翻译与文字》（1985）、《翻译批评论：约翰?唐》（1995）、《翻译和文字或远方的客栈》（1999）以及《翻译的时代》（2008） 等。1984年，在巴黎国际哲学院的一次研讨会上，贝尔曼对西方翻译史上占据统治地位的以“意义传达”为中心的翻译思想进行了批判，主张将翻译伦理研究作为今后翻译研究的一个重要方向（王大智，2012：45）。可以说，贝尔曼的《异的考验》一书在翻译研究史上具有划时代的意义，其“翻译伦理”的概念，最早便是在这部作品中提出的。该书出版伊始便在法国译坛引起轰动，并被书评界公推为当代翻译理 论研究的经典之作。后来有学者甚至认为，正是这部作品直接引发了继“文化转向”之后翻译研究的“伦理转向”（刘云虹，2013）。在《异的考验》一书中，贝尔曼将研究视野聚焦于19世纪前后的德意志民族文化进程，对从路德以来各个阶段德国译事、译论的滥觞发展、主要流派和变迁趋向进行了一番史学维度的“考古”，并通过对翻译的若干基本问题的阐释和判断，最终将翻译定格为“异的考验”。 摘 要： 安托万?贝尔曼在《异的考验：德国浪漫主义时代的文化与翻译》一书中，将研究视野聚焦于19世纪前后的德意志民族文化进程，对从路德以来各个阶段 德国译事、译论的滥觞发展、主要流派和变迁趋向进行了一番史学维度的“考 古”，并通过对翻译的若干基本问题的阐释和判断，最终将翻译定格为“异的考验”。本文围绕文本展开归纳梳理和翻译性解读，试图从贝尔曼翻译思想的内隐逻辑出发，指出在当前译学界对贝尔曼的阅读与理解中可能存在的若干问题。主题词： 异；合；翻译；文化中图分类号：H315.9文献标识码：A 文章编号：1672-9382(2015)02-0096-07 从“译中求异”到“异中求译” —— 安托万?贝尔曼《异的考验：德国浪漫主义时代的文 化与翻译》解析 李露露 许 钧 南京大学 1 合而非同的“译中求异” 贝尔曼首先从翻译史的角度强调，正是“德国在其古典和浪漫主义时期所发展起来的所有翻译理论构建了现代西方翻译主要流派的基石”（Berman，1984： 279）。从A.W.施莱格尔译笔下的莎士比亚到蒂克翻译的《堂吉诃德》，从施莱尔马赫之柏拉图到福斯之荷马，再到荷尔德林之品达、索福克勒斯，“浪漫派及其他学者大量的翻译作品被视作德意志民族永久的文化遗产”（ibid：25），这是德国文化在其构成的关键时期向翻译发出的特殊召唤。德意志民族在此所形成的地位特殊、影响深远的翻译传统，使历史上翻译所形成的片片盲区逐步显形，更使得翻译这一原本被视为单纯语言转换的活动逐渐走向学术界讨论的中心。 《异的考验》从对西方文化具有奠基性质的，对希腊诗学、哲学，拉丁诗学及其他伟大作品的复译问题说起，将16世纪马丁?路德的《圣经》德译本——西方宗教史上的首部“民众的圣经”作为德意志文化史这一良好传统的开端。路德在翻译的语言上进行了双重的尝试：以“土生土长”的地方性语言为出发点，在翻译的过程中进行提炼，使其成为规范语言（许钧，2004：186-187）。路德用他的实践经验向我们表明，德译《圣经》就是言说圣经的方式的本土化，而翻译的过程也就成了语言 作者简介：李露露，南京大学外国语学院博士研究生，南京陆军指挥学院讲师，研究方向：翻译学与法国文学。E-mail：p o t r i a 2005@https://www.doczj.com/doc/833782821.html,。许钧，南京大学外国语学院教授，博士生导师，教育部“长江学者”特聘教授，研究方向：翻译学与法国文学。E-mail：xujun@https://www.doczj.com/doc/833782821.html,。 DOI:10.13564/https://www.doczj.com/doc/833782821.html,ki.issn.1672-9382.2015.02.015
Francis Bacon Of Studies? STUDIES serve for delight,for ornament,and for ability.Their chief use for delight,is in privateness and retiring;for ornament,is in discourse;and for ability,is in the judgment,and disposition of business.For expert men can execute,and perhaps judge of particulars,one by one;but the general counsels,and the plots and marshalling of affairs,come best,from those that are learned.To spend too much time in studies is sloth;to use them too much for ornament,is affectation;to make judgment wholly by their rules,is the humor of a scholar.They perfect nature,and are perfected by experience:for natural abilities are like natural plants,that need proyning,by study;and studies themselves,do give forth directions too much at large,except they be bounded in by experience.Crafty men contemn studies,simple men admire them,and wise men use them;for they teach not their own use;but that is a wisdom without them,and above them,won by observation.Read not to contradict and confute;nor to believe and take for granted;nor to find talk and discourse;but to weigh and consider.Some books are to be tasted,others to be swallowed,and some few to be chewed and digested;that is,some books are to be read only in parts;others to be read,but not curiously;and some few to be read wholly,and with diligence and attention.Some books also may be read by deputy,and extracts made of them by others;but that would be only in the less important arguments,and the meaner sort of books,else distilled books are like common distilled waters,flashy things. Reading maketh a full man;conference a ready man;and writing an exact man. And therefore,if a man write little,he had need have a great memory;if he confer little, he had need have a present wit:and if he read little,he had need have much cunning,to seem to know,that he doth not.Histories make men wise;poets witty;the mathematics subtile;natural philosophy deep;moral grave;logic and rhetoric able to contend.Abeunt studia in mores.1Nay,there is no stond or impediment in the wit,but may be wrought out by fit studies;like as diseases of the body,may have appropriate exercises.Bowling is good for the stone and reins;shooting for the lungs and breast;gentle walking for the ?THE ESSAYS OR COUNSELS,CIVIL AND MORAL,OF FRANCIS Ld.VERULAM VISCOUNT ST.ALBANS 1Studies pass into the character.
最新英语专业全英原创毕业论文，都是近期写作 1 浅析《瓦尔登湖》中的生态思想 2 美国黑人社会地位的历史演变 3 4 海明威《雨中猫》的文体分析 5 关于高中生英语听力理解中非语言因素的研究 6 一场失败革命的反思——《动物庄园》的主题浅析 7 《野性的呼唤》中的生态观 8 An Analysis on Cultural Differences in Translation 9 基于精细加工理论的英语词汇学习研究 10 生态翻译学视野下《背影》两英译本的对比研究 11 The Horror Elements in Harry Potter and the Sorcerer's Stone 12 “龙”和“Dragon”的语义与文化内涵比较 13 14 论跨文化交际中的中西文化冲突 15 Multiple Interpretations of Love in Charles Dickens’s A Tale of Two Cities 16 从《一间自己的房间》看弗吉尼亚?伍尔夫的女性主义 17 福克纳对女性形象的塑造—以《献给艾米丽的玫瑰》和《士兵的报酬》为例 18 简析译者文化背景对其处理习语翻译的影响－－《水浒传》赛珍珠译本中的习语翻译 19 The Comparison of Diet Culture between China and America 20 从《劝导》看简?奥斯汀创作思想的发展 21 透析《劝导》中的新女性形象 22 Customer Relationship Marketing 23 中西文化对红颜色的理解及翻译 24 图式理论在英语阅读教学中的应用 25 化妆品商标的文化内涵与翻译 26 Pragmatic Consciousness in College English Teaching 27 28 汉语公示语英译之跨文化交际研究 29 从《绝望主妇》各主角看美国家庭问题 30 广告语篇中的预设分析 31 从接受美学看广告翻译 32 从《唐老鸭》看赵健秀的男性主义 33 中美隐私观的跨文化视角分析 34 任务型教学在高中英语阅读课中应用的调查 35 艾米丽?狄金斯诗歌死亡主题分析 36 李清照“声声慢”英译本的对比研究 37 A Comparison of the English Color Terms 38 任务型教学理念下的教材分析－－以《牛津高中英语》为例 39 EFL Learning Strategies on Web-based Autonomous Learning 40 初中英语教学中的兴趣教学法 41 科马克?麦卡锡的小说《路》中的象征艺术手法 42 从翻译角度浅析英语写作中的中式英语问题
梅肖尼克翻译思想探究 ——《翻译的伦理与政治》评介 傅晓玲程晓昆中山大学 摘要：《翻译的伦理与政治》总揽自20世纪70年代以来亨利?梅肖尼克作为诗人、翻译家、批评思想家对于翻译的独特思考。本文旨在简约介绍梅肖尼克翻译的伦理与政治、翻译的节奏、翻译的历史性核心思想，分析其独具特色的历史发展渊源与特征。 关键词：梅肖尼克；伦理；节奏；历史性 中图分类号：H059文献标识码：A文章编号：1000-873X（2013）01-0060-04 一、引言 《翻译的伦理与政治》是法国著名的翻译理论家、文论家亨利?梅肖尼克（Henri Meschonnic）2007年的一部重要著作。两年后，即2009年，这位法国杰出的翻译家、翻译思想家、诗人、语言学家、文论家溘然长逝。又两年后，2011年，该书英文版（Ethics and Politics of Translating）由John Benjamins出版公司正式出版。加拿大肯髙迪亚大学布朗热（Pier-Pascale Boulanger）教授承担了该书的翻译和编辑工作。中国翻译学界最早是从袁筱一和许钧的《”翻译诗学”辨》（袁筱一、许钧，1995）—文中看到梅肖尼克的大名和他精辟的翻译见解的，但那时他的作品还没有译成英文，英语翻译界的学者只能通过间接的方式来了解这位学者的翻译思想。承蒙John Benjamins出版公司的高效运作，这部2007年的新作，这么快就翻译成英文并得以出版，从而使以英语为阅读语言的翻译学研究的读者可以在差不多第一时间里了解这位著名翻译思想家的最新的、也是最后的思想。按照为该书作序的英国卡迪夫大学教授、现代文化研究会主席瑙斯（Alexis Nuselovici, Nouss为其笔名）的说法，”我们是该思考一下梅肖尼克了”。（Meschonnic,2011：1） 作为法语翻译界精通希伯来、希腊和拉丁文久负盛名的学者，梅肖尼克的理论著述一直颇丰。初以翻译旧约圣经的《五卷》出名，后以《诗学——创作认识与翻译诗学》、《翻译诗学》和《节奏批评》等奠定了他在法国作为文论家、翻译理论家独树一帜的显赫地位。 《翻译的伦理与政治》可以视为《翻译诗学》的续篇。该作总揽自20世纪70年代以来梅肖尼克作为诗人、翻译家、批评思想家的主要核心思想。继《翻译诗学》之后，他将研究重心转向翻译的节奏和翻译的伦理问题，认为符合伦理的翻译要求译者能够倾听到各种节奏。他关注文化问题对翻译研究的冲击与影响，认为无法倾听到语言节奏的译者一定是因为文化传播的原因而引起的失聪。他极力反对用诠释学的方法来解释语言符号的二元观，反对将能指与所指用有意义和无意义的标签截然隔离开来，主张诗学翻译，阐释了什么是语言意义的翻译并如何做到语言意义的翻译。最后，他肯定了翻译在建立欧洲多元文化形成过程中所起到的历史性作用。 二、内容简介 全书十六章，就内容而言，可粗略划分为四大板块，第一，翻译伦理（第一章至第三章）、第二，翻译评论（第四章至第八章）、第三，宗教文本翻译（第九章至第十三章）、第四，翻译节奏（第十四章至第十六章）。在这四个板块中，诗学、伦理、节奏等翻译理念常常纠结融合、扑朔迷离，交织于一起，从中可以看出海德格尔（Martin Heidegger）和洪堡特（Wilhelm von Humboldt）等人的哲学和语言学思想对作者的影响。各章篇幅长短不一，语言表达哲理思辨，忽而言简意赅忽而晦湿难懂，从而形成作者奇特独立、特色斐然的著述风格。本文拟从翻译的伦理与政治，翻译的节奏性、翻译的历史性这三个最能代表作者思想也最具有普遍意义的入口，走进梅肖尼克的译学世界。 三、翻译的伦理与政治 20世纪后半叶，西方各国涌现出一批新的翻译学观点和翻译学流派，如翻译等值论、结构主义、后结构主义等。20世纪70至80年代间，一批著名的法国哲学家、语言学家巴
Comments by 鱼化石：培根的名字，大家一定不陌生，其《论学习》一文也是脍炙人口的名篇，无须多做介绍。倒是想介绍一下目前流传最广的中译版本的作者——王佐良。阅读优秀的译文也是一种美的享受，精彩之作常为名家呕心沥血而成，令人难以释手，如前日所贴《青春》一文即是，今日《论学习》一文亦是如此。 “读史使人明智，读诗使人灵秀，数学使人周密，科学使人深刻，伦理学使人庄重，逻辑修辞之学使人善辩；凡有所学，皆成性格。”这一段精彩的译文，相信大家都耳熟能详。这不仅是因为培根的思想表达得深刻，更因为译者翻译得恰到好处，可谓字字珠玑。通览整篇译文，字里行间无处不显露出大家风范，非一般捉笔者能为之。 王佐良，英国文学研究专家；浙江上虞人，1916年2月12日生。1929年至1934年在武昌文华中学读书，后进清华大学。抗战后考取公费留英，于1947年秋赴牛津大学研究英国文学。于1949年9月建国前夕回国，应聘到北京外国语学院任教授至今。现为北京外国语学院顾问兼外国文学研究所所长，中国外语教学研究会副会长，中国英语教学研究会会长，中国莎士比亚研究会副会长，中国作协理事，《外国文学》主编。主要著作有：《英国十七世纪剧作家约翰·韦勃斯透的文学声誉》，《英国文学论文集》，《英国文体学论文集》，《中外文学之间》，《论契合比较文学研究集》，《照澜集》。 附：英语专家王佐良谈英语学习方法 * 通过文化来学习语言，语言也会学得更好。 * 语言之有魅力，风格之值得研究，主要是因为后面有一个大的精神世界：但这两者又必须艺术地融合在一起，因此语言表达力同思想洞察力又是互相促进的。 * 文体，风格的研究是有实际用途的，它可以使我们更深入地观察英语的性能，看到英语的长处，短处，以及我们在学习英语时应该特别注意或警惕的地方。因为英语一方面不难使用，一方面又在不小心或过分小心的使用者面前布满了陷阱。 OF STUDIES Francis Bacon Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business. For expert and execute, and perhaps judge of particulars, one by one; but the general counsels, and the plots and marshalling of affairs, come best form those that are learned. To spend too much time in studies is sloth; to use them too much for ornament, is affectation; to make judgement wholly by their rules, is the humour of a scholar. They perfect nature, and are perfected by experience: for natural abilities are like natural plants, that need proyning by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience. Crafty men contemn studies, simple men admire them, and wise men use them; for they teach not their own use; but that is a wisdom without them, and
语言哲学与文学翻译论文 一、诗学与翻译诗学 诗学的概念最早来源于亚里斯多德的《诗学》一书，是 指组成文学系统的文体、主题与文学手法的总和[2]。在以后的发 展中，诗学成为文学领域含义丰富的术语，既涵盖宏观层面的文 学理论和文学流派，也包括微观层面的文学创造艺术手法，尤其 强调审美性和艺术性。由于文学作品有别于科技文献，具有歧义性、伸缩性、模糊性等特点，因此也就带来了文学翻译诗学的艺 术性和创造性。译者在遵循翻译伦理的前提下需要充分发挥主动 能动性，实现文学翻译的语言转换和意义再生，达到审美的、诗 性的境界和目的。最早将“诗学”概念引入翻译研究的是捷克斯 洛伐克的一批研究者，其代表人物为利维、米科和波波维奇。他 们的翻译研究源于俄国形式主义流派的客观诗学，发展了形式主 义的诗学观[3]。1973年，法国第八大学教授、著名文论家、翻译家亨利·梅肖尼克（HenriMeschonnic）在《诗学———创作认识 论和翻译诗学》一书中最早提出“翻译诗学”这一术语。他认为 诗学是一个比语言学更全面、更深刻的理论系统，是“关于作品 价值和意蕴的理论”，翻译理论应该包含在诗学之中。文学翻译 具有特殊性，文学文本承载着一个民族深厚的文化积淀，对文学 文本意义的理解必须纳入诗学轨道，而不能简单地用语言学去诠释。梅肖尼克的翻译诗学是建立在将作品理解为一个整体的理论 基础上的，所以它不是一种“实用语言学”，而是一种“实验性 诗学”；翻译是一项“超越语言之上”的活动，是一项“阅读创作”活动，是历史主题的“重新表述”，是“中心偏移”（disinterment）;翻译诗学具有历史性，力求在原语与译语之间、时代与时代之间、文化与文化之间的种种矛盾中得到一个历史客
Of Studies 王佐良先生译文（英汉对照） STUDIES serve for delight, for ornament, and for ability. 读书足以怡情，足以博彩，足以长才。 Their chief use for delight, is in privateness and retiring; (a retiring room 休息室) 其怡情也，最见于独处幽居之时； for ornament, is in discourse; 其傅彩也，最见于高谈阔论之中； and for ability, is in the judgment, and disposition部署of business. 其长才也，最见于处世判事之际。 For expert men can execute, and perhaps judge of particulars, one by one; 练达之士虽能分别处理细事或一一判别枝节， but the general counsels, and the plots and marshalling of affairs, come best, from those that are learned. 然纵观统筹、全局策划，则舍好学深思者莫属。 To spend too much time in studies is sloth; 读书费时过多易惰， to use them too much for ornament, is affectation; 文采藻饰太盛则矫，
to make judgment wholly by their rules, is the humor怪僻的行为of a scholar. 全凭条文断事乃学究故态。 They perfect nature, and are perfected by experience: 读书补天然之不足，经验又补读书之不足， for natural abilities are like natural plants, that need pruning, by study; 盖天生才干犹如自然花草，读书然后知如何修剪移接； and studies themselves, do give forth directions too much at large, except they be bounded in by experience. 而书中所示，如不以经验范之，则又大而无当。 Crafty men contemn studies, simple men admire them, and wise men use them; 有一技之长者鄙读书，无知者羡读书，唯明智之士用读书， for they teach not their own use; but that is a wisdom without them, and above th em, won by observation. 然书并不以用处告人，用书之智不在书中，而在书外，全凭观察得之。 Read not to contradict and confute驳斥; nor to believe and take for granted; nor t o find talk and discourse; but to weigh and consider. 读书时不可存心诘难作者，不可尽信书上所言，亦不可只为寻章摘句，而应推敲细思。Some books are to be tasted, others to be swallowed, and some few to be chewed and digested; 书有可浅尝者，有可吞食者，少数则须咀嚼消化。 that is, some books are to be read only in parts; others to be read, but not curiou sly （carefully）; and some few to be read wholly, and with diligence and attention.