汉英翻译（下）教案
主讲：魏志成教授
第8单元
I 提示
·原文来源
《岳阳楼记》作者是北宋作家范仲淹（1892-1941），原文选自戴抗选、谢百魁译，1996年,《中国历代散文一百篇》。北京：中国对外翻译出版公司。（3个译文所依据的原文版本有差异，这些差异主要体现在断句和标点符号。由此而产生的译文差异不在详细讨论之中）
·译文来源
< 1 >译文1选自戴抗选、谢百魁译，1996年,《中国历代散文一百篇》。北京：中国对外翻译出版公司。
< 2 >译文2选自中国文学出版社编, 1998年，《中国文学·古代散文卷》汉英对照, 外语教学与研究出版社&中国文学出版社。
< 3 >译文3为罗经国译，选自《英语学习》2003年第10期。
·语体特征与翻译策略
< 1 > 篇章范仲淹是北宋（960-1127）朝抵抗西夏侵略的名将。他像许多官吏一样，曾经被罢去官职；也像许多封建时代的官吏一样，官职虽然被罢免，但是对朝廷的忠心与思念不改。范仲淹的忧民之情至今被人称道，他在《岳阳楼记》提出的“先天下之忧而忧，后天下之乐而乐”的亲民思想影响后世至深。
< 2 > 句式文章多为短句，但是像“刻唐贤今人诗赋于其上，属予作文以记之”这样的SVOC长句也仍见于其中。这些长短相间的句子构成了文章大气的节奏。
< 3 > 语义文字工整对称。大量入用赋体，四字句如珠走玉盘。“日星隐耀，山岳潜形”，“浮光跃金，静影沉璧”，工于对仗，协和音律。“明”、“惊”、“顷”、“青”、“金”
等，合辙叶韵，增强了文章的音乐感，读来舌端润畅，听来耳中清晰。
< 4 > 翻译策略翻译的审美主体就是译者，译者在翻译实践的审美活动中要发挥审美主体的审美功能，使审美意识尽量处于最佳能动状态。翻译审美功能具有稳定性
和可变性这样双重的能动性。一般说来，在翻译中保证审美功能的稳定性是不难做
到的，因为语言形式的运用从根本上说是语言现实，优美的词章是客观存在的。但
是翻译审美的可变性却是一个仁者见仁、智者见智的问题。这首先是因为原文的模
糊性审美构成是非定量的、流变的。再者，在翻译中，语言形式的运用变化在特定
的语篇中也是一个常数，但是作者的神思、文章的寓意、读者的感受却都是变数。
因此，译者必须使自己的审美功能具有充分的可变性，以把握审美客体的模糊性审
美构成。汉语典籍的翻译，需要译者更多地关注翻译语言的简洁性、虚词的结构性。
译文2美感总体上逊色于译文1、3，因为句式单调，缺乏变化，如when从句太多
等。
II 译法要点
8.1变通：阐释或注释(II) 8.2 变通：SVO时间主语句
8.3所指与能指8.4夸张与Hyperbole
8.5翻译审美功能的可变性8.6误译：地名
8.7拟声与Onomatopoeia（II）8.8文化翻译与文化传真
8.9语段层次关系8.10 语言接触与音译移植
8.11数量夸张8.12 呼应：SVoO名词主语句
8.13简洁与达意8.14模糊性审美
8.15 变通：还原8.16重复与Repetition (II)
8.17顺译：叹词
III 原文与译文
【原文】
岳阳楼记
庆历四年春，滕子京谪守巴陵郡。越明年，政通人和，百废具兴。乃重修岳阳楼，增其旧制，刻唐贤今人诗赋于其上，属予作文以记之。
予观夫巴陵胜状，在洞庭一湖。衔远山，吞长江。浩浩汤汤，横无际涯。朝晖夕阳，气象万千，此则岳阳楼之大观也，前人之述备矣。然则北通巫峡，南极潇湘，迁客骚人，多会于此，览物之情，得无异乎？
若夫淫雨霏霏，连月不开。阴风怒号，浊浪排空，日星隐耀，山岳潜形。商旅不行，樯倾楫摧。薄雾冥冥，虎啸猿啼。登斯楼也，则有去国怀乡，忧谗畏讥，满目萧然，感极而悲者矣。
至若春和景明，波澜不惊。上下天光，一碧万顷。沙鸥翔集，锦鳞游泳。岸芷汀兰，郁郁青青。而或长烟一空，皓月千里。浮光跃金，静影沉璧。渔歌互答，此乐何极。登斯楼也，则有心旷神怡，宠辱皆忘，把酒临风，其喜洋洋者矣。
嗟夫！予尝求古仁人之心，或异二者为之，何哉？不以物喜，不以己悲。居庙堂之高，则忧其民；处江湖之远，则忧其君。是进亦忧、退亦忧。然则何时而乐耶？其必曰：先天下之忧而忧，后天下之乐而乐欤？噫！微斯人，吾谁与归！
【译文】
译文1
Yueyang Pavilion
In the spring of the fourth year of the Qingli period, Teng Zijing was relegated to the position of the prefect of Baling. The following year witnessed a great change there in terms of the
smooth conduct of government and the harmonious human relations as well as the resumption of a great many neglected undertakings. Thus Yueyang Pavilion was rebuilt on a scale larger than before and was graced with the inscriptions of the poems and rhythmic prose of the Tang and contemporary celebrities. I was requested to write something to mark the event.
In my view, the grandeur of Baling lies only in Lake Dongting, which looks as if it were holding in its mouth the distant mountains and gulping down the Yangtse River. Boundless and marvellous, it presents in the morning sunshine and the evening twilight a most gorgeous spectacle. This is the general view from the pavilion, already described in full by our predecessors. However, since the lake connects with the Wu Gorge in the north and ends at the Xiao and Xiang rivers in the south, many demoted or banished officials and literati often gather here. Can there be no shades of difference in their feelings when admiring the scenery?
If the continous drizzle does not let up for several months on end, one can hear the bleak wind howling and see the turbid waves surging to the sky. The brilliance of the sun and the stars are eclipsed and the shapes of the mountains and hills become obscured. The merchants and travellers are stopped on their way, staying in boats with declined masts and broken oars, while the light being so dim at dusk, one can fancy tigers’ roars and monkeys’ gibbers. So the ascent to the pavilion is associated with the nostalgia in exile and the fear of slanders and taunts. Confronted with such disconsolate scenes, one is apt to be moved to the extreme and feel much saddened.
As for the days when spring weather is mile and sunny, nature is lit with a bright smile, and the waves being halcyon, the sky and the lake are tinged with the same hue, making up an infinitely huge canvas of light blue, on which white gulls are hovering in bevies and fish shimmering with silvery scales. And the lake shores adorned with irises and sandbars dotted with orchids are all enshrouded in a sweet and lush green. Sometimes the broad firmament is clear of all mist, a bright moon shines over the vast lake gleaming with a golden glow, and the moon’s reflection in the watery mirror reminds one of a su nken jade. And then the fishmen’s song are heard to be echoing one another. What an unbounded joy! In such a case, ascent to the pavilion gives one a broadened mind and eased heart, with credit and discredit both forgotten. Holding a winecup in the wind, one is overflowing with happiness.
Oh, I have tried to probe the souls of the noble ancients. Their feelings might differ from the above two.Why? Because they were not glad of things adventitious, or sad for the sake of themselves. Positioned high at court, they worried about the people. Banished to remote regions, they worried about their sovereigns. Thus they were carefree in neither case. Then, at what time would they feel happpy? They were sure to say:”Worry before all others have worried, rejoice after all others have rejoiced.” Who should I emulate, if not people of this type?
译文2
Yueyang Pavilion
In the spring of the fourth year of the region of Qingli, Teng Zijing was banished from the capital to be governor of Baling Prefecture. After he had governed the district for a year, the administration became efficient, the people became united, and all things that had fallen into disrepair were given a new lease on life. Then he restored Yueyang Pavilion, adding new splendour to the original structure and having inscribed on it poems by famous men of the Tang
Dynasty as well as the present time. And he asked me to write an essay to comemmorate this. Now I have found that the finest sights of Baling are concentrated in the region of Lake Dongting. Dongting, nibbling at the distant hills and gulping down the Yangtze River, strikes all beholders as vast and infinite, presenting a scene of boundless variety; and this is the superb view from Yueyang Pavilion. All this has been described in full by writers of earlier ages. However, since the lake is linked with Wu Gorge in the north and extends to the Xiao and Xiang rivers in the south, many exiles and wandering poets gather here, and their reactions to these sights vary greatly. During a period of incessant rain, when a spell of a bad weather continues for more than a month, when louring winds bellow angrily, tumultuous waves hurl themselves agianst the sky, sun and stars hide their light, hills and mountains disappear, merchants have to halt in their travels, masts collapse and oars splinter, the day darkens and the roars of tigers and howls of monkeys are heard, if men come to this pavilion with a longing for home in their hearts or nursing a feeling of bitterness because of taunts and slander, they may find the sight depressing and fall prey to agitation or despair. But during the mild and bright spring weather, when the waves are unruffled and the azure translucence above and below stretches before your eyes for myriads of li, when the water-birds fly down to congregate on the sands and fish with scales like glimmering silk disport themselves in the water, when the iris and orchids on the banks grow luxuriant and green; or when dusk fall over this vast expanse and bright moon casts its light a thousand li, when the rolling waves glitter like gold and silent shadows in the water glimmer like jade, and the fishermen sing to each other for sheer joy, then men coming up to this pavilion may feel complete freedom of heart and ease of spirit, forgetting every worldly gain or setback, to hold their winecups in the breeze in absolute elation, delighted with life. But again when I consider the men of old who possessed true humanity, they seem to have responded quite differently. The reason, perhaps, may be this: natural beauty was not enough to make them happy, nor their own situation enough to make them sad., When such men are high in the government or at court, their first concern is for the people; when they retire to distant streams and lakes, their first concern is for their sovereign. Thus they worry both when in office and when in retirement. When, then, can they enjoy themselves in life? No doubt they are concerned before anyone else and enjoy themselves only after everyone else finds enjoyment. Surely there are the men in whose footsteps I should follow!
译文3
The Yueyang Tower
In the spring of the fourth year of Qingli, Teng Zijing was exiled to Baling jun to be the prefect there. In the second year of his office, because of his excellent administration, people lived in peace and contentment, and all previous neglected matters were taken care of. The Yueyang Tower was renovated and enlarged, and inscribed on its wall were the poetry and the rhymed prose of learned men of the Tang and the present dynasty. I was invited to record this restoration effort in writing.
The beauty of Baling centers round the Dongting Lake, which holds the mountain ranges in the distance and swallows the water of the Yangtze River. It is so vast and mighty that it seems boundless. Dazzling in the morning sun and fading in the gray evening mist, it offords a myriad of scenes. This is the magnificent view that the Yueyang Tower commands, of which many descriptions have been written. This beautiful scenic spot is linked with the Wu Gorge in the north
and the Xiao and Xiang Rivers in the south. Exiled officials and poets often gather here. How could there be no difference in their feelings?
In the rainy season, an unbroken spell of wet weather lasts for months. Chilly winds howl and turbid waves surge sky high. The sun and the stars lose their luster, and the mountain ranges are scarcely visible. Merchants and travelers have to put off their voyage, for the masts of the shipd have collapsed and their oars broken. It is dark towards evening, and the roaring of tigers and the cry of monkeys can be heard. At such a time anyone ascending the tower will be filled with nostalgia for the imperial court and his home as well as fears of calumny and derision against him. Around him is a scene of desolation. Emotions well up in him so strong that he feels pain at heart.
In springtime it is warm and the sun is bright. The Lake is tranquil and it merges with the azure sky into a vast expanse of blue. The water-birds are playing, some fluttering in the sky, some gathering together on the sandbars. Fishes of varied hues are swimming merrily in the water. The sweet-smelling grass by the banks and the faintly scented orchids on the sandy beaches are lush and green. Sometimes, when the mist over the Lake vanishes, the glorious moon shines over the vast land, its brightness glistening with golden light on the lake. The reflection of the moon is like a piece of jade in the depths of the water. The fishermen’s songs chime in with each other. How delightful they are! On ascending the Tower at such a time, one will feel spiritual uplift, caring for neither glory nor shame. With a cup of wine in the gentle breeze, he will enjoy the greatest happiness in life!
Ah! I have tried to study the minds of people of lofty ideals in ancient times. Perhaps they were different from the people I mentioned above. Why is this? The reason is that they were not thrown into ecstasies over their success, nor felt depressed over their failures. When they were in high positions at court, they were concerned about people. When they were in remote places, they were concerned about their emperor. They worried when they got promoted or when they were sent into exile. Then, when were they happay? They would say:”To be first to worry abou t the affairs of the state and the last to enjoy oneself.”
Alas! Who else should I seek company with save them?
IV 比较分析与译法
（1）庆历四年春，滕子京谪守巴陵郡。
译文1 In the spring of the fourth year of the Qingli period, Teng Zijing was relegated to the position of the prefect of Baling.
译文2 In the spring of the fourth year of the region of Qingli, Teng Zijing was banished from the capital to be governor of Baling Prefecture.
译文3 In the spring of the fourth year of Qingli, Teng Zijing was exiled to Baling jun to be the prefect there.
8.1变通：阐释或注释(II)
相对于现代汉语文本而言，汉语典籍的传统文化特征应该说更加强烈一些。有些传统文化信息的表达在英语文化中是空缺的。因此，在面对这样一些传统文化特征非常浓厚的表达
时，我们认为双语转换中可以适当地采用阐释或注释，目的是以利于读者的理解。譬如原文中出现的“庆历四年”和“巴陵郡”，就是两个传统汉语文化特征极强的表达。“庆历四年”，指的是宋仁宗庆历四年，即公元1044年；“巴陵郡”，指的是现在位于湖南省的岳阳市。考虑整个译文语篇并不是有太多的地方需要采取括号阐释法，所以我们还是建议译文可以修改为：
[446] In the spring of the fourth year of the Qingli period(1044), Teng Zijing was banished from the capital to be governor of Baling Prefecture( now known as Yueyang City in
Hunan Province).
（2）越明年，政通人和，百废具兴。
译文1 The following year witnessed a great change there in terms of the smooth conduct of government and the harmonious human relations as well as the resumption of a great many neglected undertakings.
译文2 After he had governed the district for a year, the administration became efficient, the people became united, and all things that had fallen into disrepair were given a new lease on life.
译文3 In the second year of his office, because of his excellent administration, people lived in peace and contentment, and all previous neglected matters were taken care of.
8.2 变通：SVO时间主语句
汉语的时间常常作为状语或主语补语，虽然时间主语也是存在的。与汉语相比，英语虽然也有常常将时间作为状语或主语补语，但是时间主语的用法却比汉语更常见，而且英语时间主语句都可以用于英语的5种基本句型：(魏志成.2003：356-367)
[447]Thursday came:all work had been completed the previous evening.(C.Bronte:Jane Eyre.
SV时间主语句)
[448]My first quarter seemed an age; and not the golden age either.（C.Bronte:Jane Eyre.
SVC时间主语句）
[449]The nights and mornings no longer by their Canadian temperature froze the very blood in our vein.（C.Bronte:Jane Eyre. SVO时间主语句）
[450]The forty years, 1840-1888, brought almost ten million migrants to America.
（P.Bromhead: Life in Modern American. SVoO时间主语句的变式）[451]Morning would break, and find him there.（N.Hawthorne: The Scarlet Letter. SV及SVOC时间主语句）
汉英转换时，我们可以从语篇的角度适当地运用英语时间主语来处理汉语主题时间状语。如下面一个例子：
[452]这几天心里颇不宁静。（朱自清《荷塘月色》）
译文1：I have felt quite upset recently.（Tr.朱纯深）
译文2：The last few days have found me very restless.（Tr.杨宪益、戴乃迭）
在例[452]中，译文2就运用了英语SVOC时间主语句来转换原文的主题时间状语句，显得比译文1更具有语篇意识上的翻译策略性。就原文“越明年”一句的3个译文而言，虽然3个译文都完成了达意的任务，但是译文1因为使用了SVO时间主语句来变通原文的主题状语句，而显得更为地道、更为可取。
（3）〖1〗乃重修岳阳楼，〖2〗增其旧制，〖3〗刻唐贤今人诗赋于其上，〖4〗属予作文以记之。
译文1 Thus Yueyang Pavilion was rebuilt on a scale larger than before and was graced with the inscriptions of the poems and rhythmic prose of the Tang and contemporary celebrities. I was requested to write something to mark the event.
译文2 Then he restored Yueyang Pavilion, adding new splendour to the original structure and having inscribed on it poems by famous men of the Tang Dynasty as well as the present time. And he asked me to write an essay to comemmorate this.
译文3 The Yueyang Tower was renovated and enlarged, and inscribed on its wall were the poetry and the rhymed prose of learned men of the Tang and the present dynasty. I was invited to record this restoration effort in writing.
8.3所指与能指
原文是一个由4个分句组成的主动语态并列句，只不过是句中的主语都因语境而省略。分句〖1〗〖2〗都是SVO结构，分句〖3〗〖4〗为SVOC结构。3个译文中，译文2采取顺译的方式保留了原文的语态或句式结构，译文1、3辨证地采取了变通----语态和句式结构都发生了转换。从语言符号学的所指与能指理论来看，译文2的顺译有明显的不妥。什么是所指和能指理论？人们一般把日常的实用性语言和科技语言的符号归为所指优势符号，因为其符号特征是直接使能指（形式）指向所指（内容），从而使所指部分显得十分重要；把文学语言符号归为能指优势符号，因为文学符号的特点是形式与内容的关系是截然不可分开的，在许多情况下，抛弃了形式就是抛弃了意义。所指优势符号的符码是一种强制性的，使解释者按严格的规定来理解，尽量排斥不同的解释，使编码有一定权威性，能指与所指的关系具有单一性和透明性。所以十分适用于科学与实用文本。能指符号的符码不指向具体客体，而是使符码具有象征性，形象性，隐喻性等诸多特点，具有这些特点的文学语言往往会有多种解释，能指与所指之间都不是一种强制性关系，解释者会从不同的角度去理解同一句话。这种结果正是文学符号的能指所优势性所引起的，使得符码失去了强制性。（吕俊.2001：88-95）如译文2所示，增添的主语he（指在岳阳主政的滕子京）成为了句中一系列动作的施动者-----这一系列动作包括“重修restore”“增add to”“刻inscribe”“属ask”等。很明显，译文2所表达的能指与所指关系是单一的、强制性的、排斥其他解释的。但是根据事实或语境逻辑推理，这些动作----除了“属ask”之外----并非he（滕子京）亲自所做，而是他命令或指示其他人所做。那么，到底是谁在亲自实施“重修”“增”“刻”这些动作？原文并没有交代，也没有必要交代----这就是文学语言的复义性，解释者会从多种视角去理解这句话。译文1、3将原文主动语态变通为被动语态也就避免了这个障碍，（关于主动变通为被动的语用理据还可以参见10.8）而且留下同样的空白和空缺给译文读者去想象。随着语态的转换，译文1、3的句式也就自然发生相应的转换，于是译文也就更加流畅地表达了原文语义。考虑到诸如炼词、合译、句式、阐释等其他因素，我们建议在译文3的基础上将译文综合性修改为：
[453]The Yueyang Tower was renovated and enlarged, where were inscribed the poetry and the rhymed prose of the Tang (618-907) and contemporary celebrities. I was
invited to record this restoration effort in writing.
（4）予观夫巴陵胜状，在洞庭一湖。衔远山，吞长江。浩浩汤汤，横无际涯。朝晖夕阳，气象万千，
译文1 In my view, the grandeur of Baling lies only in Lake Dongting, which looks as if it were holding in its mouth the distant mountains and gulping down the Yangtse River. Boundless and marvellous, it presents in the morning sunshine and the evening twilight a most gorgeous spectacle.
译文2 Now I have found that the finest sights of Baling are concentrated in the region of Lake Dongting.
Dongting, nibbling at the distant hills and gulping down the Yangtze River, strikes all beholders as vast and infinite, presenting a scene of boundless variety;
译文3 The beauty of Baling centers round the Dongting Lake, which holds the mountain ranges in the distance and swallows the water of the Yangtze River. It is so vast and mighty that it seems boundless. Dazzling in the morning sun and fading in the gray evening mist, it offords a myriad of scenes.
8.4夸张与Hyperbole
作为修辞格，汉语夸张与英语Hyperbole都是指故意运用夸大或超越客观事实的说法来渲染强调某事物，以求给人突出的印象。另外，汉语夸张与英语Hyperbole，在形式或内容方面也都存在着许多共性。（李国南.1999：130-154）从手段上来看，夸张/Hyperbole可以分为直接夸张和融合夸张两类。
第一类、直接夸张。所谓直接夸张就是不借助于其他修辞手段，而直接采用夸大或缩小的词项进行夸张。如：
[454]同车的人告诉她：“黑龙江人常说，这里的土，插根筷子都会发芽。”（丁玲《杜晚香》。通过“插根筷子都会发芽”来直接夸大黑龙江土地的肥沃。）[455]A grizzle old soldier was sobbing like a child.The immense sound rolled through the hall, burst windows and doors and soared into the quiet sky.(John Reed, Ten Days That
Shock the World通过burst windows and doors来直接夸大老战士的哭声之大。) 第二类、融合夸张。所谓融合夸张就是指借助于其他修辞手段来进行夸张。常借用的修辞手段有比喻、拟人和借代。其中以借用比喻为最常见。
[456]君不见高堂明镜悲白发，朝如青丝暮成雪。（李白《将进酒》。借用“朝如青丝暮成雪”这个比喻来夸大人生的短暂。）
[457] A man with a mouth like a mastiff, a brow like a mountain and eyes like burning anthracite----that was Dan’l Webster in his prime.（S.V.Benet, The Devil and Daniel
Wester借用like a mastiff, like a mountain, like burning anthracite这3个比喻来夸大
Dan’l Webster这个人的嘴之大、额之高、双眼之明亮有神。）
原文“衔远山，吞长江”是一个融合夸张，集暗喻、拟人于一体来夸张洞庭湖“浩浩汤汤，横无际涯”之大。3个译文虽然都基本上扣住了原文融合夸张，但是译文1将原文暗喻转换成了以as if引导的明喻，这似乎不如译文2、3直译暗喻，因为暗喻比明喻要更加有力和生动。（李国南.1999：196）综合3家优译，建议将译文修改为：
[458]In my view, the beauty of Baling centers round the Dongting Lake, which, holding in its mouth the distant mountains and gulping down the Yangtse River, seems so vast
and mighty that it presents us in the morning sunshine and the evening twilight with a
most gorgeous spectacle.
（5）〖1〗此则岳阳楼之大观也，〖2〗前人之述备矣。
译文1 This is the general view from the pavilion, already described in full by our predecessors.
译文2 and this is the superb view from Yueyang Pavilion. All this has been described in full by writers of earlier ages.
译文3This is the magnificent view that the Yueyang Tower commands, of which many descriptions have been written.
8.5翻译审美功能的可变性
无论是从西方抑或从中国的翻译理论传统来看，翻译理论与文艺美学一直是密不可分。翻译美学理论的任务，就是运用现代美学的基本原理，分析、阐释和解决语际转换中的美学问题，包括对翻译中的审美客体、审美主体和审美客体与接受者的关系研究，对翻译中审美体验的一般规律的研究，对翻译中审美手段及翻译美的标准的探讨，等等。翻译的审美主体就是译者，译者在翻译实践的审美活动中要发挥审美主体的审美功能，使审美意识尽量处于最佳能动状态。翻译审美功能具有稳定性和可变性这样双重的能动性。一般说来，在翻译中保证审美功能的稳定性是不难做到的，因为语言形式的运用从根本上说是语言现实，优美的词章是客观存在的。但是翻译审美的可变性却是一个仁者见仁、智者见智的问题。这首先是因为原文的模糊性审美构成是非定量的、流变的。再者，在翻译中，语言形式的运用变化在特定的语篇中也是一个常数，但是作者的神思、文章的寓意、读者的感受却都是变数。因此，译者必须使自己的审美功能具有充分的可变性，以把握审美客体的模糊性审美构成。（刘宓庆.1999：203-210）譬如原文的3个译文。译文1、3从变通的角度采取合译，似乎不仅比译文2在达意或语气上更加接近原文，而且从语言形式上来看，译文1、3分别使用的过去分词结构和of+关系代词which结构，使翻译语言更加具备一种美感----尤其是of+which这个结构使用得非常漂亮。从表意的角度来讲，如我们所知，“介词+关系代词”结构，不仅能够修饰后面的动词，而且还能够修饰前面的先行词，成为一个形容词短语。所以译文3用of+which这个结构即衔接了句子，又完成了表意。类似的语言结构或多样化的句式所产生的美感，是需要从语篇的角度仔细品味的。需要我们从结构上进一步了解的是：如果“介词+关系代词”结构成为一个形容词修饰前面的先行词时，具体又有两种表达方式：第一种方式是“名词+of+which”结构，如下面例句中的a类；第二种方式是“of+which+名词”结构，如下面例句中的b类。
[459] a . I have been in the north, the climate of which is unbearbale.
b . I have been in the north, of which the climate is unbearbale.
[460] a . Tomorrow I go to Hongkong, the market of which I will make a study.
b .Tomorrow I go to Hongkong, of which the market I will make a study.
[461] a .There are in this class fifty students, the backgrounds of whom are almost the same.
b .There are in this class fifty students, of whom the backgrounds are almost the same.
[462] a .Most of the villagers are peasants, the land of whom is not very fertile.
b .Most of the villagers are peasants, of whom the land is not very fertile.
译文3选用第二种“of+which+名词”结构，当然也可以选用第一种“名词+of+which”结构，请比较句[463]a、b两句。
[463] a. This is the magnificent view that the Yueyang Tower commands, many descriptions of which have been written.
b. This is the magnificent view that the Yueyang Tower commands, of which many
descriptions have been written .
（6）然则北通巫峡，南极潇湘，迁客骚人，多会于此，览物之情，得无异乎？
译文1 However, since the lake connects with the Wu Gorge in the north and ends at the Xiao and Xiang rivers in the south, many demoted or banished officials and literati often gather here. Can there be no shades of
difference in their feelings when admiring the scenery?
译文2 However, since the lake is linked with Wu Gorge in the north and extends to the Xiao and Xiang rivers in the south, many exiles and wandering poets gather here, and their reactions to these sights vary greatly.
译文3 This beautiful scenic spot is linked with the Wu Gorge in the north and the Xiao and Xiang Rivers in the south. Exiled officials and poets often gather here. How could there be no difference in their feelings?
8.6误译：地名
根据《词海》，我们得知：位于湖南省北部洞庭湖的地理位置是：南及西纳湘、资、沅、澧四水，北纳长江松滋、太平、藕池、调弦四口汛期泄入的洪水，在岳阳市城陵叽汇入长江。其中“四水”之一的“湘”，指的是“湘江”，别称为“潇湘”。虽然“潇湘”又可以专指湘江中游与潇水会合后的一段，即三湘之一的“潇水”（“潇水”是湘江的一个支流，在湖南省南部，源出蓝山县南九嶷山，北流到永州市苹州入湘江），但是，很显然原文“潇湘”并没有指称“潇水”的意思，而是取其“湘水”或“湘江”之意。所谓“北通巫峡，南极潇湘”就是指洞庭湖“北面通巫峡，南面接湘江”的地理位置。这种南北通接的方便使得“迁客骚人，多会于此”。所以由此看来，原文“潇湘”应该是代指流入洞庭湖的“湘水”----现在多称“湘江”。“湘江”一般翻译为the Xiang River（见汉英双语《现代汉语词典》）或the Xiangjiang River（见《汉英大词典》）。即使是要音译“潇湘”，也可能以the Xiaoxiang River为妥。而译文1、2所给出的the Xiao and Xiang rivers和译文3的the Xiao and Xiang Rivers，其共同的不足在于：并列连词and的使用以及复数形式rivers的使用，都有可能使读者误认为原文“潇湘”是分别指称“潇水”和“湘江”两个地点；另外小写rivers也削弱了该译名作为一个整体意义上的专有地名的语义。从下面江河名称的表达中，我们看出这些表达中带有共性的3个部分，即“the+ 专名（大写）+通名（大写）”：The Yellow River, the Yangtse River, the Yalu River, the Wusuli River, the Hudson River, the Mekong River。根据以上分析，因为原文“潇湘”只是表达一个地理概念，即“湘江”，并没有表达两个地理名称，所以3个译文的译名都欠妥当，都为误译。因此，我们建议“潇湘”的译名可选择如下两种表达：
（一）转换与原本指称的“湘江”对应，译为the Xiang River/the Xiangjiang River。这个译名的好处就是减少了读者的信息负担，直接了解原文语义。
（二）直接音译为the Xiaoxiang River 。这个译名的好处就是为翻译语言增添一个新的表达，为那些想深究中国文化的读者多给出一个信息。
（7）若夫霪雨霏霏，连月不开。阴风怒号，浊浪排空。日星隐耀，山岳潜形。商旅不行，樯倾楫摧。薄雾冥冥，虎啸猿啼。
译文1 If the continous drizzle does not let up for several months on end, one can hear the bleak wind howling and see the turbid waves surging to the sky. The brilliance of the sun and the stars are eclipsed and the shapes of the mountains and hills become obscured. The merchants and travellers are stopped on their way, staying in boats with declined masts and broken oars, while the light being so dim at dusk, one can fancy tigers’ roars and monkeys’ gibbers.
译文2 During a period of incessant rain, when a spell of a bad weather continues for more than a month, when louring winds bellow angrily, tumultuous waves hurl themselves agianst the sky, sun and stars hide their light, hills and mountains disappear, merchants have to halt in their travels, masts collapse and oars splinter, the day darkens and the roars of tigers and howls of monkeys are heard,
译文3 In the rainy season, an unbroken spell of wet weather lasts for months. Chilly winds howl and turbid waves
surge sky high. The sun and the stars lose their luster, and the mountain ranges are scarcely visible.
Merchants and travelers have to put off their voyage, for the masts of the shipd have collapsed and their oars broken. It is dark towards evening, and the roaring of tigers and the cry of monkeys can be heard.
8.7拟声与Onomatopoeia（II）
汉语拟声与英语Onomatopoeia，作为辞格都是指以声音来反映意义，即以模拟人声或物声来加强语言的直观性、形象性和生动性，以便达到逼真的艺术效果。（胡曙中.1994：373；李国南.1999：155）根据拟声机理，拟声又可以进一步分为“直接拟声”（Primary Onomatopoeia）和“间接拟声”（Secondary Onomatopoeia）两种形式。（李国南，1999：178）
第一、直接拟声。直接模拟人、动物或事物的声音。例如：（刘英凯.1998：144-148）?模拟人发出的声音。如汉语：嘻嘻、哈哈、呢喃、咯咯、呼哧呼哧，等。英语方面：giggle（咯咯地笑）、groan（呻吟）、whisper（耳语），等等。
?模拟各种动物的叫声。如汉语：唧唧、喳喳、喵喵、汪汪、喔喔、嗷嗷、嗡嗡、哞哞、咕咕、呱呱，等。英语方面：gibber（猿、猴啼叫）、bellow（牛叫声）、howl（豺、狼叫声）、roar（狮、虎吼叫）、cry（天鹅鸣叫）。
?模拟事物发出的声音。汉英相当的有：汩汩/murmur,bubble（水流声）、扑通/splash （重物落水声）、叮呤呤/clink,tinkle, jingle（清脆的金属声）、的的/whistle（笛声）,等等。
第二、间接拟声。不是对自然声音的直接模拟，也就是说，词的发音并不直接唤起某种听觉的经验，而是引起一种运用的感觉，或是某种物质或精神的特性的感觉。汉语方面如例句[464]。句[464] 描述的是琵琶弹到感情激越处如银瓶破裂、似刀枪撞击的气势。两句除“银”、“水”、“鸣”三个字外，其余全都采用爆破音或破擦音，用来间接模拟撞击和破裂的声音。英语方面如取自Pompeii 这篇散文的例句[465]。Pompeii这篇散文描述的是意大利著名死城Pompeii于公元79年被维苏威火山埋葬的过程。作者有意选用了一连串带有辅音连缀的短词，并配以一些发音比较紧张的短元音，如[ ]、[e]、[?]、[i]等，句子又短促又破碎，有效地帮助创造了一种紧张气氛。
[464]银瓶乍破水浆迸，/ 铁骑突出刀枪鸣。（白居易《琵琶行》）
[465]It was evening now.And a new trouble was in store for Pompeii.The earth trembled and quaked! Roffs went crashing in ruin, burrying hundreds who had hoped to survive in
eruption. In the forum the tall columns toppled. The entire city seemed to shake in the
grip of a giant fist.(R.Silverberg, Pompeii)
原文语段有3处使用了拟声：“阴风怒号”、“浊浪排空”和“虎啸猿啼”，分别属于直接拟声（“阴风怒号”和“虎啸猿啼”）和间接拟声（“浊浪排空”）。3个译文依次分别为：
?阴风怒号----the bleak wind howling/louring winds bellow angril/Chilly winds howl；
?虎啸猿啼----tigers’ roars and monkeys’ gibbers/the roars of tigers and howls of monkeys/the roaring of tigers and the cry of monkeys；
?浊浪排空----the turbid waves surging to the sky/tumultuous waves hurl themselves agianst the sky/ turbid waves surge sky high。
归纳分析起来，虽然3个译文都有突出的拟声修辞意识，不过，通过比较我们认为还是有两个地方值得进一步商榷。
（一）在对应“阴风怒号”的两个直接拟声词howl/ bellow当中，似乎选择howl比较合适。根据Longman词典，我们得知，howl 作为名词的意思是a long loud cry, as in pain, anger.,esp. that made by certain animals, as wolves(wolf) and dogs.嗥叫；呼喊。作为动词的意思
就是to make howls嗥；咆哮。例如：The dogs howled all night.那只狗整夜吠个不停。/The wind howled in the trees风在树间怒号。而bellow 作为动词的意思是to make the loud deep hollow sound typical of a bull牛鸣；吼叫。可见howl/ bellow这两个词在拟声方面还是有区别的。
（二）在对应“猿啼”的直接拟声词分别为gibber/howl/ cry这3个拟声词当中，我们建议选用gibber。Longman词典对gibber的释义：vi. (of monkeys and men) to talk or appear to talk very fast (something because of fear) in a way that is meaningless for the hearer（指猿或人）叽里咕噜地叫；急促不清地说。而howl/ cry这两个词虽然可以用于模拟动物，但是一般并不用来模拟猿、猴的啼叫声。
（8）登斯楼也，则有去国怀乡，忧谗畏讥，满目萧然，感极而悲者矣。
译文1 So the ascent to the pavilion is associated with the nostalgia in exile and the fear of slanders and taunts.
Confronted with such disconsolate scenes, one is apt to be moved to the extreme and feel much saddened.
译文2 if men come to this pavilion with a longing for home in their hearts or nursing a feeling of bitterness because of taunts and slander, they may find the sight depressing and fall prey to agitation or despair.
译文3 At such a time anyone ascending the tower will be filled with nostalgia for the imperial court and his home as well as fears of calumny and derision against him. Around him is a scene of desolation. Emotions well up in him so strong that he feels pain at heart.
8.8文化翻译与文化传真
从文化研究的大语境下来考察翻译，也即对文化及语言的“表层”与“深层”结构进行探究，这种翻译理论也被称为文化翻译。文化传真指的是文化翻译的基本准则，即要求翻译语言从文化的角度准确地再现原语文化所要传达的意义、形式及风格。范仲淹是北宋（960-1127）朝抵抗西夏侵略的名将，但是像许多官吏一样，曾经被罢去官职。也像许多封建时代的官吏一样，官职虽然被罢免，但是对朝廷的忠心与思念不改。《岳阳楼记》是范仲淹被罢去参知政事，离京出任地方官的第三年（庆历六年）写的。文章“去国怀乡”中的“国”就暗含着这样一种泛指的文化情结，尽管范仲淹当时身处的北宋是一个怯懦的王朝。3个译文依次分别是：“去国怀乡”---- the nostalgia in exile /a longing for home in their hearts/ nostalgia for the imperial court and his home。通过比较，我们可以看出，在3个译文中只有译文3深刻而又明确地理解并表达了原文的这个文化语义，其关键在于使用了imperial court这个名词短语。（imperial adj. concerning an empire or its ruler帝王的；帝国的。court n. the chief royal palace宫廷；朝廷。见Longman词典）而译文1、2的表达显得模糊或一般。
（9）至若春和景明，波澜不惊。上下天光，一碧万顷。沙鸥翔集，锦鳞游泳。岸芷汀兰，郁郁青青。
译文1 As for the days when spring weather is mile and sunny, nature is lit with a bright smile, and the waves being halcyon, the sky and the lake are tinged with the same hue, making up an infinitely huge canvas of light blue, on which white gulls are hovering in bevies and fish shimmering with silvery scales. And the lake shores adorned with irises and sandbars dotted with orchids are all enshrouded in a sweet and lush green.
译文2 But during the mild and bright spring weather, when the waves are unruffled and the azure translucence above and below stretches before your eyes for myriads of li, when the water-birds fly down to congregate on the sands and fish with scales like glimmering silk disport themselves in the water, when
the iris and orchids on the banks grow luxuriant and green;
译文3 In springtime it is warm and the sun is bright. The Lake is tranquil and it merges with the azure sky into a vast expanse of blue. The water-birds are playing, some fluttering in the sky, some gathering together on the sandbars. Fishes of varied hues are swimming merrily in the water. The sweet-smelling grass by the banks and the faintly scented orchids on the sandy beaches are lush and green.
8.9语段层次关系
原文“至若春和景明……其喜洋洋者矣”为第四自然段。从文章结构上看，这个大段又分成3个语段层次。第一个语段层次为“至若春和景明……郁郁青青”，写暮春三月白天时的明媚景象；第二个语段层次为“而或长烟一空……此乐何极”，写暮春三月的晚月临空之时，整个湖光浸染在月水之中；第三个语段层次为“登斯楼也……其喜洋洋者矣”，是借景舒怀，写作者见春光万里气象新的喜悦心情。（参见《古文鉴赏词典》吴功正主编，1987：877-882）对原文语段层次关系的理解会直接影响到翻译策略。就第4自然段的语段层次关系而言，译文1、3都把握得比较好，而译文2只用一个复句结构（即during the mild and bright spring weather, when…when…when…when…when…then men may feel complete freedom）来处理，这个结构似乎显得过于简单，语义也不太完整，因为原文第3自然段的语段层次基本上与第4自然段相当；再者，译文2的这种处理也没有与第3自然段风格统一。相比之下，译文1、3的语段层次合理而且清楚，尤其是译文1的处理，在3个语段层次当中每个语段层次内部的句际关系也挖掘得合理而且清楚。如原文“至若春和景明……郁郁青青”这个语段，译文2倾向于表面的形式及语义的反映，多使用简单句和并列句。而译文1没有使用简单句，通过复句和并列句把原文这个语段中的句际关系挖掘得更加深刻一些。由于汉语重意合而非形合，原文语段中也只使用了一个“至若”，句际关系也常常是“仁者见仁，智者见智”。就个人观点而言，我们倾向于译文1。
（10）而或长烟一空，皓月千里。浮光跃金，静影沉璧。渔歌互答，此乐何极。
译文1 Sometimes the broad firmament is clear of all mist, a bright moon shines over the vast lake gleaming with a golden glow, and the moon’s reflection in the watery mirror reminds one of a sunken jad e. And then the fishmen’s song are heard to be echoing one another. What an unbounded joy!
译文2 or when dusk fall over this vast expanse and bright moon casts its light a thousand li, when the rolling waves glitter like gold and silent shadows in the water glimmer like jade, and the fishermen sing to each other for sheer joy,
译文3 Sometimes, when the mist over the Lake vanishes, the glorious moon shines over the vast land, its brightness glistening with golden light on the lake. The reflection of the moon is like a piece of jade in the depths of the water. The fishermen’s songs chime in with each other. How delightful they are!
8.10 语言接触与音译移植
原文中的“里”，是中国的长度单位，并不与英语长度单位直接对应，所以为英语语汇中的空缺。面对这种空缺的语汇，译文1、3采取了回避。其实，我们在翻译中遇到空缺语汇的时候，有时候可以去采取变通中的“移植”。所谓的“移植”就是词语借用（borrowing）。刘宓庆（1999：197-198）认为移植分为两种，一种是直接移植，多发生在文字系统相同的语言之间，如英语与法语之间的词语借用；另一种就是音译（transliteration），多发生在文字系统大不相同，无法直接移植的语言之间，如汉语与英语之间的词语借用，例如在unite 1中，译文1、2直接将原文“亩”音译为mu就是出于这样一种考虑。词语移植是解决无对应
的冲突式转换的有效方法；虽然音译移植词在首次出现的时候会产生一个理解问题，有时甚至会导致文化隔膜，不过随着双语接触时间的推移，人们对借用词语的理解能力会逐渐增强，文化隔膜也会逐渐淡化。比如说“亩”的音译移植词mu、“斤”的音译移植词jin、“里”的音译移植词都早已经进入英语，并且被收入英语词典。譬如在《英汉大词典》、《英汉词海》之类的词典中，这些音译移植词都还有词源标识。如：
? jin[单复同]<汉>n.斤，（旧的重量单位；=0.5公斤。）
? mu MOU/MOW的变体[China]亩中国土地面积单位之一；尤指：等于0.1518英亩的面积单位
? li pl li lis[China) 里中国的距离单位，等于500米
另外，从语言接触的角度来看，汉英双语通过历史性的接触，英语----以翻译为媒介----从汉语中借用了1,000多个Chinese Borrowings，这说明适当的移植是可能的；而且从汉语文化传播的角度来讲，主动而又适当地移植更是必要。我们在这里强调的是“适当”，也就是说，并非一遇到语汇空缺就采取移植。譬如前文提到的“一碧万顷”中的“顷”，也是地积单位，等于100亩或6.6667hectares（公顷）。译文1、3分别意译为an infinitely huge canvas of light blue/ a vast expanse of blue，似乎比译文2的移植myriads of li要容易接受一些。（要想了解英语中的汉语借词可以查阅以下网址：http: https://www.doczj.com/doc/b18998436.html, /quote/ chinesewrods.html）
8.11数量夸张
汉英语中都有不少关于数量方面的夸张；但是值得注意的是，两种语言在数词的操作上有共性，也有差异性。翻译策略上，可以尽量利用双语的共性。如汉英语都有满数概念，即以十进为系统，如“十”、“百”、“千”、“万”。英语没有“万”这个单位，则用“十千”（ten thousand）,往上还有“百万”（million）。原文的“皓月千里”就是一个数词夸张，3个译文依次分别为：a bright moon shines over the vast lake gleaming with a golden glow/ bright moon casts its light a thousand li/ the glorious moon shines over the vast land，其中译文1、3采取的是意译，而译文2主张直译加音译。事实上，英语虽然没有像汉语一样那么高频率地使用带“千”的数词夸张，但是带“千”的数词夸张还是偶尔见于英语之中。如：（李国南.1999：144-154）
[466]The Republican sniper smiled and lifted his revolver above the edge of the parapet.
The distance was about fifty yards----a hard shot in the dim light, and his right arm
was paining him like a thousand devils. (L.O’Flaherty, The Sniper)
like the devil是英语中的一个明喻成语，意思是“猛烈地”、“要命地”；在此，devil一次前加了一个数词 a thousand，就更显出其夸张的语气。所以，原文“皓月千里”一句中的“千里”也仅仅是语气的夸张而已，并非实指，所以译文2直译加音译的bright moon casts its light a thousand li的处理，不仅是可以接受的，而且也更为可取。
（11）登斯楼也，则有心旷神怡，宠辱皆忘，把酒临风，其喜洋洋者矣。
译文1 In such a case, ascent to the pavilion gives one a broadened mind and eased heart, with credit and discredit both forgotten. Holding a winecup in the wind, one is overflowing with happiness.
译文2 then men coming up to this pavilion may feel complete freedom of heart and ease of spirit, forgetting every worldly gain or setback, to hold their winecups in the breeze in absolute elation, delighted with life.
译文3 On ascending the Tower at such a time, one will feel spiritual uplift, caring for neither glory nor shame.
With a cup of wine in the gentle breeze, he will enjoy the greatest happiness in life!
8.12 呼应：SVoO名词主语句
在8.9中，我们分析到“登斯楼也……其喜洋洋者矣”是第4自然段中第3个语段层次，与第3自然段中的“登斯楼也”一句呼应。换句话来说，这两个“登斯楼也”句，具有跨段或跨行的排比句功能。因此，在翻译策略上，译文句式上最好能够扣住原文风格，进行呼应。但是，3个译文都没有照顾到这一点。请比较：
原文
译文
（第3自然段中的）“登斯楼也”一句（第4自然段中的）“登斯楼也”一句
译文1 So the ascent to the pavilion is associated with…In such a case, ascent to the pavilion gives one…
译文2 i f men come to …, they may find then men coming up to this pavilion
may fee l …
译文3 At such a time anyone ascending the tower will be filled with…On ascending the Tower at such a time, one will feel …
综合3家优译，我们建议，在译文1 ascent to the pavilion gives one…这个SVoO名词主语句的基础上，把两个“登斯楼也”句都转换成SVoO名词主语句，以便在靠近原文风格的同时统一译文风格。
(12）嗟夫！予尝求古仁人之心，或异二者之为，
译文1 Oh, I have tried to probe the souls of the noble ancients. Their feelings might differ from the above two.
译文2 But again when I consider the men of old who possessed true humanity, they seem to have responded quite differently.
译文3 Ah! I have tried to study the minds of people of lofty ideals in ancient times. Perhaps they were different from the people I mentioned above.
8.13简洁与达意
译文追求达意应该是首要的，在此基础再去追求风格。理想的译文集达意与风格于一身，但有时也的确不容易做到，尤其是汉语典籍的英译，因为汉语典籍为古代汉语，而古代汉语词汇以单音节为主，一个字可以涵盖现代汉语中两个或两个以上的单字组成的词组。因此，与汉语典籍“相对应的译文自然也要求言简意赅”。（冯庆华.2004：312）譬如原文“古仁人”一语，即“古时品德高尚的人”的意思。（参见《古文鉴赏词典》吴功正主编.1987：879）3个译文依次分别为the noble ancients/ the men of old who possessed true humanity/ people of lofty ideals in ancient times。从达意来看，无疑3个译文都已经做到；但是从原文简洁的风格来看，只有译文1的the noble ancients最为理想。根据Longman词典，我们得知ancient 一词可以作为名词使用，意思是：a person esp. a Roman or Greek, who lived in times long ago 罗马或希腊时代的人；古人。以下是类似的另外一个例句，同样的达意，而译文2则表达得更为简洁：（冯庆华.2004：312）
[467] 不在其位，不谋其政。
译文1 He who is not in any particular office, has nothing to do with plans for the administration of its duties.(Tr. Legge)
译文2 He who does not occupy the office does not discuss its policy.(Tr. Soothill)
（13）何哉？不以物喜，不以己悲。
译文1 Why? Because they were not glad of things adventitious, or sad for the sake of themselves.
译文2 The reason, perhaps, may be this: natural beauty was not enough to make them happy, nor their own situation enough to make them sad.
译文3 Why is this? The reason is that they were not thrown into ecstasies over their success, nor felt depressed over their failures.
8.14模糊性审美
翻译的审美客体是原文，判断原文的美学价值主要是依据原文的美学要素。从性质上看，原文的美学要素可以分为两类。第一、原文的美学表象要素，就是原文语言形式（包括音韵）上的美，在美学上称之为物质存在的形态美，它通常是直观可感的，一般可以诉诸于人的视觉和听觉。第二、与表象要素对应的原文审美构成是非表象要素。语言的非表象美学要素与语言形式没有直接的关系，它通常是非直观的、非物质形态的，因而也是非定量的、不可数计的、不稳定的、难于捉摸的，也就是模糊的。模糊性审美是不可分割的，不是非此即彼的，而是某种集合。语言的这种审美构成，在美学上被称为“非定量模糊集合”（Non-Quantitative Fuzziness）。语言的模糊性具有审美意识上的美感的模糊性（或朦胧美）。要认识原文这种模糊性的审美构成，译者必须充分运用自己的感受领悟能力，捕捉原作者意在言外却又无处不在的神思、气度。模糊性审美是高层次或深度的审美体验活动。对译者来说，这是审美体验中最精微、最艰巨也是最令人神往的任务。在模糊集合的多个特征中，语言----尤其是文艺作品----的用词倾向中的模糊词语是模糊性审美构成的基本要素。所谓“模糊性词语”就是那些语义定界模糊、概念内涵比较虚泛的词语。例如李清照的名句“人比黄花瘦”中的“瘦”就是一个模糊性很强的词。人瘦还可以“言传”，“花”又何以言“瘦”？可见这个词的概念内涵非常虚泛。莎士比亚的To be or not to be一句中用to be 和not to be代替to live和not to live，语义虚化了。可见虚化的词语极富朦胧美。（刘宓庆.1999：205-211）原文“（古仁人）不以物喜，不以己悲”一句中的“物”和“己”，也是两个模糊性很强的词语。这个句子的表层意思是：古时品德高尚的人不因外物（好坏）和自己（得失）而或喜或悲；其深层意思是：古时品德高尚的人与上述两类人不同的处世方略，即不因环境的变化而更易心志，不以个人的得失而喜怒哀乐。（参见《古文鉴赏词典》吴功正主编，1987：879-881）3个译文在传达原文模糊性审美方面，惟译文1最为可取。译文1选用things adventitious对应“物”,选用themselves对应“己”，其模糊度也是非常大，也同样可以使人结合语篇产生无限联想；而译文3的表达过于清晰，反而限制原文语义的内涵；至于译文2，其表达似乎有点脱离原文。
（14）居庙堂之高，则忧其民；处江湖之远，则忧其君。
译文1 Positioned high at court, they worried about the people. Banished to remote regions, they worried about their sovereigns.
译文2 When such men are high in the government or at court, their first concern is for the people; when they retire to distant streams and lakes, their first concern is for their sovereign.!
译文3 When they were in high positions at court, they were concerned about people. When they were in remote places, they were concerned about their emperor.
8.15 变通：还原
“还原”是变通的手段之一，指的是淡化原语色彩，其中包括各种无法在目的语中找到对应体的文化信息、形象比喻、典故幽默等等。这是因为，这些形象比喻、典故幽默总是具有鲜明的民族色彩，在双语冲突式转换时常常只能取其核心语义，也就是说，在找不到对应式或平行式目的语时，只好放弃形象比喻的描写手段，略去形象色彩，退而求其本义上的不冲突，做到概念意义上的转换，改“着色”为“白描”。请看表中的例子。(刘宓庆.1999：119；184)
形象比喻词（着色词）核心语义转换后意义（白描法）
揭竿而起起来造反to rise in rebellion
接踵而来一个接一个地来to come one after another 生米煮成了熟饭一无可挽回w hat’s already done
刘宓庆（1999：119)曾经以200个汉英形象词语为例作抽样分析：其中60%左右的形象词语可以找到平行式或基本上契合对应，只有大约28.7%的形象词语完全失去了形象意义，必须诉诸“白描”，取核心语义。对于原文“庙堂”“江湖”这样的形象比喻，由于英语文化中的空缺，译文1、3都采取了还原法，取其核心语义。很显然，还原法----类似于意译法（参见3.2）----实在是一种令人无奈或遗憾的转换手段，因为转换后的意义都已经丢失了原文的形象色彩或原语的生动性。所以，译文2采取部分还原、部分直译---将“庙堂”还原为the government or at court，将“江湖”直译为streams and lakes。相比之下，译文1、3所采取的还原法，虽然丢失了原文的形象色彩或原语的生动性，但是传达出了原文的语义信息；译文2部分的直译虽然保留住了原文的形象色彩或原语的生动性，但是由于streams and lakes 这样的意象，在英语中并比喻、也无法引申到中国传统文化中所特有的“隐士的居处”、“远离官场”、“不在朝廷做官”等含义，因此译文2的直译并没有达到与原文语义对等的目的。而且联系到译文2 前后所使用的retire/ retirement等词，译文2的处理更是容易使读者产生不是属于原文本意的联想。
（15）是进亦忧、退亦忧。然则何时而乐耶？其必曰：先天下之忧而忧，后天下之乐而乐欤？
译文1 Thus they were carefree in neither case. Then, at what time would they feel happpy?They were sure to say:”Worry before all others have worried, rejoice after all others have rejoiced.”
译文2 Thus they worry both when in office and when in retirement. When, then, can they enjoy themselves in life? No doubt they are concerned before anyone else and enjoy themselves only after everyone else finds enjoyment.
译文3 They worried when they got promoted or when they were sent into exile. Then, when were they happay?
They would say:”To be first to worry about the affairs of the state and the last to enjoy oneself.”
8.16重复与Repetition (II)
一般说来，语言要避免重复。然而在特殊情况下，重复却是一种有效的修辞手段，如加强语势，抒发强烈的思想感情，增强语言的节奏感等。重复，既可以连续使用，也可以间隔使用。先分析一个英语例句：
[468]…for without victory there is no survival./Let that be realized. No survival for the
British Empire, no survival for all the British Empire had stood for, no survival for
the urge, the impulse of the age, that mankind shall move forward toward his
goal.(W.Churchill, Blood, Toil, Sweat and Tears )
例[468]中的no survival一语共重复使用4次，不仅在一个语段中连续使用，而且还在间隔使用。在一连串句子中，由于no survival的重复使用，使得整个语段的语气连贯，势如破竹。在原文的最后一个自然中，连续6次重复使用“忧”字，（“居庙堂之高，则忧其民；处江湖之远，则忧其君。是进亦忧、退亦忧。然则何时而乐耶？其必曰：先天下之忧而忧，后天下之乐而乐欤？”）可见作者的忧患之深。这个“忧”字，不仅是这段文字的落着点，也是整个语篇的落着点。从翻译策略上来讲，一定要突出处理这个“忧”字的语义。虽然3个译文都有达意，但是在修辞风格上都可以再进一步贴近原文一些。综合3家优译，建议译文修改为：
[469]They worried both when they got promoted or when they were sent into exile. Then, when could they enjoy themselves in life? They would say:”Worry before all others
have worried, enjoy after all others have enjoyed.”
（1）噫！微斯人，吾谁与归？
译文1 Who should I emulate, if not people of this type?
译文2 Surely there are the men in whose footsteps I should follow!
译文3 Alas! Who else should I seek company with save them?
8.17顺译：叹词
人们用声音（不同于其他的实义词）表示各种情绪，把这些声音固定成词，就成了叹词。叹词可以看成是特殊的象声词，它表示各种情绪却没有实在的含义，这就是叹词的基本特征。（任学良.1995：314）汉英语中都使用叹词，而且性质都是一样的。在原文最后自然段中，作者使用了两个叹词：“嗟夫”“噫”，于一唱三叹之中，显示出作者感情的波澜起伏和对信念的只执著追求。通过比较（请看下面表格），我们发现3个译文对原文叹词的理解与表达存在巨大差异。叹词“嗟夫”有叹息之意，“噫”也有悲
叹词
译文
嗟夫（有叹息之意） 噫（有悲叹之意）
译文1 Oh 空缺
译文2 空缺 空缺
译文3 Ah Alas
叹之意，（参见《简明古汉语词典》）译文2避开不译，译文1也有一定的随意性，只有译文3完整地顺译了两个叹词。根据刘全福（1996）对英汉叹词的比较研究，我们得知：英汉叹词在语义所指上普遍存在着同构现象，也就是说，两种语言中各有不同数量相应的叹词表达同一种感情或情绪，一般无对应上的空缺现象。请参看下列英汉常用叹词对照表：
激动喜悦ah aha boy gee hay hey hoo ho huzza oh ooh
whoopee wow yipee
哈（哈）嘻（嘻）
嗬嘿啊呀啊呀
惊愕以外ah aha alas boy dear gee eh gosh ha heh hey
ho hoo hoops oh ooh phew whew why wow my
啊呀口育吁嚯哟哎
镬咦哦嗬呦吁哎
well yipee 呀哎哟呀嗬
厌恶嘲弄ah aha aw bah boo fie huh ho pah phew pish
pooh shit tut pshaw ugh whew yah
哼呸呵嘿啐咄喝
嘘呕
懊恼
叹息
ah alas ay oh oy well whew woe 咳嗨哎口害
不满埋怨ah alas aw boo hum humph humbug well whew
why
哼哎哎呀口歆
提醒顿悟ahem eh hem well yo-ho ah yoo-hoo hush
shush sh 'sh
哎镬嘿啊口恩喔噢
呕口母嘘咝
呼唤应答hello hey hi ho here yo-ho yoo-hoo uh well 喂啊哎嗨嘿喏口恩
唉
痛呼急叫oh ooh ouch ow oy wow 啊呀哎呀哎哟啊哟
啊口育喔口育
赞同
放心
alas bravo hey well why wow 哦唔呕口恩
同情
关心
alas dear 啊哎呀哎呀哎哟
迟疑
怀疑
ha haw hem hum humph umm well why 啊唔噢口母嗄
另外值得注意的是：在数量上，英语中的常用叹词在120个以上，而汉语则只有60个左右；在使用频率上英语叹词在行文中出现的次数要远远超过汉语叹词。以上比较分析再次证明，译文3分别以ah/ alas顺译原文“嗟夫/噫”是恰当的，比译文1、2更符合原文的情绪传达。