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Unit 4 Rhetoric TranslationLesson 14 Comparison and Translation of Figures of Speech 1. Comparison of Figures of Speech吕俊(1994：112-121)英语修辞比较1. 英汉修辞格的共同点英语和汉语虽然是很不相同的语言，它们的词的构成，词形变化、句法结构以及语序等是那样的不同，但在修辞的数量、类别、构成以及功能方面却有着惊人的相似之处。
首先，我们可以对照地看一下，各自的修辞格：汉语：英语：明喻Simile隐喻借喻Metaphor借代Metonymy, Synecdoche拟人Personification反语Irony夸张Hyperbole含蓄渲染Litotes委婉语Euphemism对照Contrast反映Oxymoron移就Transferred Epithet双关Pun异叙Syllepsis拈连Zeugma暗引Allusion仿拟Parody隽语Paradox（以上是词义上的修辞格Lexical Stylistic Devices）反复Repetition联珠Catchward Repetition回文Palindrome对偶、排比Parallelism反对Antithesis设问Rhetoric Question倒装Inversion描述性引语Represented Speech层递Climax跳脱Aposiopesis（以上是结构上的修辞格Syntactical Stylistic Devices）双声叠韵Alliteration, Assonance拟声Onomatopoeia（以上是音韵上的修辞格Phonetic Stylistic Devices）2.语言的不同特点所带来的困难由于英语和汉语是不同结构形式的语言，它们的不同特点自然会带来修辞格上的不同特点，这些都将成为翻译中的困难，例如，双关语，回文，异叙，拈连等修辞格都存在着方面的问题。
第一章植物篇一、中西植物词文化意义的比较与翻译（一）汉语中喻君子的植物：梅兰竹菊1、梅plum汉语中，梅花因严寒时盛开，多与高山幽谷为伴，香远益清，因而是坚强、纯洁、刚正不阿等品性的象征。
梅妻鹤子take a plum tree for one’s wife and cranes for children – a lofty scholar梅花傲雪（like red）plum blossoms defying frost and snow梅在国外种植甚少，“梅”“李”混称plum，无此象征意义。
2、兰orchid汉语中用“兰”象征离尘脱俗、高雅纯洁的人品节操。
英语中orchid象征“富饶”、“丰产”和“精雅”，也象征“美丽”。
兰薰桂馥as fragrant as orchids and cassia兰芝之室The air in the room was filled with fragrance of orchid and jasmine.兰质蕙心pure heart and spirit兰摧玉折premature death of a virtuous/ gifted individual; die a hero’s death3、竹bamboo汉语中竹因冬夏常青、中空有节、质地坚硬等特性而被赋予正直、廉洁、有气节等品格。
bamboo在英语中无特别含义，一般英美人对竹子的生长了解甚少，因此竹子译成英语时要灵活处理。
雨后春笋spring up like mushroom; mushroom after rain胸有成竹have a well-thought-out plan; with complete confidence; have/keep a card up (in) one’s sleeve竹篮打水一场空draw water with a bamboo basket; achieve nothing; all in vain竹筒倒豆子pour beans out of a bamboo tube –withhold nothing; make a clean breast of sth.; hold nothing back青梅竹马green plum and a bamboo horse—a girl and a boy had an innocent affection for each other when they played together in childhood; companion in youth势如破竹meet with no resistance敲竹杠比喻利用别人的弱点或以某种口实为借口来索取财物pay through the nose （被）雨后春笋s pring up like mushrooms4、菊chrysanthemum又叫“黄花”。
英汉翻译教程--汉英语言对比第一部分汉英语言对比翻译教学和研究的经验表明：翻译理论和技巧必须建立在不同语言和文化的对比分析基础上。
英汉互译的几项基本原则和技巧，如选词（Diction）、转换（Conversion）、增补（Amplification）、省略（Omission）、重复（Repetition）、替代（Substitution）、变换（Variation）、倒置（Inversion）、拆离（Division）、缀合（Combination）、阐释（Annotation）、浓缩（Condensation）、重组（Reconstruction），以及时态、语态、语气、习语、术语等的译法，都集中地体现了英汉的不同特点。
机器翻译是让计算按照人们所制定的程序和指令进行不同语言的对比转换，也离不开对比分析。
翻译之所以困难，归根结底是因为语言差异和文化差异。
因此，对比、分析和归纳这些差异，便是翻译学的重要任务。
不同语言的对比分析不仅有利于教学和翻译，也有助于语言交际。
通过对比分析，人们可以进一步认识外语和母语的特性，在进行交际时，能够有意识地注意不同语言各自的表现方法，以顺应这些差异，防止表达错误，避免运用失当，从而达到交际的目的。
（连淑能，《英汉对比研究》）纪德是最理解莎士比亚的法国作家之一。
在他看来，“没有任何作家比莎士比亚更值得翻译”，但同时，“也没有任何作家比他更难翻译，译文更容易走样”。
纪德对莎士比亚的理解是双重的，既是精神的，也是语言的。
他在与莎士比亚的相遇与相识中，经历了一系列的考验。
对他在翻译中经历的这番历史奇遇，他曾在为七星文库出版的《莎士比亚戏剧集》撰写的前言中作了详尽的描述：描述了两种文化与两种语言之间的遭遇，也揭示了翻译中译者所面临的种种障碍。
纪德首先看到的，是语言与文化层面的逻辑性，这涉及到不同语言的思维方法。
他说：“莎士比亚很少考虑逻辑性，而我们拉丁文化缺了逻辑性就踉踉跄跄。
第14单元I 提示同第4单元II 译法要点5.1变通：OSV→SVO 5.2非谓语动词时态的语义色彩（I）5.3 互文性 5.4 直译：名词化形容词5.5 互文性：主题意象 5.6 互文性：普通名词与专有名词5.7创新：专有名词 5.8 译文的多样性：短语表达5.9误用：动词短语 5.10误用：状语的逻辑主语5.11非谓语动词的时态语义色彩（II） 5.12误用：动词5.13回译：后置时间状语从句 5.14矛盾修辞与Oxymoron5.15误用：虚拟语气结构 5.16呼应：语段中的时态5.17回译：互文词 5.18暗喻与Metaphor5.19 变通：合译（同位语从句）III 原文与译文【原文】向日葵（II）解放了，我到北京工作，这幅画却没有带来；总觉得这幅画面与当时四周的气氛不相合拍似的。
因为解放了，周围已没有落寞之感，一切都沉浸在节日的欢乐之中。
但是曾几何时，我又怀念起这幅画来了。
似乎人就像是这束向日葵，即使在落日的余辉里，都拼命要抓住这逐渐远去的夕阳。
我想起了深绿色的那面墙，它一时掩没了这一片耀眼的金黄；我曾经努力驱散那随着我身影的孤寂，在作无望的挣扎。
以后星移斗转，慢慢这一片金黄，在我的记忆里也不自觉地淡漠起来，逐渐疏远得几乎被遗忘了。
十年动乱中，我被谪放到南荒的劳改农场，每天做着我力所不及的劳役，心情惨淡得自己也害怕。
有天我推着粪车，走过一家农民的茅屋，从篱笆里探出头来的是几朵嫩黄的向日葵，衬托在一抹碧蓝的天色里。
我突然想起了上海寓所那面墨绿色墙上挂着的梵高的《向日葵》。
我忆起那时家庭的欢欣，三岁的女儿在学着大人腔说话，接着她也发觉自己学得不像，便嬉嬉笑了起来，爬上桌子指着我在念的书，说“等我大了，我也要念这个”。
而现在眼前只有几朵向日葵招呼着我，我的心不住沉落又漂浮，没个去处。
以后每天拾粪，即使要多走不少路，也宁愿到这处来兜个圈。
我只是想看一眼那几朵慢慢变成灰黄色的向日葵，重温一些旧时的欢乐，一直到有一天农民把熟透了的果实收藏了进去。
我记得那一天我走过这家农家时，篱笆里孩子们正在争夺丰收的果实，一片笑声里夹着尖叫；我也想到了我远在北国的女儿，她现在如果就夹杂在这群孩子的喧哗中，该多幸福！但如果她看见自己的父亲，衣衫褴褛，推着沉重的粪车，她又作何感想？我噙着眼里的泪水往回走。
我又想起了梵高那幅《向日葵》，他在画这画时，心头也许远比我尝到人世更大的孤凄，要不他又为什么画出行将衰败的花朵呢？但他也梦想欢欣，要不他为什么要用这耀眼的黄色作底呢？梵高的《向日葵》已经卖入富人家，可那幅复制品，却永远陪伴着我的记忆；难免想起作画者对生活的疯狂渴望。
人的一生尽管有多少波涛起伏，对生活的热爱却难能泯灭。
阳光的金色不断出现在我的眼前，这原是梵高的《向日葵》说出了我未能一表的心思。
【译文】译文1Sunflowers（II）After liberation I was transferred to Beijing to work and I failed to bring the picture with me. At that time I always felt that this picture did not suit with the surrounding atmosphere. For after liberation, I felt no loneliness but immersed and surrounded by happiness. Before long, I began to miss the picture again. It seems as if man is like this sunflower, even in his after-life he still struggles to grasp the departing sun. Thus, I thought of the dark green wall and felt it had absorbed this brilliant golden light for the time being. In vain, I struggled to drive away this lonely feeling which followed me like a shadow. With the lapse of time, the scene of golden yellow gradually faded in my memory and slowly became so estranged that it was almost forgotten.During the ten years of turmoil here I was sent to labour in a reform-through-labour farm in the south wasteland. Every day I toiled beyond my physical capacity and was so dismal at heart that I became afraid of it. One day, when I was pushing a dung-cart by a peasant’s hut , I noticed some tender yellow sunflowers stretching their heads over the fence into the vast blue sky. Sudd enly I was reminded ofVan Gogh’s “Sunflower” hanging on the dark green wall in my Shanghai flat. I could recall my family happiness then and my three-year-old girl who said something in imitation of a grown-up’s voice. When she found herself not good at do ing so, she burst out laughing. She bent down on the desk and said pointing to the book I was reading:”When I become a grown-up, I want to read this book, too.” Now, there were only a few sunflowers to greet me before my eyes and I felt upset at not knowing where to go. From then on, every day when I was collecting dung, I always took that same path. I didn’t mind if it meant a much longer distance. I only wanted to have a look at all the sunflowers which were gradually becoming greyish yellow and review my past happiness. One day the peasants collected the rip seeds and stored them away. I remember that day when I was walking past that peasant’s home, the children on the fence were snatching the harvest fruits. Amid their laughter I heard some sharp cries. I thought of my daughter who was living in the far north and how happy she would be if she was among those children and their joy! But if she saw her father pushing a heavy dung-cart in shabby clothes, what would she have thought of? I returned with my eyes full of tears. I again thought of Van Gogh’s painting “Sunflower”. Maybe when he was painting this picture, he was suffering a great loneliness. If not, how could he have painted such sunflowers which were going to fade? But he was too dreaming of happiness. If not, why did he use such a brilliant yellow colour as the thebottom?Van Gogh’s “Sunflower” has been sold to the rich, but that reproduction will always live in my memory. I can not refrain from thinking about the painter’s crazy desire towards li fe. In spite of the many twists and turns in life, one’s love for life will never be eliminated. The golden rays of the sun continuously appear before my eyes. This is what Van Gogh’s “Sunflower” has expressed what I did not say.译文2Sunflowers（II）After liberation in 1949 I was transferred to Beijing. I did not take the painting with me, as I felt that it was quite out of tune with the milieu of the time. In the liberated society we were immersed in a festival atmosphere and there was not slightest suggestion of loneliness. But soon I began to be missing the painting again. It seemed as if man, like this bunch of sunfloweres, would try to hang on to the setting sun in its afterglow. I thought of that dark green wall that seemed to have engulfed the brilliant yellow. I tried desperately to disperse the loneliness that followed me like a shadow but in vain. With the passage of time the golden yellow in my memory grew dim and gradually it was almost forgotten.During the chaotic ten years(1966-76) I was banished to a farm in Nanhuang to reform through labor. I was forced to work beyond my endurance and I was in such a gloomy state of mind that I often found myself scared. One day as I was pushing a dung-cart past a farmer’s thatched hut, I saw some fresh yellowish sunflowers, against a blue sky, craning out of its fence. They reminded me of the “Sunflowers” on the dark green wall in my house in Shanghai, calling back to mind the joys of the family: our three-year-old daughter was trying to speak the way adults do and, when she realized that her mimicking was funny, she giggled and then, climbing up to the desk and pointing to the book I was reading, said, “When I am grown, I will read this too .” But now in front there were only a few sunflowers nodding at me and my heart began to sink and float around, not knowing where to stop. Since then each time I went dung-collecting, I would go and pass that hut even if it meant more walk in the round of my daily journey. I wanted to see the sunflowers that were turning grayish yellow, reminiscing the cheerfulness of the days gone by, until one day the farmer got the crops in. When I passed the farmer’s hut that day, I heard some kids laughing and screaming over the fence, each trying to get a fair share of the seeds from the crops. I then thought of my daughter in the far north. How excited she would be if she were among the kids, making noises with them. However, if she had seen her own dad pushing the heavy dung-cart in the shabby clothes as they were, how would that have made her feel? I was on my way back with tears in my eyes and my thoughts turned to van Gogh and his “Sunflowers” again. When he was working on the painting, he might have felt more loneliness and misery of life, otherwise why did he paint the petals about to wither? However, I believed he had also dreamed of joy, or why should he have placed the petals against an intense yellow background?Now van Gogh’s “Sunflower” has become a rich man’s private property but that reproduction of the painting lives on in my memory, reminding me of the artist’s crazy lust for life. Though one has ups and downs to face down the road, his love for life is hard to fade away. That the golden color of the sunshine keeps popping up before my eyes is an in dication that van Gogh’s “Sunflowers” speaks for what I have been unable to bring out from my heart.IV 比较分析与译法（1）解放了，我到北京工作，这幅画却没有带来；总觉得这幅画面与当时四周的气氛不相合拍似的。
