《莎士比亚笔下的英国国王》(第七、八、九章)翻译实践报告

WillIam Shakespeare1Toby remembers1托比的回忆My name is Toby．I'm an old man，eighty-three this spring．My house is right in the middle of Stratford-upon-Avon，and I can watch the street market from my window．But I live very quietly now．I'm just an old man，sitting in a chair．我叫托比，一位年迈的老人，今年春天年过83岁。

家住艾汶河畔斯特拉福镇中心，透过窗户，便可以望到街道的闹市。

我的生活平和宁静，毕竟我已是一位要在轮椅上安度晚年的老头子了。

I once knew the greatest man in England．For thirty years I was his friend．I worked with him in the theatre，through the good times and the bad time．He was a good friend to me．He was also the best playwright，the best poet，that ever lived in England．Will Shakespeare was his name．我曾认识英国的一位最伟大的人物。

我与他相交30年，同在剧团工作，也共同度过人生中欢乐与艰辛的岁月。

他是我的好友，也是英国有史以来最优秀的剧作家，最杰出的诗人。

他就是威尔·莎士比亚。

I saw all his plays in the theatre．People loved them．They shouted，laughed and cried，ate oranges，and called for more．All kinds ofpeople．Kings，Queens，Princes，great lords and ladies，poor people，the boys who held the horses…everyone．Will Shakespeare could please them all．我看过他所有上演的戏剧。

《伊丽莎白女王传》（第七章）汉译实践报告本文是在英译中翻译实践的基础上,通过对翻译的过程及重难点进行分析和阐述,进而撰写的翻译报告。

翻译项目为英国著名皇室观察家罗伯特·哈德曼先生(Robert Hardman)创作的一篇传记文学《伊丽莎白女王传》(Our Queen)中的第七章《女王与百姓》(Her and Us)。

本书主角是当代英国女王伊丽莎白二世,记录女王在位期间发生的重大事件,旨在凸显女王亲民爱民的公众形象以及英国在世界的重要地位。

笔者以尤金·奈达的著名翻译理论“功能对等论”为理论指导:优质的翻译是在译语中找到与原文最自然、最接近的对等语,使译文读者对译文反映与原文读者对原文反映相同或相近。

功能对等论不仅包括词汇、语义上的对等,还包括文化和风格的对等。

本报告分析了翻译过程中出现的专有名词、修辞语句、复杂句式的翻译问题,并针对这些问题探讨了相通辞格直译、特殊辞格舍形取意、显隐互化、还原本体、归化对等、正反译法、句式重组、增译减译、语态转换等翻译策略和具体解决方案。

本报告主要分为四个部分,第一章关于翻译项目描述,其中包括项目背景、项目意义;第二章关于翻译过程描述,包括译前准备、作者及文本特点分析、翻译计划的制定;第三部分主要为翻译案例分析,其中涉及词汇、修辞语句和复杂句式在功能对等理论下的处理,结合具体问题给出相应的解决措施;第四部分则是翻译心得及有待解决的问题。

高中英语莎士比亚列传原文和译文原文威廉·莎士比亚（1564年4月26日-1616年4月23日）是英国文学史上最伟大的剧作家之一。

他的作品广泛被翻译和上演，并对西方戏剧产生了深远的影响。

（1564年4月26日-1616年4月23日）是英国文学史上最伟大的剧作家之一。

他的作品广泛被翻译和上演，并对西方戏剧产生了深远的影响。

莎士比亚出生于英格兰的斯特拉特福，他的作品包括戏剧、诗歌和一些叙事诗。

他最著名的戏剧作品有《罗密欧与朱丽叶》、《哈姆雷特》、《麦克白》等。

以下是莎士比亚的名言：“人生即如戏，我们皆为演员。

”译文William Shakespeare (April 26, 1564 - April 23, 1616) is one of the greatest playwrights in the history of English literature. His works havebeen widely translated and performed, and have had a profound influence on Western drama.Shakespeare was born in Stratford-upon-Avon, England. His works include plays, poems, and some narrative poems. His most famous plays include "Romeo and Juliet," "Hamlet," "Macbeth," etc.Here is a quote by Shakespeare: "All the world's a stage, and all the men and women merely players."说明这份文档简单介绍了英国剧作家威廉·莎士比亚的生平和作品，并给出了他的一句名言。

读书心得——论莎士比亚戏剧当代译本的翻译特色——以傅光明翻译的《哈姆雷特》为例“五四”以后的中国现代文坛呈现出莎士比亚众多剧目一剧多译的翻译文学纷繁景观，十九世纪三十年代以来则相继出现了曹未风、朱生豪、梁实秋所译的《莎士比亚全集》，而莎剧翻译的增补、重校、再版和重译终未停歇。

在中国翻译史上，《哈姆雷特》是用白话翻译的第一个中文全译本，由田汉根据平内逍遥的日文转译为《哈孟雷特》发表在1921年的《少年中国》上，“标志着中国的莎士比亚翻译与研究工作又进入了一个崭新的阶段”[1]，此后邵挺、卞之琳等人都重译过《哈姆雷特》，在中国剧坛产生了巨大反响。

在当代，傅光明又把此剧与《罗密欧与朱丽叶》作为试译《莎士比亚全集》的“新译样子”，认为“若可把译式确定，再着手图远不迟”。

[2]从某种程度上而言，傅光明正是企望从中国读者熟识度最高的剧目入手，以此奠定新译莎剧的样式。

因而，梳理傅光明所译剧本《哈姆雷特》的翻译特征，有助于我们进一步认识莎士比亚戏剧当代译本的翻译特色。

一译文“流畅性”是傅光明翻译莎剧的语言的特点之一，它较为集中地表现出现代汉语的表达规范。

纵观莎剧的翻译，朱生豪和梁实秋翻译的《莎士比亚全集》是对当代中国读者影响较大的两个版本，然而“就中文表达来看”，傅光明通过两个译本的仔细比对指出，“朱译的许多地方过于拗口甚至别扭，时常连英文的倒装语序都不改，当然主要是因他翻译的那个时代汉语表达远不如现在规范；梁译又时有草率，许多地方译文不够漂亮。

”如翻译“If circumstances lead me,I will find Where truth is hid, though it were hid indeed Tithin the centre.”[3]时朱生豪忽略了英语表达中的倒装结构，直译为“只要有线索可寻，我总会找出事实的真相，即使那真相一直藏在地球的中心。

”[4]傅光明则对倒装句式进行了调整，按照汉语表达规范译为“哪怕事实的真相是藏在地球的中心，只要有线索，我也能把它寻出来。

威廉-莎士比亚威廉-莎士比亚（1564-1616）是世界有史以来最著名的作剧家和诗人之一。

凭着38部作品，154首十四行诗和2首长诗，他建立了他在世界文学史中的赫赫威名。

他也被全世界各式各样的学者和评论家给予了最高的赞誉。

在过去4百年间，关于莎士比亚的书籍和文章还不断大量出版。

莎士比亚可能出生于1564年4月23日埃文河畔斯特拉特福城的一户商人家庭。

他的父亲的职业被传为是卖手套的、羊毛商人、农夫或者是屠夫，是一个镇上有点地位的人，并多次当选为镇委员会的成员。

莎士比亚在哪个美丽的贸易小镇度过了他的童年并上了斯特拉特福语文小学。

他真正的老师是大自然和周围的百姓。

1587年，莎士比亚娶了大他几岁的安妮-哈撒韦为妻。

妻子为他生了3个孩子，苏珊娜和双胞胎朱迪斯和哈姆尼特。

也许由于要养活不断壮大的家庭，莎士比亚在1586或1587年离开斯特拉特福去了伦敦。

莎士比亚去了伦敦一处为戏剧发展提供了优越环境的地方。

他既当演员又做作剧家，为张伯伦家族做事，张伯伦家族后来又成为了王族。

莎士比亚的事业发展得如此的好以致被誉为‘大学才子’之一的罗伯特-格林气极败坏地地称呼他是只‘向上扑腾的乌鸦’。

大约从1591到1611年间，莎士比亚到达了他戏剧生涯的顶峰，他的作品一部又一部地不断问世。

莎士比亚没有把他的天赋局限于戏院里，在1593和1954年，他发表了2篇叙事诗，《维纳斯与阿多尼斯》和《路易斯受辱记》，都是写给南安普顿伯爵的。

1609年他也写了短诗并出版了。

到1597年时莎士比亚已经很有钱了，他在斯特拉特福买套大宅子作为新居。

大约于1610年莎士比亚从伦敦退隐回了斯特拉特福，即便如此他还是坚持写作了一段时间。

他卒于1616年4月23日。

由于对莎士比亚的许多作品的创作准确时间仍然存有争议，评论家们对把莎士比亚戏生涯的戏剧作品划分阶段方面存有不同的观点。

但总体来说他的戏剧生涯可以分为4个时期。

莎士比亚戏剧创作生涯的第一个阶段是创作早期。

莎士比亚作品汉语译文Hamlet：译文在书上 p.215. 下面给出大家上半段的paraphrase:To be or not to be—that is the Question; Whether it’s nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?To live or to die, that is a question. Is it better to sustain the bitterness of atrocious fate in the mind, or should people rise up to pick up weapons fighting against and ending so many troubles in one’s life?To die, to sleep—No more; —and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to; ‘Tis a consummation D evoutly to be wishedTo die, to sleep, there will be no more existing. And if we can say that we end the bitterness in our mind and the countless natural strikes that human beings are bound to suffer by a sleep, then a sleep or a death would be the perfect thing that we have seriously wished for.To die, to sleep; To sleep, perchance to dream. Ay, there’s the rub; For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There is the respect That makes calamity of so long life;To sleep perhaps is to dream, that is where the trouble is. In the sleep of death, when we get rid of our physical bodies and free ourselves from these earthly troubles, what may come as our dreams must make us hesitate. It is with this very consideration that people would rather endure a life so long and so painful.Macbeth何时姊妹再相逢，雷电轰轰雨蒙蒙？女巫乙且等烽烟静四陲，败军高奏凯歌回。

威廉·莎士比亚的英语作文1.威廉·莎士比亚讲的名句To be or not to be.That is a question. 生存还是毁灭，这是一个值得考虑的问题。

Better a witty fool than a foolish wit.-Shakespeare 宁为聪明的愚夫，不作愚蠢的才子。

A light heart lives long . 豁达者长寿。

Do not , for one repulse , give up the purpose that you resolved to effect . 不要只因一次失败，就放弃你原来决心想达到的目的。

In delay there lies no plenty , Then come kiss me , sweet and twenty , Youth's a stuff that will not endure . 迁延蹉跎，来日无多，二十丽姝，请来吻我，衰草枯杨，青春易过。

The time of life is short ; to spend that shortness basely, it would be too long . 人生苦短，若虚度年华，则短暂的人生就太长了。

Don't gild the lily. 不要给百合花镀金/画蛇添足。

The empty vessels make the greatest sound . 满瓶不响，半瓶咣当。

The course of true love never did run smooth. 真诚的爱情之路永不会是平坦的。

Love, and the same charcoal, burning, need to find ways to ask cooling. Allow an arbitrary, it is necessary to heart charred。

英文传记汉译实践报告
随着时代进步,国内外学者开始对传记文学翻译进行深入研究。

《伊丽莎白女王传》作为21世纪的一部英国历史巨著,具有极高的历史价值和文学意义。

笔者希望对《伊丽莎白女王传》翻译能为研究英国政体的中国学者,以及热爱英国文化的中国读者,包括广大的知识分子提供一个平台,同时为有关翻译实践活动提供参考。

本实践报告以笔者所完成的英文传记Our Queen第八章汉译为基础,第八章主要介绍了女王伊丽莎白二世与其夫君之间的趣事以及爱丁堡公爵所做出的巨大贡献。

笔者主要以尤金·奈达“功能对等”理论为理论依据,对在翻译过程中所遇到的有关问题进行剖析与总结。

本实践报告共分为四部分:第一部分为翻译任务描述;第二部分为翻译过程描述,从译前准备、文本分析两个方面具体描述该传记文本的翻译过程,在文本分析中笔者分析了该传记文本的文体特征与语言风格,文体特征即:真实性、历史性、人物个性鲜明、文学性。

第三部分是翻译案例分析,为本实践报告的核心部分,从专有名词的对等翻译、句子的语义对等、风格对等三个方面,对翻译过程中所采用的音译、加译、直译、意译翻译方法与归化和异化策略进行分析。

报告的最后为翻译实践总结部分,对此次翻译实践及对今后工作的启发与展望进行简要的总结。

Westminster Abbey肖波译西敏大寺ON one of those sober and rather melancholy days in the latter part of autumn when the shadows of morning and evening almost mingle together, and throw a gloom over the decline of the year, I passed several hours in rambling about Westminster Abbey. There was something congenial to the season in the mournful magnificence of the old pile, and as I passed its threshold it seemed like stepping back into the regions of antiquity and losing myself among the shades of former ages.I entered from the inner court of Westminster School, through a long, low, vaulted passage that had an almost subterranean look, b eing dimly lighted in one part by circular perforations in the massive walls. Through this dark avenue I had a distant view of the cloisters, with the figure of an old verger in his black gown moving along their shadowy vaults, and seeming like a spectre from one of the neighboring tombs. The approach to the abbey through these gloomy monastic remains prepares the mind for its solemn contemplation. The cloisters still retain something of the quiet and seclusion of former days. The gray walls are discolored by damps and crumbling with age; a coat of hoary moss has gathered over the inscriptions of the mural monuments, and obscured the death's heads and other funeral emblems. The sharp touches of the chisel are gone from the rich tracery of the arches; the roses which adorned the keystones have lost their leafy beauty; everything bears marks of the gradual dilapidations of time, which yet has something touching and pleasing in its very decay.The sun was pouring down a yellow autumnal ray into the square of the cloisters, beaming upon a scanty plot of grass in the centre, and lighting up an angle of the vaulted passage with a kind of dusky splendor. From between the arcades the eye glanced up to a bit of blue sky or a passing cloud, and beheld the sun-gilt pinnacles of the abbey towering into the azure heaven.As I paced the cloisters, sometimes contemplating this mingled picture of glory and decay, and sometimes endeavoring to decipher the inscriptions on the tombstones which formed the pavement beneath my feet, my eye was attracted to three figures rudely carved in relief, but nearly worn away by the footsteps of many generations. They were the effigies of three of the early abbots; the epitaphs were entirely effaced; the names alone remained, having no doubt been renewed in later times (Vitalis. Abbas. 1082, and Gislebertus Crispinus. Abbas. 1114, and Laurentius. Abbas. 1176).I remained some little while, musing over these casual relics of antiquity thus left like wrecks upon this distant shore of time, telling no tale but that such beings had been and had perished, teaching no moral but the futility of that pride which hopes still to exact homage in its ashes and to live in an inscription. A little longer, and even these faint records will be obliterated and the monument will cease to be a memorial. Whilst I was yet looking down upon the gravestones I was roused by the sound of the abbey clock, reverberating from buttress to buttress and echoing among the cloisters. It is almost startling to hear this warning of departed time sounding among the tombs and telling the lapse of the hour, which, like a billow, has rolled us onward towards the grave. I pursued my walk to an arched door opening to the interior of the abbey. On entering here the magnitude of the building breaks fully upon the mind, contrasted with the vaults of the cloisters. The eyes gaze with wonder at clustered columns of gigantic dimensions, with arches springing from them to such an amazing height, and man wandering about their bases, shrunk into insignificance in comparison with his own handiwork. The spaciousness and gloom of this vastedifice produce a profound and mysterious awe. We step cautiously and softly about, as if fearful of disturbing the hallowed silence of the tomb, while every footfall whispers along the walls and chatters among the sepulchres, making us more sensible of the quiet we have interrupted.It seems as if the awful nature of the place presses down upon the soul and hushes the beholder into noiseless reverence. We feel that we are surrounded by the congregated bones of the great men of past times, who have filled history with their deeds and the earth with their renown.And yet it almost provokes a smile at the vanity of human ambition to see how they are crowded together and jostled in the dust; what parsimony is observed in doling out a scanty nook, a gloomy corner, a little portion of earth, to those whom, when alive, kingdoms could not satisfy, and how many shapes and forms and artifices are devised to catch the casual notice of the passenger, and save from forgetfulness for a few short years a name which once aspired to occupy ages of the world's thought and admiration.I passed some time in Poet's Corner, which occupies an end of one of the transepts or cross aisles of the abbey. The monuments are generally simple, for the lives of literary men afford no striking themes for the sculptor. Shakespeare and Addison have statues erected to their memories, but the greater part have busts, medallions, and sometimes mere inscriptions. Notwithstanding the simplicity of these memorials, I have always observed that the visitors to the abbey remained longest about them. A kinder and fonder feeling takes place of that cold curiosity or vague admiration with which they gaze on the splendid monuments of the great and the heroic. They linger about these as about the tombs of friends and companions, for indeed there is something of companionship between the author and the reader. Other men are known to posterity only through the medium of history, which is continually growing faint and obscure; but the intercourse between the author and his fellowmen is ever new, active, and immediate. He has lived for them more than for himself; he has sacrificed surrounding enjoyments, and shut himself up from the delights of social life, that he might the more intimately commune with distant minds and distant ages. Well may the world cherish his renown, for it has been purchased not by deeds of violence and blood, but by the diligent dispensation of pleasure. Well may posterity be grateful to his memory, for he has left it an inheritance not of empty names and sounding actions, but whole treasures of wisdom, bright gems of thought, and golden veins of language.和珠玑的文字。