鲁迅的翻译思想.共23页

鲁迅的翻译观
鲁迅在20世纪30年代提出了“硬译”的方法论，在与梁实秋的辩论中提出了“宁信而不顺”的翻译原则。

鲁迅的观点绝不是反对“信”和“顺”，相反，他强调需要兼顾两者。

只有当“信”和“顺”不能兼得时，才“宁信而不顺”。

原因是“译得信而不顺的至多不过看不懂，想一想也许能懂，译得顺而不信的却会令人迷误，怎样想也不会懂，如果好像已经懂得，那么你正是入了迷途了。

”他所说的“不顺”是容忍一些不顺，而不是刻意保留，以便把翻译装进不同的句法。

但当然，这种情况也不是永恒的，有的会从“坏”变成“好”，有的最终会因为“坏”而被淘汰，被踢走。

论鲁迅的翻译思想lu xun （1881-1936）has been zhou shu-ren’s pen name since he published diary of a madman. hewas born into a declining feudal family. his extensive reading in youth enabled him to accumulate a great store of national culture.during the reform movement，he read translation works of modern social science and literature of the west，in which his favorite was huxley’s evolution and ethics and other essays entitled《天演论》.actually，evolutionary ideals used to be his spiritual weapon against feudalism. in 1902，his academic excellence won him an opportunity tostudy in japan where he laid a solid foundationin japanese，german，english and russian. in 1906，he gave up medicine and began his lifelong literary creation and translation career. in chinesehistory，he is considered as a great man of letters，thinker，revolutionist as well as an outstanding literary translator. he devoted himself to translation of foreign literature. it is hewho inherited and developed traditional translation theory in china. on account of his great contribution，he has been regarded as the founderof chinese translation theory.lu xun’s literary activities began withtranslation of foreign literature. in his whole life，he translated over 200 kinds of works written by 100 writers of 14 countries. his translation activities can be divided into three periods.during the first period （1903-1919），he studied in japan and mainly translated literary works from russia，poland and balkans. the first literary works he translated is a well-known scientific fiction，a journey to moon. at that time，he stood on the side of the weak and the oppressed and calledfor their fighting against injustice. during the second period（1920-1927），his belief was shifting from revolutionary democratic ideology to communism. in order to provide ideological weapon for people，he translated a great deal of literary works，most of which were from russia，northern and easterneurope. he even published special issues on literature of the oppressed nations. the third period （1927-1936）is the most splendid one for him to translate foreign literary works. duringthis period，he had transformed from a democratic revolutionist to a great communist. in 1935，he accomplished his last translation works-- deadsouls by gogol，a russian classicist.lu xun was ardent in translation and wasfaithful to it. he took translation ratherseriously and spared no effort in it. his main translation theories are as follows：on the purpose of translation：his translation works can be divided into two categories. thefirst one includes scientific literary criticismand revolutionary literary works. the second one refers to those common works. as for translation of the former，he said that it directly served revolution just as if to transport ammunitions to uprising slaves. but for the latter，he managed to provide some useful and beneficial reference forpeople. he favored translation of various worksfor chinese readers’reference. he hoped that scholars took up translation of proletarian worksas well as those so-called proletarian workscolored with prejudice of capitalism. aftercritical judgments，readers can have a correct understanding about them. of the value andfunction of translation，lu xun had a high evaluation. he said，“translation is not easier than creation. it has rendered service to the development of new literature in china and done much good to chinese writers and readers.”on translation standard：it’s no exaggeration to say that this standard is the nucleus of luxun’s translation theory. in his opinion，there must be two things involved in translation. oneis to seek for understandability and the other is to preserve the original flavor. actually，this standard inherits and develops yan fu’sthree-character standard （i.e.faithfulness，expressiveness and elegance）. in general，three-character standard aims at content，language and style respectively. lu xun’s theory aims at seeking for understandability and keeping theoriginal flavor. that’s to say，the translation version should be both faithful and smooth to the original. here，lu xun’s “faithfulness”means complete and thorough loyalty to the original from the content to the style. it also alludes to meaning of “smoothness”and “elegance”. in a word，translation works should be faithful to the inseparable unity of the original in terms of content and form. what’s more，this standardsettled a dispute between domestication（归化）and foreignization（异化）in translation circle. according to him，with a view to fully preserving the originally exotic flavor，the translation version cannot be thoroughly adapted. as a matter offact，there is no translation version of full domestication in the world. he argued that what translators could do was change its clothes （i.e. transform the language form）instead of slicingoff its nose and gouging its eyes. （i.e. change its original flavor）on translation method：lu xun’s another contribution in modern translation history is onthe reform of translation method. he and zhouzuo-ren dauntlessly challenged the traditional translation method （i.e. translation from other versions）and adopted a new method--- literal translation. during the heated dispute of 1930s between the school of literal translation and the school of free translation，lu xun was a staunch advocate of literal translation. but he didn’t object to any unavoidable free translation. in fact，he proposed both faithfulness and smoothnessas the main criteria to be observed intranslation. in his practice，as li ji（李寄）pointed out，lu xun did never set literal translation against free translation and repel it though heput emphasis on the former. just on the contrary，he held that the method of free translation might be used where and when necessary. and li jicited lu xun’s own words in the preface to his translation entitled 《小彼得》as a convincing proof：“it’s not quite proper for foreign language learners to begin their translation withchildren’s stories，for they are apt to rigidly adhere to the original text and dare nottranslate it in a free way so that thetranslation is very difficult for the children to read. the manuscript of 《小彼得》had this kind of shortcoming. thus i revised it on a large scale while reading and correcting proofs. as a result，the translation became more smooth than before.”（the complete works of lu xun，vol.14，p.237）some scholars argue that his literal translation aims at attacking “bad translation”（歪译）. just as jiang chun-fang，a scholar has pointed out here “literal translation”actually refers to “correct translation”. superficially speaking，literal translation and free translation are opposite to each other. at the deepest level，literaltranslation means correct translation that includescorrect free translation. he held a ratherdialectical viewpoint on contradiction between the two. he also recognized those deviation caused by overemphasis on literal translation and feltregretful about it. in lu xun’s brief preface to his translation of the work on art，《艺术论》，in which he said，“if there is someone who devotes himself to the study of the book，it’s better for him to reorganize the sentences，make the termseasy to understand and render it in such a free way that the translation may be close to interpretation.”（the complete works of lu xun，vol.175，p.175）anyhow，he advocated literaltranslation but didn’t want his translation to be obscure and unintelligible. in terms offaithfulness and smoothness，he preferred faithfulness. his open declaration that he would preferfaithfulness to smoothness was aimed to opposezhao jingshen’s one-sided advocation of “preferring smoothness to faithfulness.”he agued that while translating，translators should import not only newcontent but also the new ways of expression. readers’critical judgments can enable some expressions to become smooth and others to be washed away completely. he even said that translators should learn from chinese historical experience in translation of buddhist scriptures. those newly imported syntax may be unfamiliar to readers，but later they could become assimilatedinto readers’culture. those unaccepted would be got rid of as waste matters. as a matter of fact，he advocated not only literal translation and free translation，but also import of new ways of expression. this is the essence of his literal translation method. in lu xun’s translation，li ji concluded that the method of literal translation and the method of free translation were merged.he merely regarded the former as primary and the latter as supplementary. in a word，he was a successful practitioner who combined literal translation and free translation.on retranslation and translation from otherversions：these are the important components of lu xun’s translation theory. they serve prosperity of our translation cause and promotion of cultural exchange with the west. as for translation from other versions，he maintained that ideal translation should be performed directly from the original by translators who have a good command of the original. he also confessed great necessity of translation from other versions due to some limitations. he strongly disapproved of those who blindly looked down upon it. he even pointed out inconformity between the original and thetranslation by means of this method. in terms of concept and style，he held that the original and the translation versions cannot be identical. （lu xun and translation，by xu guangping）he expected those who mastered danish language，norwegian and spanish to translate directly from the original.as for retranslation，he argued that there was no perfect translation version. by retranslation，translators could select advantages of the oldversion for learning and imitation and simultaneously add their own understanding. in his opinion，retranslation was a good approach to defeat bad translation and served to promote the development of new literature. because of the development of language，retranslation is very necessary.on translation criticism：though he is not the first who put forward translation criticism，he laid much emphasis on it. in his defense fortranslation （written on august 14th，1933），he pointed out that translation critics should be responsible for defects of translation version besides translators. it’s critics’responsibility to give a credit to those versions with high qualities.if there was none，fairly good ones should also be given a note. in a word，he was undoubtedly the founder of chinese modern literary criticism. he also guided the further development of modern literary criticism and translation criticism.on the equal status of translation and creation：in chinese literary history，creation has been always overemphasized while translation has been ignored. liu yuxi（刘禹锡）in tang dynasty has warned people not to despise translation. it’s lu xun who first put forward that translation and creation should share equal status. in histitleless essay （1）in the second collection of qiejieting essays，lu xun says，“i have always thought that translation is easier than writing，for at least you needn’t work out a plot. but as soon as you put pen to paper，you meet with obstacles. for instance，you can avoid a noun or a verb you can’t make good use of in writing，but you can’t do so in translation. you will haveto rack your brains for it until you get dizzyas if you are feeling in your head for a keyto open a box，but in vain.”even when he came to his old age，he still felt it difficult to do translation. he ever said，“as if you were doing a mere drudgery and had a hard time of it.”（see the letter to xiao hong on march 1，1935）“i feltit to be a painful task to render gogol. it seems as if i had an attack of some illness whenever i finish translating two chapters.”（seethe letter to hu feng on june8，1935）from his experience above，we can see translation should deserve equal status with creation. it’s no exaggeration that lu xun has greatly elevated the position of translation in our culture.as a preeminent man of letters and translator，lu xun considered literature as a means to serve social reconstruction and liberation. he devoted himself to transporting nourishment for mind，awakening national consciousness，seeking for truth and exploring the way to save our country out of disaster. chairman mao ever said，“on the frontier of new culture，lu xun represents the majority of the people and is regarded as the most correct，courageous，staunch，loyal and passionate hero who charged directly at the enemies.”in a word，his translation theories occupy an important status in translation history in china.【bibliography】［1］陈福康. 中国译学理论史稿. 上海外语教育出版社，1992.［2］王秉钦. 20世纪中国翻译思想史. 南开大学出版社，2004.［3］中国翻译工作者协会. 翻译研究论文集. 外语教学与研究出版社，1984.［4］刘重德. 文学翻译十讲. 中国对外翻译出版公司，2000.。

简介Lu Xun is an eminent translation theorist. His views on translation were formed by inheriting and absorbing Chinese and foreign traditional translation theories. He adopted different translation strategies at different stages of his translation.StageThe early stages of Lu Xun”s translation activities are from the year of 1903 to 1918,which means he began to study in Japan until the eve of the May 4th movement, in this stage, translation works introduce one’s reflecting the people’s suffering and the n ational liberation movements about Russia Northern Europe and Poland and other countries. The second stage is from 1919 to 1927,which also focuses on the people’s suffering and the aspects of social darkness in Russia, Japan and so on . The last stage is from 1927 to 1936, which was from the eve of revolutionary literature controversy to the proletarian literature movement. Lu Xun emphasizes the Soviet revolutionary and proletarian literature theory.类型Practice of Lu Xun’s translation1.Science novels2.Short stories of Eastern Europe3.Foreign arts4.Children’s literature5.Children’s works6.After 1919StrategyIn the early period of his translation career, he adopted free translation, that is, between 1903 to 1906, but very soon in 1906 to 1909, he shows his new ideas about translation in his series of literary works especially in his co-published Stories from Abroad with his younger brother Zhou Zuoren, which marked his great change of translation methods from free translationFree translation and adaptationFree translation reproduces the matter without the manner, or the content without the form of the original. Usually it is a paraphrase much longer than the original, a so-called “intralingual translation”, often prolix. Another method adopted by Lu Xun at his early translating stage isadaptation, the “freest” form of translation, the source culture converted to target language and the text rewritten.Stiff or literal translation（直译与硬译）The literal translation here doesn’t mean the literal translation we usually refer to, but Lu Xun’s translation strategy of adhering to the source language text or foreignization or “rigid translation”. For the literal translation generally means that the source language grammatical constructions are converted to their nearest target language equivalent, but the lexical words are again translated single, out of context. While Lu Xun’s literal translation is far beyond this. He laid much emphasis on the faithfulness to original forms, and the uniqueness in his literal translation is that he emphasizes the faithfulness at the level of grammatical structures of source language in his Chinese version. For Lu Xun, this is one of the feasible ways to preserve the original mood and flavor in Chinese version or “preserve the exoticism”.Faithfulness and smoothness（宁信而不顺）Lu Xun advocated “faithfulness and smoothness”, he protested “smoothness but unfaithfulness”. In Letters of Translation(《关于翻译的通信》), he says: "I still prefer "faithfulness" than "smoothness". Naturally, the "non-smoothness" does not mean"kneel" is translated into“跪在膝之”，"the Milky Way" into“牛奶路”.I mean the translations need to be chewed with great effort, not to be swallowed down in several mouthfuls just like drinking teas and eating. Here comes the question: Why not be completely sanitized to save labors of the readers? ...My answer is, this is also translation. Such translation introduces not only new subject matter, but also new ways of expression. The mind of Chinese language is not clear. To remedy that, we will have to undergo a little ordeal, that is, to bring in bizarre ways of constructing sentences---ancient, outlandish, foreign ways, incorporating them into our language. This is not imaginative.“non-smoothness” Lu Xun advocated in translation means introducing new subject matter as well as new ways of expression. And a part of the translation will became smooth from its non-smoothness and part of it will be cast away and kicked off because of its “non-smoothness”.主要翻译作品日本武者小路实笃著戏曲《一个青年的梦》日本厨川白村著论文《苦闷的象征》、《出了象牙之塔》俄国爱罗先珂著童话剧《桃色的云》后人评价Translating foreign literature is an important way for Lu Xun to put his literary values into practice.Lu Xun’s talks about translation purpose, source text selecting, translation strategies and methods, classification of target readers, and translation evaluation give an expression to his value orientation towards serving the readers by “stealing foreign fire”(“窃得洋火照人间”) His views on the value of translation, the value of “other” cultures and the translator’s responsibility imply his profound thoughts on translation ethics, from which some inspiration can be drawn.名人评价鲁迅先生不仅是我国伟大的文学家·思想家，也是一位伟大的翻译家。

鲁迅及其翻译思想一、引言当今时代是翻译的时代，随着国际间的科学、文化、经济及各个领域间交流的日益频繁，翻译在国与国之间进行的各方面的交流起着举足轻重的、不可估量的作用。

作为人类思想文化交流史上最悠久的实践活动之一，作为各民族思想交流的工具，翻译涉及到两种语言与各种知识，可以说，翻译是两个语言社会之间的交际过程和交际工具。

翻译工作者总是必须首先掌握一种语言所表达的思想、感情、风格，然后运用翻译技巧，在另一种语言中把它们表现出来。

作为翻译工作者，他们肩负的责任更加重大，他们不能漫无目的地、随心所欲地翻译原语文本，任意地或甚至错误地表达自己的思想。

相反，他们必须准确地、完好无损地传达原作的思想内容，使读者对原作的思想内容有更准确、更深刻地把握和理解，以更好地促进本语言社会的政治、经济和文化进步。

二、明确翻译目的翻译是人类从事的一种行为，而我们都知道人类的一切行为都是有意图、有目的的。

那么，不言而喻，翻译工作者翻译行为的实施同样也是为了达到某种目的。

德国翻译理论家弗梅尔将翻译目的分为三类：一类是译者所要达到的一般性目的，比如说赚钱；二是译文在目的文化语境中要达到的交际目的，如启迪读者；第三类是使用特殊翻译手段所要达到的目的，如为了说明某种语言中语法结构中的特殊之处而采用按其结构直译的方法。

译者在翻译过程中会具体地采用哪种翻译方法和翻译策略在很大程度上取决于译者之前所明确的目的。

老一辈翻译研究者中鲁迅先生的翻译思想在现今研究工作中仍然占有及其重要的地位，给予我们翻译研究工作很大的启示，同时为我国目前乃至将来的翻译的进一步研究指明了方向。

法国著名的阿歇特百科辞典甚至在“鲁迅”条目中这样介绍：“鲁迅为数蔚为大观的作品，是他对外国作品的译介。

”（转引自丁小凤、韩虎林，2007）鲁迅翻译活动的主要目的有三个：第一，“注重翻译，以此借镜，其实也就是催进和鼓励创作。

”鲁迅认为，要改革旧的文学形式，传播新思想，就必须“采用外国的良规，加以发挥”。

鲁迅的翻译主张鲁迅是中国近代文学史上的巨匠，他的译著具有非常高的文学和文化价值，而他的翻译主张也是翻译界的经典之一。

鲁迅主张翻译应该属于文学创作的范畴，并坚持“信、达、雅”的翻译原则，即翻译应该先保留原文的原始面貌，即保留原文的语言风格和特色，以达到原意的准确表达，然后再以文学性的方式美化翻译成果，让它们符合受众对于文学作品的口感和审美概念。

同时，鲁迅认为翻译作品不仅仅是单纯的语言转换，还需要对原文的文化背景进行深入研究，以表达原著思想精髓的完整性。

鲁迅强调的“文学性”翻译主张，也就是他创造的“鲁迅翻译学派”至今仍然在翻译界中有着广泛的影响。

这种翻译方法重视对文学作品中文化内涵的忠实表现，以及在翻译过程中营造的文学美感。

这种翻译方法不是简单地把外语原著翻译成汉语，而是通过深入理解外语原著，对其语言、文化及思想内核进行全面挖掘，并在汉语读者所熟悉的文化及语言背景下进行再创作，形成一种新的表达方式。

鲁迅在翻译实践中尤其推崇语音音韵、词汇、句法等技巧，也强调在翻译时需要注重华文语言特色和地域性的表达。

他在翻译新月派作品和俄文文学作品时运用了独特的翻译方法，创造出了许多深具鲁迅特色的翻译作品。

值得注意的是，在翻译中国文学作品时，鲁迅虽然注重翻译准确性，但也会在翻译过程中加入一些文化元素，以体现中国文化的传统价值和独特性。

比如在翻译《红楼梦》中，他自创了一些新词和新语法，以彰显中国文化的独特性。

总的来说，鲁迅的翻译主张是一种翻译文学的“鲁迅式”风格。

他强调翻译是文学创作的一部分，不仅仅是语言转换，还需要对原文的作者意图进行深入的挖掘，同样也要注重营造出文学美感。

同时，他也注重文化背景的理解和表现，创造出大量的翻译作品，为现代中文翻译事业奠定了坚实的基础。

众所周知，严复的翻译标准“信、达、雅”是近代翻译理论最有影响力的，他翻译的《天演论》，鲁迅“有好几篇都能背”，《天演论》对鲁迅确实有很大的影响。

鲁迅在认真地考察研究了严复翻译理论的内容和其翻译作品后，根据自己研究的结论、翻译本身固有的特点以及他本人丰富的翻译经验，陆续发表了数十篇专题性的理论文章，阐述了自己对文学翻译的许多观点和看法，他不赞同严复的“信”和“达”的翻译标准。

鲁迅对于“达”字有不同的看法，他认为“归化”的译法应是“意译”，国人译出来的文章可能会很通顺，但已不忠实于原作了，“就是貌合神离，从严辨别起来，它算不得翻译”。

他写道：凡是翻译，“动笔之前，就先得解决一个问题：竭力使它归化，还是尽量保存洋气”。

鲁迅所说的“保持洋气”，其实就是“信”，就是让译作保存“异国情调”，保存着“原作的丰姿”。

他的主张得到了后人的认可，实际上，它与我国翻译界的翻译标准“忠实”和“通顺”的含义是一样的，这对我们现在的翻译仍有很大的影响和重要的现实意义。

鲁迅反对那种盲目“归化”和“达”的译法。

鲁迅主张“直译”，是为了忠实于原文，在他看来，忠实是第一位的，这就是从根本上提出了翻译时应遵从的标准和原则问题。

让人们在阅读时能够感受到“异国情调”和“原作的丰姿”。

三、鲁迅的翻译标准（一）直译、硬译鲁迅先生所说的直译又叫做硬译，从《域外小说集》开始，鲁迅就一直坚持用严格直译的方法，他说“硬译”即“按板规逐句，甚而至于逐字译”，也就是尽可能接近原文的、尽可能等值的直译。

一般说来，鲁迅不提倡意译，他认为如果看重意译，输入的内容可能会走样，也无助于进一步丰富汉语的表达能力。

在对汉语发展路向的探索中，鲁迅的翻译强调“直译”“硬译”，强调对西方语言的吸收，其带有明显西方语言特征的翻译语言让人们看到了汉语弹性的极限所在。

鲁迅主张直译，其目的是在介绍外国思想以供借鉴的同时，通过译文来改造我们的语言。

他博采西方语言资源，同时又十分强调汉语本身的历史继承性。

简述鲁迅的翻译活动，并简评其主要翻译思想鲁迅，原名周树人，字豫才，浙江绍兴，中国现代伟大的文学家、思想家、革命家、教育家。

鲁迅先生一生写作共计有600万字，其中著作约500万字，辑校和书信约100万字。

作品包括杂文、短篇小说、诗歌、评论、散文、翻译作品等。

毛主席评价他是伟大的文学家、思想家、翻译家，是中国文化革命的主将。

他对我们中国乃至世界都有很大的影响。

鲁迅是由翻译走上文学之路的，他主张“翻译和创作，应该一同提倡。

”鲁迅的翻译数量与创作相近，达300万字。

他用日文德文直接翻译或间接翻译了14个国家近100位作家的280余种作品,印成33个单行本。

体裁无所不包:小说、散文、诗歌、戏剧。

涉及的学科更是多种多样:植物学、医药学、社会学、心理学、美学、历史、美术、文艺理论等等。

鲁迅的翻译活动不是从个人爱好和美学情趣出发,更不是为翻译而翻译,而是有着明确的社会功利目的,是与他的思想发展有着密切的联系的。

主要翻译活动：（一）科技和哲学作品译介阶段早期的鲁迅认为自然科学是使中国富强的有力武器,他除了选定医学作为拯救祖国的途径之外,并致力于介绍外国科学小说，主要译介科技和哲学思想作品。

他翻译出版了法国儒勒·凡尔纳的科学幻想小说《月界旅行》和《地底旅行》以及雨果的《哀尘》和介绍最新科学成就的《说（镭）》。

在《<月界旅行>弁言》中,鲁迅谈他翻译“科学小说”的动机是使读者”获一斑之智识,破遗传之迷信,改良思想,补助文明”。

1904年鲁迅翻译了《北极探险记》和《物理新论》。

1905年,翻译了美国的路易斯·托仑著的《造人术》。

鲁迅在《<月界旅行>》弁言》中提到他的科普翻译的对象是人民大众,他说:“苟欲弥今日译界之缺点,导中国人群以进行,必自科学小说始。

”这期间，鲁迅翻译了很多的哲学思想，如弗洛伊德的精神分析学说，卢梭和孟德斯鸠的民主主义，达尔文的进化论等。

五四运动前夕,鲁迅翻译了德国尼采的《查拉图斯特拉如是说》1一3节。