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夜莺读后感5篇读后感中可以讨论书籍的语言风格，这样能让我们更欣赏作者的写作技巧，写读后感是我反思阅读体验、深化理解的重要手段，本店铺今天就为您带来了夜莺读后感5篇，相信一定会对你有所帮助。
夜莺读后感篇1自从我们学了战争这个单元后，给我留下深刻印象的就是《夜莺之歌》了。
这篇文章讲了，苏联卫国战争时期，一个名叫夜莺的小孩子巧妙利用歌声引诱敌人，把一支德国部队引进游击队的埋伏圈，最后全歼德寇的故事。
这个孩子的智慧令我赞叹不已。
他非常沉着，先是用鸟叫声引诱敌人，几次躲过了敌人的追问。
当敌人问他学鸟叫的本领是跟谁学的时，他丝毫没有慌张地回答了敌人，还借机辱骂敌人，这让我看到了一个机智、勇敢的小夜莺。
后来，他边踢球果，边学夜莺叫，不但麻痹了敌人，使敌人放松了警惕，而且在接近苏军游击队员时，还用鸟叫声为游击队报信，要是我碰上了这样的德国鬼子，我就真的不知道该怎么办了？起初我认为小夜莺最后会死在德国鬼子手上，可谁知他依靠与树林颜色一样的衣服迅速逃跑了。
小夜莺在德军神不知鬼不觉的情况下给游击队报了信，小夜莺的聪明、机智和遇事不慌张，不正是我们学习的吗？小夜莺跟我们的年龄一般大，可我们的生活却截然不同，我们哪一个人不是每天在家里过着衣来伸手，饭来张口的皇帝生活，再看看小夜莺，每一天都冒着生命危险来执行任务，我们之间形成了鲜明的对比，这是为什么呢？答案只有一个，因为战争，战争使那么多人流离失所，妻离子散。
战争就像是一个魔鬼，不断地摧残着人类的精神和肉体。
既然战争给人们带来那么大的损失，为什么人类还要发动战争呢？和谐相处不是更好吗？希望人们不要再发动邪恶的战争，为了我们的子孙后代，为了我们更美好的明天，让我们拒绝战争！夜莺读后感篇2今天，我读了一个感人至深的故事《夜莺与玫瑰》，从中，我学到了深刻的道理，懂得了许许多多的美德。
故事是这样的：一只心地善良的夜鹰看见一个学生正在哭泣。
原来，王宫要举行一个盛大的晚会，学生的恋人要求学生送给他一朵红玫瑰，才答应和他一起跳舞。
从《夜莺与玫瑰》林徽因译本谈文学翻译的再创造作者：艾安珂来源：《文学教育·中旬版》2020年第01期内容摘要：《夜莺与玫瑰》是19世纪英国杰出的唯美主义作家奥斯卡·王尔德的童话代表作，本文以林徽因译本为例，讨论文学翻译与再创造的关系，并从语言形式、语义信息、修辞手法等三个方面分析原作的意义与风格是如何被再创造的。
关键词：《夜莺与玫瑰》林徽因译本翻译再创造1.引言奥斯卡·王尔德是19世纪80年代美学运动的主力，作为英国唯美主义的代表人物，其戏剧、童话、小说等都充分体现着“艺术至上”的美学观点。
《夜莺与玫瑰》是王尔德最负盛名的童话之一，王尔德用词简明轻快，比喻、排比等修辞手法的运用使文字充满艺术感染力，散发着美的气息。
新文化运动时期，中国文人开始了对西方唯美主义的译介，继胡适和穆木天之后，林徽因也着手翻译了《夜莺与玫瑰》。
作为第一位翻译王尔德的女性作家，林徽因的译作充分体现了她对于语言美和内容美的双重追求，本文将从林徽因《夜莺与玫瑰》的译本着手，浅谈文学翻译中的再创造。
2.文学翻译再创造的度古今中外，不少翻译学家都认为文学翻译就是一种再创造。
金圣华曾表示，“文学翻译之所以不同于一般翻译，就是因为层次高，要求也高。
把原文的意思表达出来了，但文采尽失，这就等于把鸡汤糟蹋成清水了，……上好的文学翻译作品，本身就是一种创作。
”[1]谢天振也认为，“文学翻译就是把用一种语言创作的包含一定社会生活映像的文学作品尽可能完好无损地移注到另一语言中去的一种社会活动，使读者在读译文时也能够像读原作一样得到启悟、感动和美的享受。
”[2]因此文学作品要译得好，译得传神，必须有译者的再创造，但译者的创造是有限度的，不能随心所欲地自由发挥。
译者在充分理解原文的基础上，摆脱原作的形式桎梏，用另一种语言尽可能完整地传递原作的整体风格与意义，这个理解加工的过程就是再创造。
文学翻译的再创造是有限度的，在限度范围内的创造性翻译也是一种忠实，超过了这个限度就是对原作的不忠，甚至可以说是自我的文学创作。
《夜莺与玫瑰》译本比较与评析《夜莺与玫瑰》是爱尔兰著名作家奥斯卡?王尔德的童话代表作之一，讲述了一只夜莺牺牲性命只为换取一朵红玫瑰来帮助年轻男孩追求爱情的故事。
该童话富含哲理，深受儿童和成人的喜爱。
并且曾被收录进外语教学与研究出版社出版的《现代大学生英语精读1》，作为全国各大高校英语专业学生的必学课文。
《夜莺与玫瑰》的中文译本颇多，其中，以林微因和巴金两位文学巨匠的译本最为出名也最具特色。
“林徽因是中国第一个译介The Night- -ingale and the Rose 的女性译者，她将篇名译作《夜莺与玫瑰――奥斯克魏尔德神话》，以“尺棰”为笔名发表在1923年12月1日出版的《晨报五周年纪念增刊》上。
《夜莺与玫瑰》自林徽因翻译之后，诸多重译本都沿用了这个名称，足见其影响力之大。
”（吕晓菲，2013）继林徽因版《夜莺与玫瑰》问世20多年之后，巴金也开始着手翻译这篇伟大的童话，并收录在《快乐王子集》中。
然而，林与巴的版本在总体风格和一些细节处理上都存在着很大的差异。
一、整体翻译风格比较林徽因的译本较之巴金的更加简洁。
这和她通篇采用归化的手法且语言偏文言有关。
而巴金的翻译则大多是对原文的直译，语言通俗易懂。
比如：原文：Surely love is a wonderful thing. It is more precious than emeralds， and dearer than fine opals.林译：果然是件非常的东西。
比翡翠还珍重，比玛瑙更宝贵。
巴译：爱情真是一件了不起的东西。
它比绿宝石更宝贵，比猫眼石更值价。
在对这句话中的“emerald”和“opal”的翻译上，林徽因采用了明显的归化，将它们译作中国人更加熟悉的珠宝――“翡翠”和“玛瑙”。
而巴金则忠实于传达原文的意思，所以直接译成了“绿宝石”和“猫眼宝石”。
又比如，原文："The musicians will sit in their gallery，" said the young Student，“and play upon their stringed instruments， and my love will dance to the sound of the harp and the violin.林译：”青年说：“乐师们将在乐坛上弹弄丝竹，我那爱人也将按着弦琴的音节舞蹈。
2382018年04期总第392期ENGLISH ON CAMPUS浅析《夜莺与玫瑰》不同译本分析文/刘涛【摘要】自1907年《夜莺与玫瑰》被鲁迅介绍到中国以来，以其华丽的辞藻、瑰丽的想象、唯美的画面得到文艺家、翻译家的多种艺术化阐释。
自上世纪以来，不少知名学者将其翻译成汉语。
对比赏析不同版本的译文，是总结英国文学著作翻译的最新经验，为后续的翻译实践提供借鉴指导的一种手段。
【关键词】儿童；文言；简单；重复；现代汉语表达习惯【作者简介】刘涛，福州大学外国语学院。
1.Suddenly she spread her brown wings for flight，and soared into the air. She passed through the grove like a shadow，and like a shadow she sailed across the garden.林徽因译文：忽然她张起棕色的双翼，冲天的飞去。
她穿过那树林如同影子一般，如同影子一般的，她飞出了花园。
巴金译文：突然她张开她棕色翅膀，往空中飞去。
她像影子似地穿过树林，又像影子似地飞过了花园。
苏福忠译文：突然，她展开棕色的翅膀飞起来，冲向高高的天空。
她像影子一样穿过树林，又像影子一样掠过花园。
对比三个不同译文，会发现，早期译者因种种限制，总体风格偏直译，始终不能跳脱出原文枷锁，而苏福忠先生在吸收借鉴前人经验的基础上，结合本时代特色，考虑读者受众接受能力，创作出了以上译文，尤其是“冲向高高的天空”，完美再现了“soar into the air”的神韵。
至于“冲天的飞去”则有文言文的味道，不符现在汉语表达习惯；而“往空中飞去”似乎有点欠额翻译，没有体现出“soar”的力度。
2.“Pale was it，at first，as the mist that hangs over the river—pale as the feet of the morning，and silver as the wings of the dawn. As the shadow of a rose in a mirror of silver，as the shadow of a rose in a water-pool，so was the rose that blossomed on the topmost spray of the Tree.”读完原文，发现原文是典型的儿童文学，具备儿童文学该有的一切特征，如强调形象性，偏爱使用形象鲜明的词语，如形状、颜色、声音等，大量使用比喻、拟人等修辞手法。
《夜莺与玫瑰》读后感今天给大家推荐这本，不仅因为故事感人至深，而且因为它的译者是民国时期著名的大才女林徽因，林奶奶自己的故事也是一部传奇。
书归正传，王尔德的童话被誉为“世界上最美丽的童话”。
在他的每部作品中，几乎都有一个因为“至爱”而变得“至美”的形象。
据说王尔德在给儿子诵读自己的作品时，也会因此感动得潸然泪下。
不过在他的故事里，大多好人并没有所谓的好报，坏人或讨厌的人也未必会有任何惩罚，但是，每个人每个小动物每样东西，都在故事里成就了自我。
夜莺为了自己崇拜的爱情而死，玫瑰最后有没有被珍惜又有什么所谓？快乐王子或者是汉斯，得到了自己想要的.东西，何必在乎世人所谓的成就？巨人的死似乎最具有喜剧色彩，天堂里，他一定能一直看到孩子们的笑容了吧？而星孩儿，即使做了国王，也必得加一个，因他早年受苦，当了3年就去世了，而后面继位的是个很坏的国王，这样的结局，真让人有点哭笑不得。
西方的《圣经》好像有这样一段话：“上帝给世界带来光明，而有些人只感受到黑暗，感受不到光明，这本身，已是一种惩罚。
”是的，每个人，得到自己想要的，就好了。
我想，这就是为什么人间有那么多自私和丑恶，却始终挡不住真正的善良和美丽。
这个小故事说了在冬天的一天，一位王子要举行一个盛大的宴会，他要把一朵玫瑰花送给他心目中最漂亮的.一位女孩。
因为这是一个冬天，没有盛开的玫瑰花，他很伤心，便坐在地上哭了起来，路边所有的行人都说他傻，可是有一只夜莺满怀深情的体谅了他，决定去找到一朵红玫瑰。
那只夜莺找来找去都没找到，就在它绝望的时候看到了一束玫瑰，于是问到：“你能给我一朵玫瑰吗？”“可以，不过现在是冬天，你可以用你心脏里的血给我，还要大声唱歌。
”小夜莺一下子就答应了。
当那朵花变红了时，那只夜莺以死去。
王子来到这里，不觉为之一震，看到了那朵玫瑰花，他高兴极了，连忙把它带回去。
就在王子送花时，那个女孩却把花打掉了，说：“花算什么，我喜欢珠宝，花随处可见，但珠宝就不是了。
浅析《夜莺与玫瑰》的翻译风格及策略——以林徽因、谈瀛洲译本为例摘要：《夜莺与玫瑰》是奥斯卡·王尔德的代表作之一，是其唯美主义发挥到极致的典范。
结合译者的时代背景和个人经历等因素，本文选取了林徽因和谈瀛洲所译版本，着眼于词汇探究了两位译者不同的翻译风格和策略。
就风格而言，林译本半文半白，较为古雅；谈译本平铺直叙，通俗易懂。
就方法来说，林译本多用归化与意译，较原文有多处增删，且注重同一词汇表达的丰富性；谈译本注重异化和直译，对原文的还原度较高，且偏向同一词汇表达的重复性。
关键词：《夜莺与玫瑰》，归化与异化，直译与意译一、引言奥斯卡·王尔德之名在19世纪比肩萧伯纳，是英国唯美主义运动的代表人物，以剧作、诗歌、童话和小说闻名于世。
他一生仅创作了九篇童话，篇篇经典，至今流传。
《夜莺与玫瑰》收录于《快乐王子及其他故事》之中。
该篇童话讲述了夜莺被“有情人”所感动，不忍见其无法邀心爱之人共舞，以毕身之血求得了一朵绽放的红玫瑰。
《夜莺与玫瑰》不仅仅是以启蒙真善美、寓教于乐为目的童话故事，更是一篇极具艺术色彩、批判社会现实的文学作品。
该篇措辞典雅，语调优美，象征意义浓厚，将王尔德历来所崇尚唯美主义主张发挥到了极致，表达了作者欲追求心灵的唯美世界，以艺术之美来对抗社会之丑，以童话之高尚抗衡现实之庸俗的理想与追求。
二、译本简析林徽因译作不多，《夜莺与玫瑰》这篇“比生命更可贵的爱情”的童话是她在照顾梁思成期间所作，时代背景、个人文学审美偏好以及翻译动机都在其中有所显现，最终造就了这篇词藻雅致、极富文采与诗意的译作。
谭峥，笔名谈瀛洲，复旦大学外国语言文学学院教授。
他主攻英美文学，多年来深入钻研王尔德、莎士比亚以及唯美主义研究。
谈认为之前数位大家的译本影响深远，但多少难逃时代背景的局限，且存在些许误译的现象。
他在2015年发表了自己的译作，以“尽量忠实转达王尔德文字的原意”为原则，“把在这二十多年时间里积累起来的对王尔德和整个唯美主义运动的研究经验融汇到译文当中去”。
夜莺与玫瑰最全英文原文及林徽因译文THE NIGHTINGALE AND THE ROSE"She said that she would dance with me if I brought her red roses," cried the young Student, "but in all my garden there is no red rose."From her nest in the oak tree the Nightingale heard him, and she looked out through the leaves and wondered."No red rose in all my garden!" he cried, and his beautiful eyes filled with tears. "Ah, on what little things does happiness depend! I have read all that the wise men have written, and all the secrets of philosophy are mine, yet for want (没有) of a red rose is my life made wretched.""Here at last is a true lover," said the Nightingale. "Night after night have I sung of him, though I knew him not: night after night have I told his story to the stars and now I see him. His hair is dark as the hyacinth(风信子)-- blossom, and his lips are red as the rose of his desire; but passion has made his face like pale ivory, and sorrow has set her seal upon his brow.""The Prince gives a ball (舞会) to-morrow night," murmured the young student, "and my love will be of the company. If I bring her a red rose she will dance with me till dawn. If I bring her a red rose, I should hold her in my arms, and she will lean her head uponmy shoulder, and her hand will be clasped in mine. But there is no red rose in my garden, so I shall sit lonely, and she will pass me by. She will have no heed of me, and my heart will break.""Here, indeed, is the true lover," said the Nightingale. "What I sing of, he suffers: what is joy to me, to him is pain. Surely love is a wonderful thing. It is more precious than emeralds (翡翠), and dearer than fine opals (蛋白石). Pearls and pomegranates cannot buy it, nor is it set forth in the market-place. It may not be purchased of the merchants, nor can it be weighed out in the balance for gold.""The musicians will sit in their gallery," said the young Student, "and play upon their stringed instruments, and my love will dance to the sound of the harp and the violin. She will dance so lightly that her feet will not touch the floor, and the courtiers in their gay dresses will throng round her. But with me she will not dance, for I have no red rose to give her:" and he flung himself down on the grass, and buried his face in his hands, and wept."Why is he weeping?" asked a little Green Lizard, as he ran past him with his tail in the air."Why, indeed?" said a Butterfly, who was fluttering about after a sunbeam."Why, indeed?" whispered a Daisy to his neighbour, in a soft, low voice."He is weeping for a red rose," said the Nightingale."For a red rose?" they cried: "how very ridiculous!" and the little Lizard, who was something of a cynic (愤世嫉俗者), laughed outright.But the Nightingale understood the secret of the Student’s sorrow, and she sat silent in the oak-tree, and thought about the mystery of Love.Suddenly she spread her brown wings for flight, and soared into the air. She passed through the grove like a shadow and like a shadow she sailed across the garden.In the center of the grass-plot was standing a beautiful Rose-tree, and when she saw it she flew over to it, and lit upon a spray."Give me a red rose," she cried, "and I will sing you my sweetest song."But the Tree shook its head."My roses are white," it answered; "as white as the foam of the sea, and whiter than the snow upon the mountain. But go to my brother who grows round the old sun-dial (一种玫瑰), and perhaps he will give you what you want."So the Nightingale flew over to the Rose-tree that was growing round the old sun-dial."Give me a red rose," she cried, "and I will sing you my sweetest song."But the Tree shook its head."My roses are yellow," it answered; "as yellow as the hair of the mermaiden (美人鱼) who sits upon an amber throne, and yellower than the daffodil (黄水仙) that blooms in the meadow before the mower comes with his scythe. But go to my brother who grows beneath the Student’s window, and perhaps he will give you what you want."So the Nightingale flew over to the Rose-tree that was growing beneath the Student’s window."Give me a red rose," she cried, "and I will sing you my sweetest song."But the Tree shook its head."My roses are red," it answered, "as red as the feet of the dove, and redder than the great fans of coral that wave and wave in the ocean-cavern. But the winter has chilled my veins, and the frost has nipped (摧残) my buds, and the storm has broken my branches, and I shall have no roses at all this year.""One red rose is all I want," cried the Nightingale, "only one red rose! Is there no way by which I can get it?""There is a way," answered the Tree; "but it is so terrible that I dare not tell it to you.""Tell it to me," said the Nightingale, "I am not afraid.""If you want a red rose," said the Tree, "you must build it out of music by moonlight, and stain it with your own heart’s blood. You must sing to me with your breast against a thorn. All night long you must sing to me, and the thorn must pierce your heart, and your life-blood must flow into me veins, and become mine.""Death is a great price to pay for a red rose," cried the Nightingale, "and Life is very dear to all. It is pleasant to sit in the green wood, and to watch the Sun in his chariot (战车) of gold, and the Moon in her chariot of pearl. Sweet is the scent of the hawthorn, and sweet are the bluebells that hide in the valley, and the heather that blows on the hill. Yet love is better than Life, and what is the heart of a bird compared to the heart of a man?"So she spread her brown wings for flight, and soared into the air. She swept over the garden like a shadow, and like a shadow she sailed through the grove.The young Student was still lying on the grass, where she had left him, and the tears were not yet dry in his beautiful eyes."Be happy," cried the Nightingale, "be happy; you shall have your red rose. I will build it out of music by moonlight, and stain itwith my own heart’s blood. All that I ask of you in return is that you will be a true lover, for Love is wiser than Philosophy (哲学), though he is wise, and mightier than Power, though he is mighty. Flame-coloured are his wings, and coloured like flame is his body. His lips are sweet as homey, and his breath is like frankincense."The Student looked up from the grass, and listened, but he could not understand what the Nightingale was saying to him, for he only knew the things that are written down in books.But the Oak-tree understood, and felt sad, for he was very fond of the little Nightingale, who had built her nest in his branches."Sing me one last song," he whispered; "I shall feel lonely when you are gone."So the Nightingale sang to the Oak-tree, and her voice was like water bubbling from a silver jar.When she had finished her song, the Student got up, and pulled a note-book and a lead-pencil out of his pocket."She had form," her said to himself, as he walked away through the grove—"that cannot be denied to her; but has she got feeling? I am afraid not. In fact, she is like most artists; she is all style without any sincerity. She would not sacrifice herself for others. She thinks merely of music, and everybody knows that the arts are selfish. Still, it must be admitted that she has some beautiful notes in her voice.What a pity it is that they do not mean anything, or do any practical good!" And he went into his room, and lay down on his little pallet-bed, and began to think of his love; and, after a time, he fell asleep.And when the moon shone in the heavens the Nightingale flew to the Rose-tree, and set her breast against the thorn. All night long she sang, with her breast against the thorn, and the cold crystal Moon leaned down and listened. All night long she sang, and the thorn went deeper and deeper into her breast, and her life-blood ebbed away from her.She sang first of the birth of love in the heart of a boy and a girl. And on the topmost spray of the Rose-tree there blossomed a marvelous rose, petal following petal, as song followed song. Pale was it, at first, as the mist that hangs over the river—pale as the feet of the morning, and silver as the wings of the dawn. As the shadow of a rose in a mirror of silver, as the shadow of a rose in a water-pool, so was the rose that blossomed on the topmost spray of the Tree.But the Tree cried to the Nightingale to press closer against the thorn. "Press closer, little Nightingale," cried the Tree, "or the Day will come before the rose is finished."So the Nightingale pressed closer against the thorn, and louder and louder grew her song, for she sang of the birth of passion in the soul of a man and a maid.And a delicate flush of pink came into the leaves of the rose, like the flush in the face of the bridegroom when he kisses the lips of the bride. But the thorn had not yet reached her heart, so the rose’s heart remained white, for only a Nightingale’s he art’s blood can crimson the heart of a rose.And the Tree cried to the Nightingale to press closer against the thorn. "Press closer, little Nightingale," cried the Tree, "or the Day will come before the rose is finished."So the Nightingale pressed closer against the thorn, and the thorn touched her heart, and a fierce pang of pain shot through her. Bitter, bitter was the pain, and wilder and wilder grew her song, for she sang of the Love that is perfected by Death, of the Love that dies not in the tomb.And the marvelous rose became crimson (猩红), like the rose of the eastern sky. Crimson was the girdle of petals, and crimson as a ruby (红宝石) was the heart.But the Nightingale’ voice grew fainter, and her little wings began to beat, and a film came over her eyes. Fainter and fainter grew her song, and she felt something choking her in her throat.Then she gave one last burst of music. The white Moon heard it, and she forgot the dawn, and lingered on in the sky. The red rose heard it, and it trembled all over with ecstasy, and opened its petalsto the cold morning air. Echo bore it to her purple cavern in the hills, and woke the sleeping shepherds from their dreams. It floated through the reeds of the river, and they carried its message to the sea."Look, look!" cried the Tree, "the rose is finished now;" but the Nightingale made not answer, for she was lying dead in the long grass, with the thorn in her heart.And at noon the Student opened his window and looked out."Why, what a wonderful piece of luck!" He cried; "here is a red rose! I have never seen any rose like it in all my life. It is so beautiful that I am sure it has a long Latin name;" and he leaned down and plucked it.Then he put on his hat, and ran up to the Professor’s house with the rose in his hand.The daughter of the Professor was sitting in the doorway winding blue silk on a reel, and her little dog was lying at her feet."You said that you would dance with me if I brought you a red rose," cried the Student. "Here is the reddest rose in all the world. You will wear it to-night next your heart, and as we dance together it will tell you how I love you."But he girl frowned."I am afraid it will not go with my dress," she answered; "and, besides, the Chamberlain’s nephew had sent me some real jewels, and everybody knows that jewels cost far more than flowers.""Well, upon my word, you are very ungrateful," said the Student angrily; and he threw the rose onto he street, where it fell into the gutter (阴沟), and a cartwheel went over it."Ungrateful!" said the girl. "I tell you what, you are very rude; and, after all, who are you? Only a Student. Why, I dont believe you have even got silver buckles to your shoes as the Chamberlain’s nephew has;" and she got up from her chair and went into the house."What a silly thing Love is!" said the Student as he walked away. "It is not half as useful as Logic, for it does not prove anything, and it is always telling one of things that are not going to happen, and making one believe things that are not true. In fact, it is quite unpractical, and, as in this age to be practical is everything, I shall go back to Philosophy and study Metaphysics (玄学)."So he returned to his room and pulled out a great dusty book, and began to read.夜莺与玫瑰王尔德原著；林徽因译作“她说我若为她采得红玫瑰，便与我跳舞。
夜莺与玫瑰评价
1.《夜莺与玫瑰》是一个关于爱、牺牲与勇气的故事，它用唯美的语言和细腻的描绘，让
我们沉醉在这个充满魔力的童话世界中。
让我们跟随夜莺的旅程，一起感受那份执着与真爱吧！
2.《夜莺与玫瑰》是一部温暖人心的童话，它让我们重新审视爱情与牺牲的价值，以及勇
敢追梦的力量。
3.夜莺与玫瑰的故事，让我感受到爱情带给人勇敢的力量。
4.《夜莺与玫瑰》不仅仅是一部关于爱情的童话，它还让我们反思人类与自然的关系，以
及自然界中那份无私的爱。
故事中夜莺的牺牲和执着，让我们为之动容，也让我们更加珍视生活中的美好。
5.这个故事虽然发生在遥远的童话世界，但所传达的情感却是现实中我们每个人都可能遇
到的。
读完《夜莺与玫瑰》，你或许会发现自己内心的柔软，也可能会被夜莺的勇敢所感动。
第 31 卷 第 7 期2018 年 7 月江西电力职业技术学院学报Journal of Jiangxi Vocational and Technical College of ElectricityVol.31 No.7Jul.2018《夜莺与玫瑰》两个不同译本的翻译研究李霞（吕梁学院汾阳师范分校，山西吕梁 032200）摘 要：奥斯卡·王尔德这位英国唯美主义作家的经典童话作品《夜莺与玫瑰》，以其华丽的辞藻、唯美的画面，得到文艺家、翻译家的多种艺术化阐释。
以巴金和林徽因二者的译本为例，对紧扣词句段且实现了言语上的形似的巴金译本，以及使用了文言词而达到了与原作神似的林徽因译本进行深入研究，并结合具体实例，分析不同翻译目的指导下的译文风格特点，指出译者自身穿凿的艺术风格对译文产生的巨大影响。
关键词：《夜莺与玫瑰》；译本；翻译中图分类号：H315.9；I046 文献标识码：B 文章编号：1673-0097(2018)07-0155-02A Study of the Translation of Two Different Versions of Nightingale and RoseLI Xia(Fenyang Normal School of Lvliang University, Lvliang 032200, China)Absrtact: Oscar Wilde's classic fairy tale Nightingale and Rose, with its magnificent rhetoric and aesthetic pictures, had been interpreted by many artists and translators. Taking the translations of Ba Jin and Lin Hui Yin as examples, this paper makes an in-depth study of the translation of Ba Jin's and Lin Hui Yin's versions, which are closely related to the sentences and realizes the verbal similarity, and the translation of Lin Hui Yin's which is similar to the original spirit through the use of classical Chinese words. The great influence of chiseled art style on translation.Key words: Nightingale and Rose; Translation; Translating0 引言作为唯美主义艺术运动的倡导者，英国著名作家、诗人、戏曲家和艺术家奥斯卡·王尔德以精湛完美的文体形式、抒情的笔调和华丽的辞藻，创造出一部颂扬真善美和批判假丑恶的童话作品——《夜莺与玫瑰》。
夜莺与玫瑰的读后感7篇（经典版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
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简评林徽因译《夜莺与玫瑰》郑锦怀（泉州师范学院福建泉州３６２０００）摘要：针对迄今为止学术界对林徽因翻译活动所进行的研究之不足，着重探讨了英国著名作家奥斯卡・王尔德原著、林徽因所翻译的童话作品《夜莺与玫瑰》在外国文学汉译史上的意义，并分析了该译文的语言特征、归化倾向，以及误译、漏译等等，旨在抛砖引玉，争取有更多的专家学者参与到对林徽因翻译活动的研究中来，以期对其有更加全面、客观而又深刻的认识。
关键词：林徽因；翻译；夜莺与玫瑰；译作分析中图分类号：Ｈ３１５．９文献标识码：Ａ文章编号：１６７３－４６２９（２００７）０５－００８９－０３收稿日期：２００６—０９—０４作者简介：郑锦怀（１９８１—），男，福建泉州人，英语语言文学硕士，主要研究方向为翻译理论，翻译批评与翻译（文学）史。
龙岩学院学报ＪＯＵＲＮＡＬＯＦＬＯＮＧＹＡＮＵＮＩＶＥＲＳＩＴＹ２００７年１０月第２５卷第５期Ｏｃｔｏｂｅｒ２００７Ｖｏｌ．２５Ｎｏ．５自从电视剧《人间四月天》热播以来，一代才女林徽因的名字已经为越来越多的人所了解，学术界似乎也因此刮起了一阵“林徽因风”，对她的研究与探讨变得多起来了。
在ＣＮＫＩ上以“林徽因”为“篇名”进行检索，可以查到１９９９年到２００６年之间的８６篇相关文章；如以其为“主题”或“关键词”进行检索，结果则多达三百余篇。
但仔细一分析，这些文章中小部分是传记或回忆类，其他大多数探讨的则是林徽因的文学创作，特别是其诗歌与小说。
而令人遗憾的是，林徽因的翻译活动似乎被忽视了。
①就笔者所见，似乎只有张筠艇的《闽籍女性翻译家群体》［１］一文对林徽因的翻译活动有所涉及，但也只是粗略介绍而已，并无深入的探讨与分析。
同时，迄今为止几本重要的翻译（文学）史专著，比如马祖毅编的《中国翻译简史—五四以前部分》（中国对外翻译出版公司，１９８４）、罗选民主编的《外国文学翻译在中国》（安徽文艺出版社，２００３）与谢天振、查明建主编的《中国现代翻译文学史（１８９８－１９４９）》（上海外语教育出版社，２００４）都未提及林徽因的翻译活动，而现有的几本重要的翻译词典，如《中国翻译家词典》（中国对外翻译出版公司，１９８８）、林煌天主编的《中国翻译词典》（湖北教育出版社，１９９７）等等，也都未曾收录“林徽因”这一词条。
事实上，翻译活动在林徽因的一生中占有重要的地位。
她在报刊杂志上公开发表的第一篇作品就是一篇译文，即王尔德的童话名篇《夜莺与玫瑰》，而她在其主业建筑与美术研究活动中也常常要从外文的书刊杂志翻译材料。
要研究林徽因，就不能避开她的翻译活动。
在此，笔者打算抛砖引玉，仅就她翻译的《夜莺与玫瑰》进行初步的论述。
一、林徽因译《夜莺与玫瑰》的过程与意义从目前掌握的材料来看，由于种种因素的影响，林徽因进行的翻译活动并不多，其译作也不过两篇而已，即英国著名作家奥斯卡・王尔德（ＯｓｃａｒＷｉｌｄｅ）原著的《夜莺与玫瑰》（ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ）与前苏联学者窝罗宁所写的《苏联卫国战争被毁地区之重建》。
奥斯卡・王尔德的童话作品不足１０篇，却博得了童话大师之誉，可见其功力之高。
ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ正是他的力作之一，风行全球，在中国也很受读者欢迎，迄今为止已经有很多名家翻译过此文。
在林徽因之前，周作人在中国第一个提到了王尔德的这篇童话名作ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ。
他在由东京神田印刷所于１９０９年７月出版的《域外小说集》第二集，卷末列出了以后将陆续出版的篇目预告，其中便包括王尔德（当时译作“淮尔特”②）ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ（当时译为《杜鹃》）。
［２］８２但由于市场反应不佳，《域外小说集》只出版到第二集便停止了，周作人也并未将ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ译成汉语。
１９２０年，胡愈之在中国首次将ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ译成汉语白话文，当时译作《莺与蔷薇》，发表在《东方杂志》第１７卷第８号（１９２０年４月２５日）上，署名“愈之”。
［３］５１－５７１９２２年２月１０日，上海泰东图书局出版了穆木天的童话译文集《王尔德童话》，收录了包括ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ（当时译作《莺儿与玫瑰》）在内的五篇王尔德童话，也都是使用白话文。
［４］４３０继胡愈之、穆木天之后，林徽因于１９２３年５月也用白话文翻译了ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ，当时译作《夜莺与玫瑰》。
林徽因的这次翻译与她后来的丈夫梁思成有着直接的关联。
由于林徽因之父林长民与梁思成之父梁启超是故交挚友，两个家庭往来甚密，林徽因在旅欧、留英之前，就与梁思成两人相互认识、熟悉起来，产生了朦胧的感情。
１９２１年她回到北京之后，两人感情日益深厚，陷入了爱情的甜蜜海洋。
１９２３年５月７日，即袁世凯政府签订丧权辱国的“二十一条”的国耻纪念日这一天，梁思成与其弟梁思永骑摩托车想去与同学一道参加北京学生的游行示威，途中不幸被军阀金永炎的轿车撞倒，受了重伤，被送入医院。
由于庸医误人，他的伤腿没来得及做手术，结果导致残疾。
在梁思成住院期间，林徽因无微不至地照顾着他。
为免梁思成疼痛难忍，她便读小说，背新诗，讲同学和弟妹间有趣的事，以转移他的注意力。
可能是怕梁思成因为自身残疾而自惭形秽，林徽因为明心志，便决定翻译奥斯卡・王尔德礼赞“比生命更可贵的爱情”的童话作品ＴｈｅＮｉｇｈｔｉｎｇａｌｅａｎｄｔｈｅＲｏｓｅ。
梁思成本人亦是中英文皆佳，翻译水平很高。
早在清华学堂读留美预科期间，他就与同班同学吴文藻、徐宗漱等一起翻译了威尔斯的《世界史大纲》，于１９２２年３月完成，１９２７年由商务印书馆出版了两卷本，１９２９年又入选王云五主编的“万有文库”，也是由商务印书馆出版发行。
此次林徽因初译《夜莺与玫瑰》，尚无任何经验，便不时地向梁思成请教。
林、梁二人对着英文原作，一句句地讨论着，尽量最准确地理解原文，并挑选出最贴切的汉语词句来表达。
林徽因能顺利译出《夜莺与玫瑰》，梁思成功不可没。
虽然此译文最后以《夜莺与玫瑰—奥司克魏尔德神话》之名发表在１９２３年１２月１日出版的《晨报五周年纪念增刊》上时只署林徽因的笔名“尺棰”，但实际上梁思成也参与了翻译，因而应当算是林、梁二人合作翻译的成果。
［５］２５－２６林徽因也因此成为中国第一个翻译介绍ＴｈｅＮｉｇｈｔｉｎ－ｇａｌｅａｎｄｔｈｅＲｏｓｅ这一童话名篇的女性译者，同时也是王尔德童话作品的第一位女性汉译者，可谓是中国新女性参与翻译活动的典范之一。
而且，有必要一提的是，林徽因之后的绝大多数译者翻译这一篇童话时都是沿用她选用的《夜莺与玫瑰》这一译名。
可惜的是，由于社会历史条件的限制，林徽因的这一译作长期埋没在历史的大潮中，不为人所知，也使得人们长期认为林徽因直到１９３１年才发表作品。
但到了１９８５年，林徽因之子梁从诫作为《林徽因诗集》的编选者在该书的前言中指出，林徽因的另一位终身好友美国人费慰梅女士（ＷｉｌｍａＦａｉｒｂａｎｋ，美国研究中国问题学者费正清＜ＪｏｈｎＫ．Ｆａｉｒｂａｎｋ＞的夫人）回忆称梁思成曾告诉过她，林徽因在１９２３年第一次发表的作品便是她翻译的《夜莺与玫瑰》。
［６］１９９４年，费慰梅的晚年回忆录《梁思成和林徽因：一对探索中国建筑的伴侣》中也出现了她的这一回忆，而该回忆录于１９９７年由曲莹璞等译成汉语，并由中国文联出版公司出版，使得读者对林徽因发表的第一篇作品的真实情况有所了解。
［７］但遗憾的是，这两本书都未明确指出林徽因翻译的《夜莺与玫瑰》到底是发表在什么刊物上，像费慰梅在书中就只是说该译文可能是发表在北京或天津一家报纸的文艺副刊上。
到了１９９９年，林徽因研究专家曹汛在首都图书馆（今国家图书馆）的一本于１９２３年１２月１日出版的《晨报五周年纪念增刊》上找到了这篇署名“尺棰译”并加题注“奥司克魏尔德神话”的《夜莺与玫瑰》［８］，这才使得林徽因的第一篇译作完整地出现在世人面前，而后来才得以被收入陈学勇编选的《林徽因小说・九十九度中》（上海古籍出版社，１９９９）及其主编的《林徽因文存（散文・书信・翻译卷）》（四川文艺出版社，２００５年），从此广为读者所知。
二、林徽因译《夜莺与玫瑰》的语言特征：文言遗痕翻译活动不能脱离具体的社会历史语境，译者的翻译观、翻译方法等等总是受到一定的社会、经济、文化等因素的影响，其产出的译文中也难免留下当时主流的语言文化规范的痕迹。
林徽因翻译的《夜莺与玫瑰》自然不能免俗。
通过对林译全文全面而仔细的审视分析，我们可以发现，该译文的语言表达带有二十世纪二十年代鲜明的时代特征。
首先，林徽因所使用的语言带有文言的痕迹。
众所周知，中国长期盛行文言文，白话文一向被轻视、忽略。
但随着科举制度的取消以及封建统治在中国的终结，人民大众日益觉醒，知识分子也极力想打破封建主义的束缚。
从１９１５年９月陈独秀在上海创办《青年杂志》（１９１６年９月起改名为《新青年》）起，中国知识界掀起了一场声势浩大的新文化运动，其主张中就包括提倡新文学，反对旧文学和文言文，开展文学革命和白话文运动。
白话文逐渐流行起来，但由于先天不足，其语言依然十分贫乏，很不成熟，曾受到鲁迅、傅雷等翻译家的批评。
人们或者极力主张通过翻译输入新的内容与新的表现法，以改良、丰富现有的贫乏的白话文，比如鲁迅主张“硬译”；或者主张要继承文言文成熟的体系，将其融入白话文中，比如周作人就坚持文言与白话相互结合补充，亦文亦白。
但总的说来，由于积重难改，当时这两派的创作与翻译活动中实际上都难免带有文言的痕迹。
林徽因是在新文化运动兴起了大约８年之后的１９２３年５月翻译《夜莺与玫瑰》的。
而在此之前她既接受了新式教育，但同时也受到传统国学的巨大影响，她所使用的白话文里也不免带有文言的残余。
《夜莺与玫瑰》这篇译文从总体来看是白话文为主，但文言的成分也不少。
比如林徽因在译文中也用到了“何曾”、“亦”、“在我……在他……”等等比较明显的文言表达。
比如她不区分“他”、“她”、“它”，以及“的”、“地”、“得”。
此外，白话文引进了西方的语言学体系，比较清晰地划分了词类，名词、动词等的用法各有规定，一般不能把名词当作动词使用，而文言文中名词常可用作动词。
林徽因的译文中有这么一句，“王子今晚宴会跳舞我的爱人也将与会。
”“宴会”原本是名词，但在这个句子中却被当作动词使用，意思是“举办宴会”，明显受到文言用法的影响。
其次，林徽因译文鲜明的时代特征也可以从其标点符号的使用中窥见一斑。
中国古文言文中没有标点符号，断句只能靠人的经验来完成，而西方完整的标点符号在清末民初被引入中国，在现代白话文中广泛应用。
但人们对外来的东西毕竟要有个适应期，在使用上难免有所疏漏。
