林语堂论翻译

翻译的三标准——林语堂先生的“忠实、通顺、美”摘要：林语堂先生提出“忠实标准，通顺标准，美”三条标准，既是对译作的要求，也是对译者的要求。

其标准较严复先生对译作的要求而言，更具现实性，更为丰富，更具全面性。

关键词：翻译标准林语堂严复译者要求一、林语堂先生的“忠实、通顺、美”林语堂（1895—1976），原名和乐，笔名语堂。

他曾参加“语丝社”，并在1930年代曾创办、主编《论语》《人世间》《宇宙风》等刊物，成为“论语派”的主要代表。

林语堂先生一生中写过的涉及翻译理论的文章不少，但他最系统、最有名的论述，是长篇论文《论翻译》（作于1932年初）。

这是他为吴曙天编选的《翻译论》一书（1933年1月光华书局出版）所作的论序（后又收入林语堂的《语言学论丛》一书中）。

林语堂先生将翻译作为一种艺术看待。

他认为翻译艺术所依赖的有三条：第一是译者对于原文文字及内容上透彻的了解；第二是译者有相当的国文程度，能写清顺畅达的中文；第三是译事上的训练，译者对于翻译标准及手术上的问题有正当的见解。

”林语堂先生在《论翻译》中提出了对译者的这三条要求，既要求对原文的透彻理解，还要求有一定的表达能力以及对一定的翻译技巧、标准的掌握。

林语堂先生的这篇论文，从翻译的实际出发，毫不玄虚，说理朴质。

他认为以前论述翻译问题的文章大多或泛论译法或单论译名，“都是直接出于经验的话，未尝根据问题上的事实做学理的剖析”。

而他提出“讨论翻译需研究其文字及心理问题”，换言之，即“翻译问题，就可以说是语言文字及心理问题”。

他认为：“倘是我们要于此问题得到比较客观的解决，自当以语言文字心理的剖析为立论根基。

必先明语言文字及行文心理的事实，然后可以做译者标准应如何、态度应如何的结论。

”林语堂先生是在中国译学史上第一个最明确地将现代语言学和心理学作为翻译理论的“学理剖析”的基础的。

正是在这两大基础上,他继承前人译论的精华,提出了翻译的三条标准:第一是忠实标准，第二是通顺标准，第三是美的标准。

借林语堂论《尼姑思凡》翻译作者：王萌来源：《青年文学家》2016年第15期摘要：林语堂作为20世纪著名的文学家、语言学家、翻译家，在其《论翻译》及《论诗译》中提出了自己系统全面的翻译理论。

即译者需在对原著者、译文读者和艺术负责的基础上，达到忠实、通顺和美的标准。

本文将以《尼姑思凡》的英译为例，赏析林氏翻译主张在其翻译中的运用。

关键词：林语堂；尼姑思凡；翻译[中图分类号]：H315.9 [文献标识码]：A[文章编号]：1002-2139（2016）-15--01自古从事翻译事业的人都了解，翻译事业与翻译标准相对而言，应当是先有译事，后有标准。

《论翻译》一文里，林氏开文第一句话就点明了翻译的性质，说“谈翻译的人首先要觉悟的事件，就是翻译是一门艺术”。

从事艺术创造的人都需要一定的天赋秉义，对翻译，尤其是文学翻译而言，笔者认为这一比例高达30%，也就是说，一个翻译集大成者，一篇优秀的译文，其中译者的天赋贡献值为30%，其他因素诸如译者的双语功底，翻译训练，知识储备等的贡献值为70%。

这里所说的天赋稍显抽象，具体一点说来可以指译者的灵气，领悟能力和创造力。

林语堂先生在“论翻译”中讲到：“凡艺术的成功，必赖个人相当之艺才，及其对于该艺术相当之训练。

此外别无成功捷径可言，因为艺术素来是没有成功捷径的。

”林语堂追求性灵的审美情趣，其中对《尼姑思凡》的翻译便属于这一类。

“恐怕是以前的士大夫所不屑道的，其佳处在于真情流露。

前曾译成英文代表越出经典以外的中国文学”。

看过陈凯歌导演的《霸王别姬》的人不论何时想起来都应该是心潮澎湃，对于其中那段经典的《尼姑思凡》也必定是记忆犹新，正是这段《思凡》最终成为了陈蝶衣整个人生道路的转折点。

然而看过戏文的人大概连翻译着试试看的勇气都没有，为什么呢？一句话：“太中国化了！”但是林语堂先生尝试了，品读之后大概您的心理也就只剩赞叹了。

接下来笔者将对译文进行赏析，但是与平常不同的是，笔者不会用《翻译论集》里提到了各家各派的代表性论述来赏析，因为那样做的结果只能是重重叠叠的夸赞，缺乏新意，所以笔者的出路就是让林语堂自己来给自己的作品做赏析，向我们展示他的译文是如何体现自己的翻译主张的。

秋灯琐忆作者：蒋坦道光癸卯闰秋，秋芙来归。

漏三下，臧获皆寝。

秋芙绾堕马髻，衣红绡之衣，灯花影中，欢笑弥畅，历言小年嬉戏之事。

渐及诗词，余苦木舌挢不能下，因忆昔年有传闻其《初冬诗》云“雪压层檐重，风欺半臂单”，余初疑为阿翘假托，至是始信。

于时桂帐虫飞，倦不成寐。

盆中素馨，香气然，流袭枕簟。

秋芙请联句，以观余才，余亦欲试秋芙之诗，遂欣然诺之。

余首赋云：“翠被鸳鸯夜，”秋芙续云：“红云织(虫墨)楼。

花迎纱幔月，”余次续云：“入觉枕函秋。

”犹欲再续，而檐月暧斜，邻钟徐动，户外小鬟已啁啁来促晓妆矣。

余乃阁笔而起。

秋月正佳，秋芙命雏鬟负琴，放舟两湖荷芰之间。

时余自西溪归，及门，秋芙先出，因买瓜皮迹之，相遇于苏堤第二桥下。

秋芙方鼓琴作《汉宫秋怨》曲，余为披襟而听。

斯时四山沉烟，星月在水，杂鸣，不知天风声环佩声也。

琴声末终，船唇已移近漪园甫岸矣。

固叩白云庵门。

庵尼故相识也，坐次，采池中新莲，制羹以进。

香色清冽，足沁肠睹，其视世味腥膻，何止薰莸之别。

回船至段家桥登岸，施竹簟于地，坐话良久。

闻城中尘嚣声，如蝇营营，殊聒人耳。

桥上石柱，为去年题诗处，近为嫔衣剥蚀，无复字迹。

欲重书之，苦无中书。

其时星斗渐稀，湖气横白，听城头更鼓，已沉沉第四通矣，遂携琴刺船而去。

余莲村来游武林，以惠山泉一瓮见饷。

适墨开士主讲天日山席，亦寄头纲茶来。

竹炉烹饮，不啻如来滴水，遍润八万四千毛孔，初不待卢仝七碗也。

莲村止余草堂十有馀日，剪烛论文，有逾胶漆。

惜言欢未终，饥为驱去。

树云相望，三年于兹矣。

常忆其论吴门诸子诗，极称觉阿开士为闻见第一。

觉阿以名秀才剃落佛前，磨砖十年，得正法眼藏。

所居种梅三百余本，香雪满时，跌坐其下，禅定既起，间事吟咏。

有《咏怀诗》云：“自从一见楞严后，不读人间糠粕书。

”昔简斋老人论《华严经》云：“文义如一桶水，倒来倒去。

”不特不解《华严》，直是未见《华严》语。

以视觉阿，伺止上下床之别耶！惜未见全诗，不胜半偈之憾。

闻莲村近客毗陵，暇日当修书问之。

林语堂的翻译观作者：张雪芳来源：《科学导报·学术》2020年第49期摘要：林语堂是我国现代著名的学者、文学家和翻译家。

他认为翻译究其本质应该是一门艺术，并提出了忠实、通顺和美的标准，开辟了从心理角度进行翻译的崭新视角。

林先生的翻译思想在我们今天的翻译实践中仍然具有积极的指导意义。

关键词：林语堂;翻译;翻译标准林语堂（1895-1976），福建龙溪人，中国当代文坛著名的作家、学者、语言学家，也是近现代将中国文化成功介绍给西方的文人之一。

他出生于福建漳州的一个小山村，父亲是当地的牧师，因此林语堂从小一直接受的是西式教育。

在念完了教会的小学、中学以后，林语堂受人资助得以到上海圣约翰大学继续学习，毕业后在清华大学教授英文。

凭借自身对东西方文化的熟谙以及深厚的中英文功底，林语堂不仅用英文直接创作了《京华烟云》、《风声鹤唳》、《武则天传》等佳作，同时还通过翻译《孔子的智慧》、《老子的智慧》、《英译庄子》、《浮生六记》等著作，孜孜不倦地向西方介绍中国、传播中国传统文化和人生哲学。

实可谓“两脚踏中西文化，一心评宇宙文章”。

作为一位在中西文化、文学和语言修养方面均有深厚造诣的大学者，林语堂在翻译实践上颇有建树，他对翻译的见解也同样对我们如今的翻译研究有着重要的指导作用。

林语堂虽没有专门讨论翻译理论的著作，但他的翻译思想在1933年出版的《语言学论丛》中其所著的一篇题为《论翻译》的文章中可见一斑。

林先生在这篇译论中针对翻译的性质、目的、标准等核心问题都进行了论述，提出了自己独到的见解。

一、是科学还是艺术长期以来，翻译研究者们对翻译的本质是艺术还是科学争论不休，科学是成规矩的，而艺术则恰恰相反。

林语堂先生坚定地认为翻译应当是一门艺术，他认为“译学无成规”，“翻译即创作”。

他本人在翻译过程中也十分注重翻译的美学特征，无论是翻译文学评论、戏剧、幽默作品、散文、诗歌还是文化典籍，林语堂都注重对“个性”、“性灵”的传达，既强调对原作艺术精神的保留，也通过翻译这一“再创作”过程展现了他所推崇的东方的生活趣味和人生哲学。

《幽梦影》——林语堂译（人生卷）xyer@白云黄鹤BBS录入《幽梦影》——林语堂译1人生——之一情之一字，所以维持世界；才之一字，所以粉饰乾坤。

*（吴）雨若曰：世界原从情字生出。

有夫妇然后有父子，有父子然后有兄弟，有兄弟然后有朋友，有朋友然后有君臣。

*批注者于书中初见，即加注姓氏，以便读者。

Passion holds up the bottom of the universe, and the poet gives it a new dress.Yujo: All human life begins with love between man and woman, from which the other human relationships such as between father and son and between brothers follow.人生——之二情必近于痴而始真，才必兼乎趣而始化。

（陆）云士曰：真情种，真才子，能为此言。

（顾）天石曰：才兼乎趣，非心斋不足当之。

（尤）慧珠曰：余情而痴则有之，才而趣则未能也。

Love is not true love without a form of madness. A literary artist must have zest in life to enter into nature's spirit.Yunshih: Here speaks a born lover and artist.Tienshih: Shintsai really understands the zest of life besides being a literary artist.1买了一套林语堂翻译作品集，大部分是古文，贴出来与大家分享。

同时在白云黄鹤BBS外语角和旺旺英语论坛连载。

《林语堂中英对照丛书》系列由百花文艺出版社出版。

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从林语堂的翻译理论分析葛浩文《骆驼祥子》英译
李瑶
【期刊名称】《海外英语（下）》
【年(卷),期】2018(000)005
【摘要】《骆驼祥子》是我国语言大师老舍的代表作,在我国文学史上占有重要地位,这部作品曾被多次翻译成英文.前人对其研究已有不少建树,而对其译作从翻译美学角度的分析研究则甚少.美国汉学家葛浩文作为一名英文世界地位在最高的中国文学翻译家,在翻译老舍的作品中,体现了自己独特的风格以及独一无二的翻译思想.因此,该文将以林语堂的翻译思想为基础,从他提出的忠实、通顺、美三个层面分别对以葛浩文译本中第八、九章的典型例子进行分析,对如何在翻译过程中做到准确性、流畅性与艺术性相结合进行探讨,旨在对英语学习者研究和欣赏我国的英译作品提供借鉴意义.
【总页数】2页(P120-121)
【作者】李瑶
【作者单位】桂林理工大学,广西桂林541004
【正文语种】中文
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On Leveling All ThingsTsech'i of Nankuo sat leaning on a low table. Gazing up to heaven, he sighed and looked as though he had lost his mind.Yench'eng Tseyu, who was standing by him, exclaimed, "What are you thinking about that your body should become thus like dead wood, your mind like burnt-out cinders? Surely the man now leaning on the table is not he who was here just now.""My friend," replied Tsech'i, "your question is apposite. Today I have lost my Self.... Do you understand? ... Perhaps you only know the music of man, and not that of Earth. Or even if you have heard the music of Earth, perhaps you have not heard the music of Heaven.""Pray explain," said Tseyu."The breath of the universe," continued Tsech'i, "is called wind. At times, it is inactive. But when active, all crevices resound to its blast. Have you never listened to its deafening roar?"Caves and dells of hill and forest, hollows in huge trees of many a span in girth -- some are like nostrils, and some like mouths, and others like ears, beam-sockets, goblets, mortars, or like pools and puddles. And the wind goes rushing through them, like swirling torrents or singing arrows, bellowing, sousing, trilling, wailing, roaring, purling, whistling in front and echoing behind, now soft with the cool blow, now shrill with the whirlwind, until the tempest is past and silence reigns supreme. Have you never witnessed how the trees and objects shake and quake, and twist and twirl?""Well, then," inquired Tseyu, "since the music of Earth consists of hollows and apertures, and the music of man of pipes and flutes, of what consists the music of Heaven?""The effect of the wind upon these various apertures," replied Tsech'i, "is not uniform, but the sounds are produced according to their individual capacities. Who is it that agitates their breasts?"Great wisdom is generous; petty wisdom is contentious. Great speech is impassioned, small speech cantankerous."For whether the soul is locked in sleep or whether in waking hours the body moves, we are striving and struggling with the immediate circumstances. Some are easy-going and leisurely, some are deep and cunning, and some are secretive. Now we are frightened over petty fears, now disheartened and dismayed over some great terror. Now the mind flies forth like an arrow from a cross-bow, to be the arbiter of right and wrong. Now it stays behind as if sworn to an oath, to hold on to what it has secured. Then, as under autumn and winter's blight, comes gradual decay, and submerged in its own occupations, it keeps on running its course, never to return. Finally, worn out and imprisoned, it is choked up like an old drain, and the failing mind shall not see light again(8)."Joy and anger, sorrow and happiness, worries and regrets, indecision and fears, come upon us by turns, with ever-changing moods, like music from the hollows, or like mushrooms from damp. Day and night they alternate within us, but we cannot tell whence they spring. Alas! Alas! Could we for a moment lay our finger upon their very Cause?"But for these emotions I should not be. Yet but for me, there would be no one to feel them. So far we can go; but we do not know by whose order they come into play. It would seem there was a soul;(9) but the clue to its existence is wanting. That it functions is credible enough, though we cannot see its form. Perhaps it has inner reality withoutoutward form."Take the human body with all its hundred bones, nine external cavities and six internal organs, all complete. Which part of it should I love best? Do you not cherish all equally, or have you a preference? Do these organs serve as servants of someone else? Since servants cannot govern themselves, do they serve as master and servants by turn? Surely thereis some soul which controls them all."But whether or not we ascertain what is the true nature of this soul, it matters but little to the soul itself. For once coming into this material shape, it runs its course until it is exhausted. To be harassed by the wear and tear of life, and to be driven along without possibility of arrestingone's course, -- is not this pitiful indeed? To labor without ceasing all life, and then, without living to enjoy the fruit, worn out with labor, to depart, one knows not whither, -- is not this a just cause for grief?""Men say there is no death -- to what avail? The body decomposes, and the mind goes with it. Is this not a great cause for sorrow? Can the world be so dull as not to see this? Or is it I alone who am dull, and others not so?"Now if we are to be guided by our prejudices, who shall be without a guide? What need to make comparisons of right and wrong with others? And if one is to follow one's own judgments according to his prejudices, even the fools have them! But to form judgments of right and wrong without first having a mind at all is like saying, "I left for Yu:eh today, and got there yesterday." Or, it is like assuming something which does not exist to exist. The (illusions of) assuming something which does not exist to exist could not be fathomed even by the divine Yu:; how much less could we?For speech is not mere blowing of breath. It is intended to say some thing, only what it is intended to say cannot yet be determined. Is there speech indeed, or is there not? Can we, or can we not, distinguish it from the chirping of young birds?How can Tao be obscured so that there should be a distinction of trueand false? How can speech be so obscured that there should be a distinction of right and wrong?(10) Where can you go and find Tao not to exist? Where can you go and find that words cannot be proved? Tao is obscured by our inadequate understanding, and words are obscured by flowery expressions. Hence the affirmations and denials of the Confucian and Motsean(11) schools, each denying what the other affirms and affirming what the other denies. Each denying what the other affirms and affirming what the other denies brings us only into confusion.There is nothing which is not this; there is nothing which is not that. What cannot be seen by what (the other person) can be known by myself. Hence I say, this emanates from that; that also derives from this. This is the theory of the interdependence of this and that (relativity of standards).Nevertheless, life arises from death, and vice versa. Possibility arises from impossibility, and vice versa. Affirmation is based upon denial, and vice versa. Which being the case, the true sage rejects all distinctionsand takes his refuge in Heaven (Nature). For one may base it on this, yet this is also that and that is also this. This also has its 'right' and 'wrong', and that also has its 'right' and 'wrong.' Does then the distinction between this and that really exist or not? When this (subjective) and that (objective) are both without their correlates, that is the very 'Axis ofTao.' And when that Axis passes through the center at which all Infinities converge, affirmations and denials alike blend into the infinite One. Hence it is said that there is nothing like using the Light.To take a finger in illustration of a finger not being a finger is not so good as to take something which is not a finger to illustrate that a finger is not a finger. To take a horse in illustration of a horse not being a horse is not so good as to take something which is not a horse to illustrate that a horse is not a horse(12). So with the universe which is but a finger, but a horse. The possible is possible: the impossible is impossible. Tao operates, and the given results follow; things receive names and are said to be what they are. Why are they so? They are said to be so! Why are they not so? They are said to be not so! Things are so by themselves and have possibilities by themselves. There is nothing which is not so and there is nothing which may not become so.Therefore take, for instance, a twig and a pillar, or the ugly person and the great beauty, and all the strange and monstrous transformations. These are all leveled together by Tao. Division is the same as creation; creation is the same as destruction. There is no such thing as creation or destruction, for these conditions are again leveled together into One. Only the truly intelligent understand this principle of the leveling of all things into One. They discard the distinctions and take refuge in the common and ordinary things. The common and ordinary things serve certain functions and therefore retain the wholeness of nature. From this wholeness, one comprehends, and from comprehension, one to the Tao. There it stops. To stop without knowing how it stops -- this is Tao.But to wear out one's intellect in an obstinate adherence to the individuality of things, not recognizing the fact that all things are One, -- that is called "Three in the Morning." What is "Three in the Morning?" A keeper of monkeys said with regard to their rations of nuts that each monkey was to have three in the morning and four at night. At this the monkeys were very angry. Then the keeper said they might have four in the morning and three at night, with which arrangement they were all well pleased. The actual number of nuts remained the same, but there was a difference owing to (subjective evaluations of) likes and dislikes.It also derives from this (principle of subjectivity). Wherefore the true Sage brings all the contraries together and rests in the natural Balance of Heaven. This is called (the principle of following) two courses (at once). The knowledge of the men of old had a limit. When was the limit? It extended back to a period when matter did not exist. That was the extreme point to which their knowledge reached. The second period was that of matter, but of matter unconditioned (undefined). The third epoch saw matter conditioned (defined), but judgments of true and false were still unknown. When these appeared, Tao began to decline. And with the decline of Tao, individual bias (subjectivity) arose.Besides, did Tao really rise and decline?(13) In the world of (apparent) rise and decline, the famous musician Chao Wen did play the string instrument; but in respect to the world without rise and decline, Chao Wen did not play the string instrument. When Chao Wen stopped playing the string instrument, Shih K'uang (the music master) laid down hisdrum-stick (for keeping time), and Hueitse (the sophist) stopped arguing, they all understood the approach of Tao. These people are the best in their arts, and therefore known to posterity. They each loved his art, and wanted to excel in his own line. And because they loved their arts, theywanted to make them known to others. But they were trying to teach what (in its nature) could not be known. Consequently Hueitse ended in the obscure discussions of the "hard" and "white"; and Chao Wen's son tried to learn to play the stringed instrument all his life and failed. If this may be called success, then I, too, have succeeded. But if neither of them could be said to have succeeded, then neither I nor others have succeeded. Therefore the true Sage discards the light that dazzles and takes refuge in the common and ordinary. Through this comes understanding.Suppose here is a statement. We do not know whether it belongs to one category or another. But if we put the different categories in one, then the differences of category cease to exist. However, I must explain. If there was a beginning, then there was a time before that beginning, and a time before the time which was before the time of that beginning. If there is existence, there must have been non-existence. And if there was a time when nothing existed, then there must have been a time when even nothing did not exist. All of a sudden, nothing came into existence. Could one then really say whether it belongs to the category of existence or of non-existence? Even the very words I have just now uttered, -- I cannot say whether they say something or not.There is nothing under the canopy of heaven greater than the tip of abird's down in autumn, while the T'ai Mountain is small. Neither is there any longer life than that of a child cut off in infancy, while P'eng Tsu himself died young. The universe and I came into being together; I and everything therein are One.If then all things are One, what room is there for speech? On the other hand, since I can say the word 'one' how can speech not exist? If it does exist, we have One and speech -- two; and two and one -- three(14) from which point onwards even the best mathematicians will fail to reach (the ultimate); how much more then should ordinary people fail?Hence, if from nothing you can proceed to something, and subsequently reach there, it follows that it would be still easier if you were to start from something. Since you cannot proceed, stop here. Now Tao by its very nature can never be defined. Speech by its very nature cannot express the absolute. Hence arise the distinctions. Such distinctions are: "right" and "left," "relationship" and "duty," "division" and "discrimination, "emulation and contention. These are called the Eight Predicables.Beyond the limits of the external world, the Sage knows that it exists,but does not talk about it. Within the limits of the external world, the Sage talks but does not make comments. With regard to the wisdom of the ancients, as embodied in the canon of Spring and Autumn, the Sage comments, but does not expound. And thus, among distinctions made, there are distinctions that cannot be made; among things expounded, there are things that cannot be expounded.How can that be? it is asked. The true Sage keeps his knowledge within him, while men in general set forth theirs in argument, in order to convince each other. And therefore it is said that one who argues does so because he cannot see certain points.Now perfect Tao cannot be given a name. A perfect argument does not employ words. Perfect kindness does not concern itself with (individual acts of) kindness(15). Perfect integrity is not critical of others(16). Perfect courage does not push itself forward.For the Tao which is manifest is not Tao. Speech which argues falls short of its aim. Kindness which has fixed objects loses its scope. Integrity which is obvious is not believed in. Courage which pushes itself forward never accomplishes anything. These five are, as it were, round (mellow) with a strong bias towards squareness (sharpness). Therefore that knowledge which stops at what it does not know, is the highest knowledge.Who knows the argument which can be argued without words, and the Tao which does not declare itself as Tao? He who knows this may be said to enter the realm of the spirit (17). To be poured into without becoming full, and pour out without becoming empty, without knowing how this is brought about, -- this is the art of "Concealing the Light."Of old, the Emperor Yao said to Shun, "I would smite the Tsungs, and the Kueis, and the Hsu:-aos. Since I have been on the throne, this has ever been on my mind. What do you think?""These three States," replied Shun, "lie in wild undeveloped regions. Why can you not shake off this idea? Once upon a time, ten suns came out together, and all things were illuminated thereby. How much greater should be the power of virtue which excels the suns?"Yeh Ch'u:eh asked Wang Yi, saying, "Do you know for certain that all things are the same?""How can I know?" answered Wang Yi. "Do you know what you do not know?""How can I know!" replied Yeh Ch'u:eh. "But then does nobody know?" "How can I know?" said Wang Yi. "Nevertheless, I will try to tell you. How can it be known that what I call knowing is not really not knowing and that what I call not knowing is not really knowing? Now I would ask you this, If a man sleeps in a damp place, he gets lumbago and dies. But how about an eel? And living up in a tree is precarious and trying to the nerves. But how about monkeys? Of the man, the eel, and the monkey, whose habitat is the right one, absolutely? Human beings feed on flesh, deer on grass, centipedes on little snakes, owls and crows on mice. Of these four, whose is the right taste, absolutely? Monkey mates with the dog-headed female ape, the buck with the doe, eels consort with fishes, while men admire Mao Ch'iang and Li Chi, at the sight of whom fishes plunge deep down in the water, birds soar high in the air, and deer hurry away. Yet who shall say which is the correct standard of beauty? In my opinion, the doctrines of humanity and justice and the paths of right and wrong are so confused that it is impossible to know their contentions." "If you then," asked Yeh Ch'u:eh, "do not know what is good and bad, is the Perfect Man equally without this knowledge?""The Perfect Man," answered Wang Yi, "is a spiritual being. Were the ocean itself scorched up, he would not feel hot. Were the great rivers frozen hard, he would not feel cold. Were the mountains to be cleft by thunder, and the great deep to be thrown up by storm, he would not tremble with fear. Thus, he would mount upon the clouds of heaven, and driving the sun and the moon before him, pass beyond the limits of this mundane existence. Death and life have no more victory over him. How much less should he concern himself with the distinctions of profit and loss?"Chu: Ch'iao addressed Ch'ang Wutse as follows: "I heard Confucius say, 'The true Sage pays no heed to worldly affairs. He neither seeks gain nor avoids injury. He asks nothing at the hands of man and does not adhereto rigid rules of conduct. Sometimes he says something without speaking and sometimes he speaks without saying anything. And so he roams beyond the limits of this mundane world.'These,' commented Confucius, 'are futile fantasies.' But to me they are the embodiment of the most wonderful Tao. What is your opinion?" "These are things that perplexed even the Yellow Emperor," repliedCh'ang Wutse. "How should Confucius know? You are going too far ahead. When you see a hen's egg, you already expect to hear a cock crow.When you see a sling, you are already expected to have broiled pigeon. I will say a few words to you at random, and do you listen at random. "How does the Sage seat himself by the sun and moon, and hold the universe in his grasp? He blends everything into one harmonious whole, rejecting the confusion of this and that. Rank and precedence, which the vulgar sedulously cultivate, the Sage stolidly ignores, amalgamating the disparities of ten thousand years into one pure mold. The universe itself, too, conserves and blends all in the same manner."How do I know that love of life is not a delusion after all? How do Iknow but that he who dreads death is not as a child who has lost his way and does not know his way home?"The Lady Li Chi was the daughter of the frontier officer of Ai. When the Duke of Chin first got her, she wept until the bosom of her dress was drenched with tears. But when she came to the royal residence, shared with the Duke his luxurious couch, and ate rich food, she repented of having wept. How then do I know but that the dead may repent of having previously clung to life?"Those who dream of the banquet, wake to lamentation and sorrow. Those who dream of lamentation and sorrow wake to join the hunt.While they dream, they do not know that they are dreaming. Some will even interpret the very dream they are dreaming; and only when they awake do they know it was a dream. By and by comes the great awakening, and then we find out that this life is really a great dream. Fools think they are awake now, and flatter themselves they know -- this one is a prince, and that one is a shepherd. What narrowness of mind! Confucius and you are both dreams; and I who say you are dreams -- I am but a dream myself. This is a paradox. Tomorrow a Sage may arise to explain it; but that tomorrow will not be until ten thousand generations have gone by. Yet you may meet him around the corner."Granting that you and I argue. If you get the better of me, and not I of you, are you necessarily right and I wrong? Or if I get the better of you and not you of me, am I necessarily right and you wrong? Or are we both partly right and partly wrong? Or are we both wholly right and wholly wrong? You and I cannot know this, and consequently we all live in darkness."Whom shall I ask as arbiter between us? If I ask someone who takes your view, he will side with you. How can such a one arbitrate between us? If I ask someone who takes my view, he will side with me. How can such a one arbitrate between us? If I ask someone who differs from both of us, he will be equally unable to decide between us, since he differs from both of us. And if I ask someone who agrees with both of us, he will be equally unable to decide between us, since he agrees with both of us. Since then you and I and other men cannot decide, how can we depend upon another? The words of arguments are all relative; if we wish to reach the absolute, we must harmonize them by means of the unity ofGod, and follow their natural evolution, so that we may complete our allotted span of life."But what is it to harmonize them by means of the unity of God? It is this. The right may not be really right. What appears so may not be really so. Even if what is right is really right, wherein it differs from wrong cannot be made plain by argument. Even if what appears so is really so, wherein it differs from what is not so also cannot be made plain by argument. "Take no heed of time nor of right and wrong. Passing into the realm of the Infinite, take your final rest therein."The Penumbra said to the Umbra, "At one moment you move: at another you are at rest. At one moment you sit down: at another you get up. Why this instability of purpose?""Perhaps I depend," replied the Umbra, "upon something which causes me to do as I do; and perhaps that something depends in turn upon something else which causes it to do as it does. Or perhaps my dependence is like (the unconscious movements) of a snake's scales orof a cicada's wings. How can I tell why I do one thing, or why I do not do another?"Once upon a time, I, Chuang Chou (18), dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of my happiness as a butterfly, unaware that I was Chou. Soon I awaked, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man. Between a man and abutterfly there is necessarily a distinction. The transition is called the transformation of material。

第三部分汉译英的标准与可译度相关参考：语言之间的词汇空缺现象是一种普遍存在而又给翻译造成很多困难的现象，可以概括为：一、由于生活环境、经验的差异而引起的词汇空缺”；二、由于风俗习惯的不同而引起的词汇空缺；三、由于宗教信仰的不同而引起的词汇空缺；四、由于对客观世界认识的不同而引起的词汇空缺；五、由于语言或非语言方面的原因而引起的词汇空缺。

辩证唯物主义认为，语言常常是客观世界的反映，是一种社会现象。

人们生活、劳动在一种什么样的环境里，就会产生出什么样的语言。

如果某一事物在人们所生活的客观环境里不存在，那么语言中就可能出现空缺。

比如在英国，竹子不是一种土生土长的植物，因此，语言中就缺乏这方面的原始词汇。

汉语中的“笋”字只能译成“bamboo-shoot”（意即“竹芽”），甚至连bamboo这个词也是从外来语接引过去的。

又比如“salad”（色拉）这种凉拌蔬菜源于法国，英国人最先没有这道菜，语言中也不存在这个词，只好从法语中原封不动地移过来。

其次由于风俗习惯的不同，不同语言之间可能出现相对的词汇空缺现象。

中国人把生孩子、娶媳妇、贺生日称为“红喜”，把死人的事称为“白喜”，语言中也有“红白喜事”的表示法。

对于没有接触过中国文化或佛教文化的欧美人来说，把死人也当成一大“喜事”，令人大惑不解。

欧美人多信基督教，认为世界是上帝创造的，世上一切也都按上帝的旨意安排。

而在传统中，中国人心目中只有“开天辟地”的盘古和“主宰自然界”的天老爷。

“上帝”（God, Dieu, Gott）和“天老爷”所代表的东西不相同，含义也不一样。

特别是“上帝”这个概念，它具有较浓的基督色彩，是欧美文化的个性，虽然我们可以把英语的“My God!”译成“天哪！”把法语的“Dieu soit loue”译成“谢天谢地”，但反过来把汉语的“天”译成“God”或“Dieu”，有时就不很合适。

翻译古典文献时尤其如此。

再如，汉语和英语中都有“龙”的字眼，但“龙”在英语文化中是没有“地位”的爬行动物，是可怕的恶的象征，在汉语中则恰恰相反。

和谐翻译——以浮生六记为例评林语堂的翻译理论和实践[摘要] 林语堂的翻译理论实际上已形成了一个和谐统一的体系。

他将翻译过程中的一些重要因素比如原文，作者，译者，译文读者，列入了翻译理论研究的范围之内，并且也认识到了译者跟译文读者在翻译过程中扮演了重要角色。

通过对林语堂翻译代表作《浮生六记》句群、句子层面的翻译分析以及他在翻译过程中对两个翻译策略归化异化的选择运用，笔者试着证明他的实践在形式，创造性跟整体风格上都达到了和谐的程度，他的翻译理论和实践是一个和谐统一的整体。

[关键词] 林语堂浮生六记翻译标准和谐理论一、和谐翻译理论最先提出翻译“和谐说”的郑海凌(2000：164)教授说：和谐的审美效果概括地讲就是，译作“既要符合本国读者的欣赏习惯。

使读者感到亲切自然，得到美的享受，又要让读者看见原作的真面目，认识原作中所表现的一切”。

郑海凌(2006：89)进一步阐释道：文学翻译的审美标准是“和谐”。

“和谐”就是适中是就是不偏不倚，也就是说在翻译过程中要从整体着眼，局部着手，以适中的原则处理好内容与形式的关系，妥善处理好翻译中的一切要素之间的关系，比如原文，译者，作者，目的语读者间的关系等等，使译文既忠实原文又通顺流畅，达到圆满调和的状态。

和谐翻译与中国以往的传统翻译理论以及西方的翻译理论不同，它第一次超越了直译与意译，内容与形式的二元对立模式，选择了一条比较折中的途径,这样翻译中的相关因素之间的关系是和谐的。

可见和谐翻译是注重整体性，协调性，不走极端，综合考虑翻译过程中的诸多因素之间的关系。

二、和谐理论的来源和谐理论的深深扎根于儒家思想，它是中国传统文化的精髓。

而儒家思想的基本精神莫过于“中庸之道”，它一直为历代儒家看作是道德正统。

“中庸”一词，最早见于《论语。

雍也》：“中庸之为德也，其至矣乎!民鲜久矣。

” 后来《中庸》一书的出现使其内容更加完整化，更加系统化。

“中庸”的“中”是“恰当”“合适”的意思，而“庸”则是“用”，“中”与“庸”联姻，也就是“体”与“用”的结合，是认识层面与实践层面的统一。

2472020年34期总第526期ENGLISH ON CAMPUS浅析林语堂的翻译思想、策略和技巧——以《浮生六记》英译本为例文/李媛媛译。

至于“美”这一标准，与林语堂把翻译看作艺术有关。

译文要追求内容和形式上的“美”，但当两者矛盾时，就要放弃形式。

林语堂认为，翻译其实主要和译者的心理及目的语两者之间的关系有关，他“把严复的翻译理论从文字的技巧，提升到了美学心理学的高度”。

2. 译者的素质。

林语堂对于翻译者所应有的素质，也给出了清晰的界定。

总结起来就是译者要精通双语，既要能读懂原文，又要能熟练地用目的语来表达，同时要知道好的翻译标准，以及翻译时应该采用的策略。

林语堂的翻译思想丰富而深厚，翻译的标准与译者的素质，只是笔者从他的思想中简要提取的核心问题。

本文以林语堂翻译的《浮生六记》英文本为例，分析他在翻译时采取的策略。

以及其翻译思想在其中的体现。

三、林语堂在《浮生六记》英译本中采取的翻译策略和技巧林语堂认为“直译”“意译”这种说法就是不恰当的，会让人误认为翻译的标准似乎可以有两个。

其实标准应该只有一个，好的译作应该能灵活地运用这两者，一方面不失原意，另一方面能够兼顾译文流畅。

本文在探讨时，会从 “异化”和“归化”两个大的原则下细分讨论。

1. 异化。

这是一种保留原语文化的翻译策略，在翻译中是非常重要的，能够促进文化交流。

例如，书名“浮生六记”，沈复化用了李白的诗句“浮生若梦，为欢几何”，极具本土色彩，里面蕴含的文化意象是西方读者需要用心领会的。

林语堂采用异化策略，他将“浮生六记”直译成“six chapters of a floating life”，并且译本在国外销量很好，可见，外国读者可以接受。

下面探讨的是林语堂在异化策略下，所采用的音译和直译技巧的情况。

(1)音译。

方梦之在《译学辞典》中对音译的定义是，音译“也称转写，即用一种文字符号(如拉丁字母)来表示另一种文字系统的文字符号(如汉字)的过程或结果。

一、翻译的标准1.清代翻译家严复1895年在其《天演论﹒译例言》中提出了“信、达、雅”三字标准。

2. “译事三难：信、达、雅.求其信,已大难矣！顾信矣不达，虽译犹不译也，则达尚焉。

……译文取明深意,故词句之间，时有所颠倒附益,不斤斤于字比句次，而意义则不倍文本。

……至原文词理本深，难于共喻,则当前后引衬，以显其意。

凡此经营,皆所以为达；为达，即所以为信也.4.在严复的翻译标准里，“信"就是译文意义“不倍原文"。

为了能“达”,译者应“将全文神理，融会于心”，“下笔抒词，自善互备"，“词句之间，时有所颠倒附益，不斤斤于字比句次”，“至于原文词理本深，难于共喻，则当前后引衬，以显其意”。

为了求“雅”，严复主张“用汉以前字法句法”，反对“用近世利俗文字”。

在严复看来，“信”、“达”、“雅”三者关系密切,缺一不可，“达"是为了“信”、“雅”是为了“达”。

5. “信”就是忠实原文.忠实原文的前提是读懂原文；此外还要让读者通过你的译文去理解原作者所表达的意思.如果你的译文人家看了如在云里雾里,半天不知所云，那么人们就不知道原作者在说些什么。

6.”达”就是通顺。

“达"不仅要语法正确,最重要的是要看语感。

凡是符合中国人说话行文感觉的，就是通畅的中文；同样，凡是符合说英语的人说话行文感觉的，就是通畅的英文。

（如译文过分拘泥于原文就不会达到“达”的要求。

）7。

”雅”即是“美”.翻译中对“雅”的追求就应表现为努力发挥译文语言的优势来表现原文的风格。

在《论翻译》中，林语堂把翻译标准的问题概括为以下三方面。

第一是忠实标准，第二是通顺标准，第三是美的标准。

这翻译的三重标准与严氏的“译事之难"大体上是正相比符的。

忠实就是“信”，通顺就是“达”，至于翻译与艺术文(诗文戏曲)的关系,当然不是“雅”字所能包括。

但为叫起来方便起见，就以极典雅的“信、达、雅”三字包括这三方面，也无不可。

作者简介：张晓楠（1985—　），女，汉族，河南平顶山人，硕士。

主要研究方向：英语教育教学，英语笔译。

关于林语堂的翻译研究，无论是国内还是国外一直不曾间断。

《道德经》是中国古代先秦时代春秋时期老子所作的一部哲学著作。

其影响名扬海内外，林氏编译的《道德经》有关研究，可谓是数不胜数。

但是关于它在翻译学与心理学的研究可以说屈指可数，文章主要从翻译认知心理学的视角下，对林语堂的《道德经》译本进行分析。

一、林语堂简介（一）生平简介享誉海内外的著名作家、学者、翻译家林语堂，出生于福建一个牧师家庭，从小生性开朗活泼，放任不羁，但是喜欢读书，并励志成为一名作家。

由于家庭环境的原因，林氏从小接受到良好的教育，并且有多次海外留学经历，获得哈佛大学硕士学位与莱比锡大学语言学博士学位证书，这些经历都造就了林氏丰厚扎实的英语文学功底。

在其于上海圣约翰大学毕业以后，在清华大学担任英文教员。

在当时的北平，中国的文化中心，林语堂深深感到自己的中文知识欠缺，仅仅是中等水平，所以他经常去图书馆或书店“补课”。

这段期间，林氏的中文水平也大大提高，这也对他今后不管在写作上还是翻译上的工作都奠定了基础。

（二）成就介绍作为一个作家来说，林氏有许多作品，远远超过其译作。

他学贯中西，蜚声海内外，一生都以“文章可幽默，办事须认真”，“两脚踏东西文化，一心评宇宙文章”为座右铭。

他写文章，提倡“性灵”，主张幽默，是中国首倡幽默的第一人，被誉为“幽默大师”。

大多数人都知道林氏有很多著名的作品，但是哪些是用英文写作，哪些又是用中文写作，想必也是少有人知。

林氏的作品中，而英文著作居多。

主要有：My Country and My People （《吾国与吾民》）在大陆的第一个全译本为《中国人》，The Importance of Living （《生活的艺术》），The Wisdom of Confucius （《孔子的智慧》），The Wisdom of Laotse （《老子的智慧》），Moment in Peking （《京华烟云》），A Leaf in the Storm （《风声鹤唳》），《苏东坡传》等等。