鲁迅及其翻译思想

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.。

鲁迅对外国文学的翻译鲁迅是中国现代文学的伟大先驱，也是对外翻译文学作品的重要人物之一。

在鲁迅的翻译经历中，最受广泛关注的莫过于他对外国文学的翻译工作。

鲁迅对外国文学的翻译不仅是为了介绍外来文化，更重要的是通过翻译，让中国读者能够更好地了解和思考现代文学发展的趋势和方向。

鲁迅之所以成为中西方文化联系的重要人物，关键在于他的翻译工作。

鲁迅的翻译能力得到众人的认可，他的翻译作品不仅传播了外国文学的经典之作，也从中汲取了文学创作的灵感和思路。

早在20世纪初，鲁迅就开始翻译外国文学作品，包括英、法、德等多个国家的作品。

尤其值得一提的是，鲁迅以其深厚的文学功底和广泛的文化背景，对外国文学进行了极为深入的挖掘和研究，并通过翻译，将其经典著作带入中国，促进了中西方文化的交流和互鉴。

鲁迅翻译的众多外国文学作品中，最著名的要属其对法国文学的翻译。

他翻译了大量的法国文学作品，如巴尔扎克的《欧也妮·葛朗台》，雨果的《悲惨世界》等，这些翻译作品不仅得到当时读者的广泛阅读和认可，也对鲁迅的文学创作产生了深远的影响。

鲁迅提倡文学的现实主义，将其注入到自己的文学作品中，大大影响了中国现代文学的发展。

除了翻译法国文学作品，鲁迅还翻译了德国文学、英国文学等多个国家的文学作品。

在鲁迅翻译的作品中，不仅涵盖了小说、诗歌、散文等多个文学形式，也涉及到了心理学、社会学、哲学等多个领域。

其中，鲁迅翻译的德国作家法斯宾德的小说《天使与人类》和英国作家巴金的小说《家》、汤姆逊的《社会学原理》等都成为了中国读者们最喜欢的文学作品。

鲁迅对外国文学的翻译对中国文学的发展和现代化产生了深远的影响。

他的翻译作品让中国读者了解到了西方文学发展的方向，吸收了其中的创作思路、艺术表现方式，为中国现代文学的崛起提供了新的启示。

同时，他的翻译也为中国文学的翻译工作培养了良好的先驱者和传承者。

鲁迅对外国文学的翻译不仅是文化交流的重要桥梁，更是传递人类文明精神和智慧的桥梁。

立论原文及赏析我梦见自己正在小学校的讲堂上预备作文，向老师请教立论的方法。

“难！”老师从眼镜圈外斜射出眼光来，看着我，说。

“我告诉你一件事——“一家人家生了一个男孩，合家高兴透顶了。

满月的时候，抱出来给客人看，大概自然是想得一点好兆头。

“一个说：‘这孩子将来要发财的。

’他于是得到一番感谢。

“一个说：这孩子将来要做官的。

他于是收回几句恭维。

“一个说：‘这孩子将来是要死的。

’他于是得到一顿大家合力的痛打。

“说要死的必然，说富贵的许谎。

但说谎的得好报，说必然的遭打。

你……”“我愿意既不说谎，也不遭打。

那么，老师，我得怎么说呢？”“那么，你得说：‘啊呀！这孩子呵！您瞧！多么……。

阿唷！哈哈！Hehe！He，hehehehe⑵！’”一九二五年七月八日赏析这是一篇独特的寓言式的篇章。

作者以一个“梦”的形式，用讽喻的笔法揭露和抨击了当时社会黑白不分、真假不辨的丑恶现象。

全文采用对话的形式，以“取类型”的写作技法，来针砭社会的丑陋与痼疾，进而传递出作者内心深处的愤愤之情，“说谎的得好报，说必然的遭打”，这是何样的社会。

“这孩子将来要发财的”，“这孩子将来要做官的”，这是出自于阿谀谄媚者之口；而直言者则说：“这孩子将来是要死的。

”然而，阿谀谄媚者得到了感谢与恭维，说真话者却遭了一顿“大家合力的痛打”。

这自然是作者所痛恨的。

但作者并没有对此满腹牢骚，大骂一通，而是巧妙地借助于师生的问答，揭示了一个更为深刻的问题：中国人的“哈哈主义”。

怎样才能“既不谎人，也不遭打”，要做到这点，就只能采取逃避态度，采取“哈哈主义”。

文章也在一连串“哈哈”的象声词中结尾。

这样的结尾方式感受到独特的艺术魅力，既形象生动地刻画了人物，又深刻地揭示了文章主旨。

因为这“哈哈主义”才是作者讽刺与批判之锋芒所向。

这“哈哈主义”实际上就是一种“不敢直面”、“不敢正视”的怯懦的处世态度，是几千年的“老好人哲学”的体现，是封建社会统治之下形成的国民“劣根性”的一种表现。

2162018年42期总第430期ENGLISH ON CAMPUS论鲁迅“宁信而不顺”的翻译美学原则文/刘蕾 赵秀明一、引言鲁迅自1903年翻译雨果的随笔《哀尘》开始，到1936年逝世前翻译果戈里的《死魂灵》，共翻译了15个国家110位作家的244部作品。

直到今天，他所翻译的《毁灭》、《死魂灵》仍为学者所称道。

在翻译理论方面，他创造性地继承了传统译论的精华，独具匠心地提出了“宁信而不顺”的翻译原则。

译界学者对此翻译原则历来争议不断。

就文学翻译而论，“宁信而不顺”实在可称得上是一条行之有效的翻译美学原则，蕴含着丰富的艺术性和审美性。

“宁信而不顺”旨在通过直译，再现原文的异国情调，传达原文独特的艺术形象、呈现原文真挚的情感，以及展现原文新颖的语言形式等美感特质，体现了文学翻译的审美创造。

本文拟探讨“宁信而不顺”所蕴含的翻译审美思想。

二、“宁信而不顺”的翻译美学观鲁迅处在中国翻译理论发展和翻译实践的黄金时代。

在文学翻译领域，译者都信奉严复的“信达雅”，林纾的“意译”，发展到后来，“曲译”、“胡译”等现象泛滥成灾，给译界和读者造成了无穷祸患。

针对这等不良风气，鲁迅以极具前瞻性的视角，提出了具有跨时代意义的“宁信而不顺”的翻译原则予正风气，开启了文学翻译的一派新风气。

鲁迅在与瞿秋白的回信中明确提出了“宁信而不顺”的翻译观，对于具体的审美内涵，我们可以参照鲁迅在翻译《死灵魂》时的一番见解，摘录如下：“动笔之前，就得解决一个问题：竭力使它归化，还是尽量保存洋气呢？……我的意见却是两样的。

只求易懂，不如创作，或者改写，将事改为中国事，人也化为中国人。

如果还是翻译，那么首先的目的，就在博览外国的作品，不但移情，也要益智，至少是知道何时何地，有这等事，和旅行外国，是很相象的：它必须有异国情调，就是所谓的洋气。

其实世界上也不会有完全归化的译文，倘有，就是貌合神离，从严辩起来，它就算不得翻译。

凡是翻译，必须兼顾两面，一面当然力求易解，一则保存原作风姿。

从归化到异化在中国翻译史上，鲁迅曾做出了巨大的贡献。

他提出的一些翻译观点极大地推动了中国的翻译研究。

本文探讨了鲁迅翻译观的变化，从早期跟随晚清风尚以意译为主，到后期追求直译、反对归化。

鲁迅的翻译思想主要是围绕“信”和“顺”问题展开的。

他“宁信而不顺”的硬译观在我国文坛上曾经引发过极大的争议，其译文也因为生涩难懂而遭到攻击。

然而，鲁迅翻译思想中的“信”与“不顺”体现了近代中国翻译活动救亡图存的根本目的，代表了文化转型时期中国翻译的发展方向，同时也为后人提供了探索和研究的起点。

鲁迅不仅是伟大的文学家，而且还是一位造诣很高的翻译家。

翻译在鲁迅的文学活动中占据着十分重要的地位，他的文学活动是以翻译开始又以翻译终结的。

他一生译作颇丰，自1903年翻译雨果的随笔《哀尘》开始，到1936年逝世前翻译果戈理的《死魂灵》为止，共翻译了15个国家110位作家的244部(篇)作品，体裁包括文艺、美术、小说、诗歌、童话、杂文等多个类别。

除大量的翻译实践之外，他还有不少讨论翻译理论的文章，提出了具有学术价值和指导意义的见解。

因此，鲁迅在中国翻译史上占有重要的位置。

一、归化和异化的界定1813年，德国哲学家、古典语言学家、翻译理论家施莱尔马赫在《论翻译的方法》中提出了翻译的途径“只有两种：一种是尽可能让作者安居不动，而引导读者去接近作者；另一种是尽可能让读者安居不动，而引导作者去接近读者”[1](P42)。

在这里，施氏只是描述了他所说的两种方法，并未授之以什么名称。

1995年，美国翻译理论家劳伦斯.韦努蒂在其The Translator’s Invisibility一书中，将第一种方法称作“异化法” (foreignizing method)，第二种方法称作“归化法” (domesticating method)。

韦努蒂对归化翻译的定义是：遵守目标语言文化当前的主流价值观，公然对原文采用保守的同化手段，使其迎合本土的典律、出版潮流和政治需求。

英语介绍鲁迅带翻译Introduction to Lu Xun。

Lu Xun (1881-1936) was a renowned Chinese writer, thinker, and social activist. He is considered one of the most important figures in modern Chinese literature and culture. His works, which include essays, short stories, and novels, are known for their powerful social critique and their exploration of the human condition.Lu Xun was born in Shaoxing, a small town in Zhejiang Province, China. He grew up in a family of scholars and officials, and received a traditional Confucian education. However, he was also exposed to Western ideas and literature, which had a profound impact on his thinking and writing.In 1918, Lu Xun published his first collection of short stories, "Call to Arms," which marked a turning point in Chinese literature. The stories, which were based on hisown experiences and observations, exposed the corruption, cruelty, and hypocrisy of Chinese society and its ruling class. They also portrayed the suffering and struggles of ordinary people who were oppressed by the system.Lu Xun's later works, such as "The True Story of Ah Q" and "The Diary of a Madman," continued to challenge and subvert the dominant ideologies and values of his time. He was a fierce critic of Confucianism, which he saw as a tool of oppression and superstition, and advocated for a new, modern, and rational culture that would liberate the Chinese people from their backwardness and ignorance.In addition to his literary achievements, Lu Xun was also a prominent social activist and intellectual. He was involved in various political and cultural movements, including the May Fourth Movement, which sought to modernize China and promote democracy and science. He also worked as a teacher, editor, and translator, and was a mentor to many young writers and thinkers.Lu Xun's legacy continues to inspire and influencegenerations of Chinese writers, artists, and activists. His writings and ideas are still relevant today, as China faces new challenges and struggles for freedom, justice, and human dignity. As Lu Xun once wrote, "Hope is like a path in the countryside. Originally, there is no path. But as people walk this way again and again, a path appears."。

信顺说：以信为主，以顺为辅,宁信而不顺。

【现代鲁迅】有关上世纪30
年代左右的“信顺说”翻译标准,在翻译界存在着无休止的论争,其中影响最大的要数鲁迅和瞿秋白、鲁迅和梁实秋之间的论争。

，文中猛烈批评鲁迅过分忠实的翻译手法,毫不留情地把鲁迅的翻译称之为“死译”,这篇文章成为鲁迅和梁实秋有关“信顺说”翻译标准论争的导火线。

还有鲁迅的“信顺说”，讲的都是等值
创作论：现代著名诗人、作家郭沫若说好的翻译等于创作，甚至可以超过创作。

并认为翻译应该是一件艺术品，越雅越好。

艺术论：美学家、文艺理论家朱光潜提出。

认为翻译只要不逾矩，就可以从心所欲，可以使翻译达到成熟的境界。

茅盾的意境论：中国著名作家、文学评论家。

提出了艺术创造性翻译思想。

明确提出了传达原作艺术意境，是文学翻译的根本任务。

傅雷的神似论：现代翻译家、文学评论家。

翻译应重神似而不是形似。

得其精而忘其粗。

在其内而忘其外。

他说就效果而言，翻译应像临画一样，所求不在形似而在神似。

主张意译，文学翻译应抛开原文形式的束缚。

追求在精神和意境上和原文一致。

化境说：现代著名作家、文学研究家钱钟书。

文学翻译的最高标准是化。

把作品从一国文字转变为另一国文字，不因语言文化的差异露出牵强生硬的痕迹，又能保持原文的风味，就算是到达化境，好的译本应当仿佛是原文作者的译入语写作。

焦菊隐中国当代最有贡献的戏剧家之一，还是著名的翻译家翻译过大量的作品，。

鲁迅语言翻译对现代汉语形成的影响
鲁迅被誉为现代汉语运动的领导者，也是一位杰出的作家、翻译家和思想家。

他的语
言翻译对现代汉语的形成产生了重要的影响，体现在三个方面：
鲁迅的语言翻译塑造了现代汉语的形象。

鲁迅的翻译作品以其独特的语言风格和精准
的表达备受赞赏。

他深入研究西方文化，对外国文学作品进行了深入的翻译和理解。

通过
他对外国文学作品的翻译，他将西方的现代主义思想和文学形式引入了中国，为现代汉语
的形成起到了先驱作用。

他的翻译作品有助于开拓当时中国的文化视野，丰富了汉语的词
汇和语法，培养了语言的多样性。

鲁迅的语言翻译对于现代汉语的规范化和标准化起到了重要的作用。

鲁迅的翻译一直
强调语言的准确性和规范性，他注重翻译词语和表达方式的准确性，以及翻译的语言风格
的统一性。

他通过自己的翻译实践教育了一代又一代的翻译工作者，引领了现代汉语翻译
的规范化和标准化。

他的翻译作品和翻译理论对于现代汉语翻译的发展产生了重要的影响，为现代汉语的发展奠定了基础。

鲁迅与翻译摘要：鲁迅的翻译工作从来就不曾间断过，其成就之高、影响之大、个性之突出，在中国翻译史上写上了重重的一笔。

本文从鲁迅翻译的思想、翻译的作品、翻译的方法等几个角度出发，对鲁迅的翻译思想与价值进行了剖析，鲁迅从事文学翻译早于文学创作，分析鲁迅的翻译标准。

鲁迅的翻译特色是明显的，从投身文学到生命的终点，与其他译者相比，其翻译模式对后来的影响是巨大的，鲁迅所以“直译”、“硬译”和“宁信而不顺”，其实是为了更好地忠实于原作，同时也是为汉语输入“新的表现法”。

鲁迅的翻译思想至今仍具有重要的现实意义。

关键词：鲁迅;文学翻译;翻译思想；翻译的标准一、引言鲁迅，是二十世纪中国文学一座无法逾越的丰碑，一个无法绕过的存在。

鲁迅是一位文学巨匠，是我国现代文学的奠基人。

我们常常把他尊称为伟大的无产阶级文学家、思想家和革命家；同时，他又是一名杰出的外国文学研究者和翻译家。

他的著述与思想影响至深，成为我们民族珍贵的世纪文化遗产，不断激发后人新的思考和创作。

作为一个真正的“中国的与现代的”作家，他的影响不仅局限在中国。

众所周知，在一些人眼中，他嫉恶如仇，是旗手，是导师，是人道的标本，正义的光源；在提倡多元化的今天，鲁迅在许多人眼中依旧代表着“中国人的脊梁和咽喉”。

事实上，鲁迅一生的文学活动始于翻译，而又是以翻译告终的。

据不完全统计，鲁迅一共翻译介绍了近200多位作家的作品，印成了对个单行本，总字数达300多万字，数量与他自己一生的全部著作大致相等，被称为我国翻译文学史上的一座丰碑。

经他翻译作品的国家，包括俄国和前苏联、日本、英国、法国、德国、奥地利。

荷兰、西班牙、芬兰、波兰、保加利亚等国，其中俄国和前苏联的作品又占一半以上。

翻译作品的类型，有长篇小说、短篇小说、诗歌、剧本、童话和文艺理论著作，他在杂文、书信和日记中涉及到的外国作家，据初步统计，共有25个国家和民族的作家达380人之多。

可以说，鲁迅在文学创作上的巨大成就与他在文学翻译上的丰硕成果密不可分，翻译介绍外国文学，在他一生的文学活动中占有相当重要的地位。