第十六章--文学翻译
《述而篇》第十六章原文、译文及评析
《述而篇》第十六章原文、译文及评析
原文：
子曰:“饭疏食①饮水,曲肱②而枕之,乐亦在其中矣。
不义而富且贵,于我如浮云。
”
注释：
①饭疏食,饭,这里是“吃”的意思,作动词。
疏食即粗粮。
②曲肱:肱,音gōng,胳膊,由肩至肘的部位。
曲肱,即弯着胳膊。
译文：
孔子说:“吃粗粮,喝白水,弯着胳膊当枕头,乐趣也就在这中间了。
用不正当的手段得来的富贵,对于我来讲就像是天上的浮云一样。
”
评析：
孔子极力提倡“安贫乐道”,认为有理想、有志向的君子,不会总是为自己的吃穿住而奔波的,“饭疏食饮水,曲肱而枕之”,对于有理想的人来讲,可以说是乐在其中。
同时,他还提出,不符合于道的富贵荣华,他是坚决不予接受的,对待这些东西,如天上的浮云一般。
这种思想深深影响了古代的知识分子,也为一般老百姓所接受。
第十六章文学翻译之散文翻译教案
（郭沫若，《路畔的蔷薇》）
译文：Flower vase I had none.
译文也保留了原文的语序，字数对等。
比译为“I have no flower vase.”更好地体现了原文的风味，而且更具有文学韵味。
请对比翻译：
（5）燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。（朱自清，《匆匆》）
（2）我虽爱买书，而对于书却不甚爱惜。（夏丏尊，《我之与书》）
译文：Much asI love books, I take little care of them.
(Xia Mianzun:Books and I)
“虽……而……”的让步转折句，没有直译为“although”或“in spite of”，而是巧妙地运用了一个很常见的部分倒装，既简洁，又突出了重点。
（2）可是啊，北国的秋，却特别地来得清，来得静，来得悲凉。
In the northChina, however, it is particularlylimpid, serene and melancholy.
“清、静、悲凉”三个形容词形成整个文章的感情基调。
而limpid, serene and melancholy三个形容词让英文读者深深体会到原文美丽而悲凉的意境。
课堂例句分析：（1）一到中年，就有许多不愉快的现象，眼睛昏花了，记忆力减退了，头发开始秃脱而且变白了，意兴，体力，什么都不如年轻的时候，常不禁会感觉到难以名言的寂寞情味。
（夏丏尊，《中年人的寂寞》）
译文：At middle age, I feel sad to find my eyesight and energy failing, my hair thinning and graying, and myself no longer mentally and physically as fit as when I was young. I often suffer from anamelessloneliness.
第十六章 文学翻译
第十六章文学翻译茅盾1954年在全国文学翻译工作会议上所作的报告《为发展文学翻译事业和提高翻译质量而奋斗》中指出，文学翻译是“用另一种语言，把原作的艺术意境传达出来，使读者在读译文的时候能够像读原作时一样得到启发、感动和美的感受”。
文学翻译必须是文学。
这是一个很大的课题，本章在此仅从最基本的几个方面做简要说明，即：文学翻译的标准，文学翻译的过程，文学翻译的语言艺术，以及文学翻译的基本功。
一、文学翻译的标准许多翻译家在讨论翻译标准时指出，翻译必须兼顾两面，即忠实与通顺。
而对于文学翻译来说，仅仅忠实与通顺还很不够。
因为文学作品是用语言创造的艺术，它不单单是事物的概念和情节的记叙，更具有能够吸引读者的艺术形象和艺术意境。
因此，文学作品的翻译必须和原作一样，具备文学所有的各种功能和持性，即在一般地传递信息和完成交际任务之外．还要完成诸如审美功能、教育感化功能等多种功能。
这就是说，在翻译文学作品时。
不仅要再现原作的思想内容，而且要再现原作的艺术意境，尽可能彻底地保留原作的美学价值。
文学作品中，在可以实际把握的语言文字背后，还会有丰富的言外之意，弦外之音。
而这些，就决定了文学翻译的复杂性和艰巨性。
翻译时，绝不能满足于对原作的大致的把握和了解，而必须将其读深钻透，充分理解，全面接受。
只有这样，才能完全保存原有的风格，实现原著的价值与功能的再创造。
请看下面的例句：1．他的眼时闪着逼人的光，嘴唇绷的紧紧的。
(刘知侠《铁道游击队》) There was a fierce glow in his flashing eyes and his lips were tightly drawn.2．天空最高处作玉兰色，有几朵白云飞驰；白云的边缘色如乳糜，叫人微微眩目。
(郭沫若《春之胎动》)The depths of the sky are a jade blue flecked with scudding clouds, white clouds whose chyle-tinted edges almost dazzle the eye.下面抄录一段文字，请分组讨论，根据上述要求试译，然后对照参考译文，分析和体会文学翻译与其它题材翻译的不同。
新英汉翻译教程第十六章长句翻译课堂互动及综合练习答案
新英汉翻译教程第16章长句翻译课堂互动及综合练习答案（全）课堂互动1：用顺译法翻译下列句子(仅供参考)1.By the verdict of the court he is found guilty and has to pay the plaintiff the damages, set at 750 pounds. Charles Dickens: The Pickwik Papers）经过法院的判决，他被发现有罪，必须支付750英镑的赔款。
2. The rich soil of river-made plains favoured the growth of a thickly settled farming population, and this farming population had been united into a highly civilized kingdom.肥沃的河流冲积平原使定居的农业人口不断增长，他们已经联合成一个高度文明的过度。
3. How these two things—energy and matter—behave, how they interact one with the other, and how people control them to serve themselves make up the substance of two basic physical science, physics and chemistry.能和物质这两种东西如何起作用，它们如何相互影响, 人们如何控制它们使之为自己服务, 这些问题构成两门基础自然科学¬¬---物理和化学的主要内容。
4. I believe we are now moving into a period similar to that after the last war, where there is a general acceptance of the need for a mixed economy, that is, a capitalist economy combined with a substantial degree of government intervention.我想我们正在步入一个酷似二战战后的一段时间，人们普遍认为要建立一种混合经济，是资本主义经济与一定程度的政府干预经济结合起来。
文学翻译
第十六章文学翻译茅盾1954年在全国文学翻译工作会议上所作的报告《为发展文学翻译事业和提高翻译质量而奋斗》中指出，文学翻译是“用另一种语言，把原作的艺术意境传达出来，使读者在读译文的时候能够像读原作时一样得到启发、感动和美的感受”。
文学翻译必须是文学。
这是一个很大的课题，本章在此仅从最基本的几个方面做简要说明，即：文学翻译的标准，文学翻译的过程，文学翻译的语言艺术，以及文学翻译的基本功。
一、文学翻译的标准许多翻译家在讨论翻译标准时指出，翻译必须兼顾两面，即忠实与通顺。
而对于文学翻译来说，仅仅忠实与通顺还很不够。
因为文学作品是用语言创造的艺术，它不单单是事物的概念和情节的记叙，更具有能够吸引读者的艺术形象和艺术意境。
因此，文学作品的翻译必须和原作一样，具备文学所有的各种功能和持性，即在一般地传递信息和完成交际任务之外．还要完成诸如审美功能、教育感化功能等多种功能。
这就是说，在翻译文学作品时。
不仅要再现原作的思想内容，而且要再现原作的艺术意境，尽可能彻底地保留原作的美学价值。
文学作品中，在可以实际把握的语言文字背后，还会有丰富的言外之意，弦外之音。
而这些，就决定了文学翻译的复杂性和艰巨性。
翻译时，绝不能满足于对原作的大致的把握和了解，而必须将其读深钻透，充分理解，全面接受。
只有这样，才能完全保存原有的风格，实现原著的价值与功能的再创造。
请看下面的例句：1．他的眼时闪着逼人的光，嘴唇绷的紧紧的。
(刘知侠《铁道游击队》) There was a fierce glow in his flashing eyes and his lips were tightly drawn.2．天空最高处作玉兰色，有几朵白云飞驰；白云的边缘色如乳糜，叫人微微眩目。
(郭沫若《春之胎动》)The depths of the sky are a jade blue flecked with scudding clouds, white clouds whose chyle-tinted edges almost dazzle the eye.下面抄录一段文字，请分组讨论，根据上述要求试译，然后对照参考译文，分析和体会文学翻译与其它题材翻译的不同。
现代大学英语精读1Unit16第二幕译文
Translation of Text A怪物即将降临枫树街第二幕场景一1从这么多的房子里我们仅能看到蜡烛光，完全看不到有电。
安静笼罩着整片区域，不时听见人群低声说话的声音。
查理看了看古德曼的房子。
2萨莉：（略带羞怯）这不对，边说边看着人群。
为什么呢，他说的对，他一直是我们的邻居。
从他搬来这里我就认识古德曼先生了。
我们一直是好朋友—3查理：这证明不了什么。
任何一个早上花时间看着天空的人，肯定有问题。
也许在平时我们可以不管，但现在情况不寻常。
（斯蒂芬，站在离我们几码远的地方，从门廊走下来，穿过街道去到了古德曼的房子。
他停下了脚步。
古德曼站在那里。
古德曼太太感到很害怕，她站在丈夫身后。
）4古德曼：就站在那里，斯蒂芬。
我们不想惹麻烦，但如果现在谁敢踏进我家门—谁就麻烦了！5斯蒂芬：看，莱兹——6古德曼：我已经跟你们解释过了。
我有时晚上睡得不好。
我就会起床散步，看天空和星星。
7古德曼夫人：这正是他平常做的事，怎么整件事就成了，成了疯狂的行为了。
8斯蒂夫：（连连点头）这正是他平常做的事——有一点疯狂。
9查理的声音：（尖叫声从街道对面传过来）你最好看看你被谁看见了，斯蒂夫！不等我们弄清楚事情真相，你摆脱不了嫌疑。
10斯蒂夫：（猛地朝他走去）或者是你，查理。
或者是我们当中任何一个年龄段的人。
11女人：我想知道的是——我们打算怎么做？一起在这里站整晚吗？12查理：我们也没别的事情可做！13斯蒂夫：（提高嗓门）查理，你有事情可以做。
你能回家然后闭上你的嘴巴。
你可以像个自我任命的无能法官，停下脚步，然后回去睡觉，忘记一切。
14查理：听起来就像你很期待这些发生，斯蒂夫。
我认为我们也应该多留意你。
15唐：我认为现在什么都有可能出现。
（他转向斯蒂夫。
）你的妻子说了很多关于你行为古怪的话。
16查理：（瞪大眼睛紧接着说）说吧，告诉我们她说了什么。
（斯蒂夫从街道对面走过来。
）17斯蒂夫：说吧，我妻子说了什么？让我们全部说出来。
文学翻译
二、 散文的翻译
(一) 本小节所讨论的散文是指狭义的散文，即那些记事、记人、抒发情感、发表议论的文章。 它与小说的主要区别在于它的非虚构性质。散文语言与小说中的叙事和议事语言十分相
似，但更为清新自然、活泼灵秀、洗炼畅达，能带给人更多的美感。 （二） 散文的翻译
翻译散文，首先要准确把握原文的内容与风格，因为内容与风格是统一的。譬如英国 早期的散文多为说明性文字、教育用文字和劝谕性文字，用古英语写成，以简洁朴实 见长，且有明显的口语化倾向。另外要认真体会散文的时代风格与作家风格，如培根 的散文多用排比并列句式，形式工整，而这同时也是英国十七世纪散文的一大修辞特 点。十八世纪的散文，初中期口语化盛行，代表作家是艾迪生(Joseph Addison)和斯梯 尔(Richard Steele)，但到了末期却又转向典雅华丽。到了十九世纪，虽然一部分作家仍 坚持散文朴实无华的特点，但在整个文学艺术界浪漫主义思潮的影响下，浪漫派散文 似乎一直占据上风，作家常直抒胸臆，表现自己鲜明独特的个性。这类散文句式灵活、 语言新颖，富有极强的感染力。其生动的比喻、强烈的节奏感、飞扬的文采形成了散 文的时代特色。但进入二十世纪后，英国散文的主流又回到了以正规口语为基础的朴 实自然语言。
婴儿的睡眠，最为优美；疲劳的人在户外睡眠，最为酣畅；水手在艰苦航程之后 的睡眠，最为圆满；为某种意念所苦的人，对睡眠最为欢迎；哭泣后的母亲的睡 眠，最动人心弦；一个顽皮小孩的睡眠，最为轻松；一个深受爱慕的新娘的睡眠， 最为骄傲。
三、诗歌的翻译 （一） 英语诗歌的特点
1） 语言的音韵美和节奏感
押韵是是诗体与其它文体的最大区别之一。英诗常用的韵有①头韵(alliteration)，即词首音 素的连续重复（如Thomas Gray 的 Elegy Written in a Country Churchyard中的The plowman homeward plods his weary way一句，plowman与plods, weary 与way都形成头韵）；②谐元 音/腹韵(assonance)，即词中重读元音的重复（如sweet与sleep, cradle与grave）；③尾韵 (rhyme)，即词尾相同音素的重复。诗歌除了音韵美外，其有规律的轻重抑扬变化连同韵 式的变化，一同构成了诗的节奏美。英语格律诗分为诗节（stanza），诗节又分为诗行， 每一诗行又分为几个音步(foot)。音步是由一个重读音节和一个或数个非重读音节有规律 地排列构成，常见的有抑扬格五音步，扬抑格四音步，抑扬格七音步以及扬抑抑格两音步、 抑抑扬格三音步等。无韵诗(blank verse)虽然不讲究押韵，但传统的无韵诗仍十分讲究节 奏，一般是以抑扬格五音步为一行，如莎土比亚的诗剧。至于当代诗人写的一些无韵自由 诗(free verse)则完全不受韵式和音步的限制，完全听凭思想的自然流露和语言自然节奏的 流动。
王守仁《英国文学选读》译文15.16单元
这位新神已经沉睡了两千年，它的苏醒和降生已经迫在眉睫，摇篮震动，噩梦乍起，“stony sleep”不再是石板一块。
两千年是基督降临和再次降临之间的年限，然而，对于叶芝，两千年还有着另外的特殊含义，就是所谓的Magnus Annus，以两千年为一年的“大年”。
更精确的表述是：根据冬/夏至的运转来计算，太阳需要用两万六千年才能扫过整个黄道，十二黄道十二等分这个两万六，得出2160年，这就是“大年”，一个“大年”就是文明盛衰的一个周期。
这样的一个“大年”又只是更大的“两万六千年”的十二个月之一，每个“月”/“大年”都有自己的神灵，基督就是众多神灵之一。
这里还有一个更复杂的设定：大年和神灵都有primary 和antithetical之分，然而，大年和神灵的更替却有着各自的轨道――所以它们的运动共同构成了“螺旋群”（gyres）：不仅旋转着上升，而且不只一条轨迹――这可以解释第一行诗句的问题：为什么猎鹰的飞翔是个螺旋。
因为不同螺旋的交错，antithetical的大年/文明中出现的是primary的基督；而第二次降临的神灵，按理应该是primary的基督的反面，antithetical，它所置身的却是个primary的时代。
与“谦卑的羔羊”（耶稣）对立，就要“新生的神”是强悍的猛兽（rough beast），那么，种种纷扰所预示的新时代似乎应该是个primary的善世呢。
尽管推论如此，我们还是忍不住地、并不乏战栗地发问：新生的神究竟是怎样的悍兽，它所统辖的新“大年”究竟是怎样的文明？最后一行，叶芝又回到了基督教的第二次降临说：新神弓身以待、如箭在弦――就要去伯利恒降生了！最后做一些收尾工作。
关于被血潮淹没“天真之典”：放在大年和神灵螺旋运动的背景中来看，这个“天真之典”倒有可能是基督教的洗礼仪式。
而Bloom主张的第二次降临暗示（或至少是暗和）法西斯或共产主义的兴起似乎纯属胡说八道。
叶芝的下一个大年应该不是凶年，虽然那一年的神兽比较凶恶，而Bloom该不会以为极权主义是大善吧？好不容易把整首诗梳理了一遍，我却要说点让自己丧气的话：初读“The Second Coming”，完全地不明所以，却全身心地为文字里的兽性和悍气而倾倒――这种感觉比史蒂文斯那不乏霸道的雅痞腔更妙不可言。
文学翻译
第一章文学翻译概述本章学习目标1.理解文学翻译的内涵和本质、文学翻译的过程和原则以及文学翻译的价值与意义。
2.结合具体文学作品，阅读分析文学语言的基本特征以及文学文本的层次结构特点。
3.了解文学译者的素质要求，广泛学习，提高文学艺术修养与文学分析鉴赏能力。
第一节文学翻译界说1.文学的涵义在西方，“文学”（literature）一词是在14世纪从拉丁文litteratura和litteralis 演化而来的，意思是“著作”或者“书本知识”，是与政治、历史、哲学、伦理学、神学等一样的文化产品，并无特殊的或专有的性质。
直到18世纪，文学才从一般的文化产品中独立出来，用以特指具有美的形式和能产生情感作用的文学作品。
在我国，“文学”一词的含义也经历了一个演变过程。
魏晋以前，“文学”（或“文”）的意思是“学问”或“文化”。
魏晋时期，“文学”与“文章”和“文”渐成同义词。
到公元5世纪时，南朝宋文帝建立“四学”，“文学”才与“儒学”、“玄学”、“史学”正式分了家，获得独立发展的地位，并被赋予了特殊的审美性质。
至现代由于受到西方文学观念的影响，我国学者主要是通过突出文学的审美特性和语言特性来理解与界定文学的。
和而观之，文学有广义的文学与狭义的文学之分。
“广义的文学指的是一切用文字所撰写的著述。
狭义的文学指的就是用美的语言文字作为媒介而创造的文学作品。
”今天通行的文学作品如诗歌、散文、小说戏剧等即为狭义的文学。
鉴于此，本书拟论及的文学翻译是指狭义文学作品的翻译，即诗歌、散文、小说、戏剧等的翻译。
2. 文学翻译的涵义文学翻译历史悠久，在中国最早可追溯到公元前1世纪刘向《说苑·善说》里记载的《越人歌》，在西方可追溯到公元前大约250年罗马人里维乌斯·安德罗尼柯（Livius Andronicus）用拉丁文翻译的荷马（Homer）史诗《奥德赛》（Odyssey）。
自有文学翻译以来，人们从未停止过对其进行思考与探索。
现代大学英语精读1 UNIT16 The Monsters Are Due in Mple Street 课文翻译
2014101018第十六单元Translation of Text A怪物即将降临枫树街(第一幕)人物莱兹·古德曼萨莉古德曼太太男人甲唐·马丁男人乙史蒂夫·布兰德女人布兰德太太五个不同的声音皮特·范·霍恩第一个人物查利第二个人物汤米1 [故事发生在枫树街，一条典型的美国小镇上的居民街，街上十分安静，两旁绿树成荫。
房屋前建有可以供人们闲坐和隔着草地聊天的门廊。
史蒂夫正在擦着停在自家房前的汽车。
他的邻居——唐·马丁，斜靠在车的挡泥板上看着他。
一名古德赫姆公司的工人骑了辆自行车，他正停下车向几个小孩儿出售冰淇淋。
两名妇女站在草坪前聊天。
还有一个男人在给草坪浇水。
]2 [这时，一个叫汤米的小男孩儿抬起头来听到头上传来的一声巨响，一道亮光划过他的脸庞，接着穿过街道上的草地，门廊和屋顶，然后消失了。
正在擦车的史蒂夫站在那里，盯着上空，惊讶得说不出话。
他又看了看街对面的邻居唐·马丁。
]3 史蒂夫：那是什么？流星？4 唐：看上去像。
但我没听到有东西落下来的声音，你听到了吗？5 史蒂夫：没有，我就听到一声巨响。
6 布兰德夫人：(从门廊上)史蒂夫？那是什么东西？7 史蒂夫：亲爱的，我猜是颗流星。
飞得太近了，不是吗？8 布兰德太太：太近了！(人们站在门廊前，一边观察一边低声交谈着。
我们看到一个男人正在前门廊上拧灯泡，然后从凳子上下来去打开开关，但灯没有亮。
另一个男人正在摆弄电动割草机。
他把插头插入插座，反复按着开关，但割草机没有任何反应。
透过前门廊的一扇窗户，人们可以看到一位妇女正在打电话。
)9 女人：接线员，接线员，电话坏了，接线员！10 (布兰德太太从屋里走出来到门廊上。
)布兰德太太：(喊到)史蒂夫，停电了。
我还在炉子上煮着汤呢，可炉子刚刚没电了。
11 女人：这儿也是。
电话也打不通了。
电话好像坏了。
12 第一个声音：停电了。
13 第二个声音：电话不通了。
《西方文学理论》 文本分析库 16.第十六章 后结构主义文论 16.1-德里达论模仿
文本分析库德里达论模仿1，知识点：模仿2，知识点讲解：德里达提出，文学文本并不是对现实的模仿，而是对其他话语文本的模仿，因而它是互文性的。
法国诗人马拉美在诗学短论?模仿?中提到的哑剧?皮耶罗弑妻?，就是这种互文性的典型文本。
德里达说：“我们可以一直刨根问底，发现这个皮耶罗到底在什么地方读到过一位丈夫挠妻子的脚心直到了结她性命的故事。
喜剧艺术所提供的所有线索，使我们发现自己陷于一个无休止的罗网之中。
〞1这就是说，我们的追问除了引出一个又一个文本，除了引出无穷的文本罗网外，不会有其他根基性的东西。
也许有人要说：对文学文本的观察直接源自我，而不是源自对已有文本的模仿。
可是任何观察本身无不是从一定的视角出发的，这视角并不是自然生成的，而是在一定的语言文化传统中被建构起来的，所以观察本身也是一种文本。
差异仅在文本的媒介有所不同，或是文字文本，或舞蹈文本，或是图像文本。
3，实体内容：德里达谈模仿第一部讨论自柏拉图第一次依“摹仿〞概念界定艺术、亚里斯多德在?诗学?中为语言艺术而将其开展以来，西方文学和文学评论就一直为其所支配。
本文选自?二部讨论?，除几页介绍文字外，我们选译了“第一部讨论〞的全部内容。
文中，德里达说明“摹仿〞何以一直与“真理〞观念紧密相联，无论是作为无蔽的真理(即敞开自身的本质)还是作为同一／符合的真理(由准确模仿而再现的本质)。
在柏拉图的斐利布斯(Philebus)里，“摹仿〞固有的矛盾已经昭然，而在马拉美的小散文诗“摹仿〞里，这些矛盾被搬上了舞台。
通过把柏拉图的斐利布斯节选和马拉美的小诗相对照，德里达把他称之为“摹仿主义〞、从一开始就影响文学、以及文学对摹仿主义搁置和存疑的潜在能力、并在马拉美的作品里充分表现出来的1 [法]Jacques Derrida,“The First Session〞〔?第一局部?〕, in Derek Attridge, ed., Acts of Literature〔?文学行动?〕, New York：Routledge, 1992, p.156.这一根本哲学思想加以戏剧化。
经典道德经名句翻译及感悟
【导语】道德经在中国可谓是⽆⼈不知，⽆⼈不晓。
其中的内容涵盖⼴泛，以致于对后世⽂学产⽣了深远的影响。
⽂章内容朴素却⼜极致真理，真乃是⼈⼈必读的国学宝典。
下⾯是分享的经典道德经名句翻译及感悟。
欢迎阅读参考！【篇⼀】经典道德经名句翻译及感悟 1、信⾔不美，美⾔不信；善者不辩，辩者不善，知者不博，博者不知。
——出处：《道德经》第⼋⼗⼀章 【翻译讲解】：诚实的语⾔不华美，华美的语⾔不诚实，善良的⼈不会花⾔巧语，花⾔巧语的⼈不善良；⼤智的⼈不杂博，杂博的⼈不智慧。
【感悟】⽼⼦提出了“真善美”之说，这是《⽼⼦》五千⾔的精辟结语。
2、我有三宝，持⽽保之：⼀⽈慈，⼆⽈俭，三⽈不敢为天下先。
——出处：《道德经》第六⼗七章 【翻译讲解】：我有三件宝物永不放弃：⼀是慈爱，⼆是俭约，三是不逞强好胜。
【感悟】⽼⼦提出“三宝”作为⾃⼰的理论基础。
慈爱是“三宝”的出发点和归宿；⽣活上节俭及为政简约，是“三宝”的关键；“不敢为天下先”，才能处处争先，这是⽼⼦“三宝”的核⼼。
3、善为⼠者不武，善战者不怒，善胜敌者不与，善⽤⼈者为之下。
——出处：《道德经》第六⼗⼋章 【翻译讲解】：善于为将帅的⼈从不夸逞勇武；善于作战者不轻易冲动发怒；善于战胜敌⼈的，不与敌⼈正⾯交锋，善于⽤⼈的⼈对⼈谦下。
【感悟】“处下”与“不争”是⽼⼦思想的重要⽅⾯。
此处结合⽤兵、⽤⼈，阐述了“不争之德”，强调“柔弱胜刚强”的思想在军事上的运⽤。
4、抗兵相加，哀者胜矣。
——出处：《道德经》第六⼗九章 【翻译讲解】：两军势均⼒敌，哀痛的⼀⽅胜利。
【感悟】哀兵必胜，军队在悲愤与压迫⾯前，战⽃⼒。
5、民不畏威，则⼤威⾄。
——出处：《道德经》第七⼗四章 【翻译讲解】：当⼈民不再畏惧（统治者的）威压时，那么⼤乱的威胁将要到来。
【感悟】赢得民⼼，关注民⽣，是社会安定的根本。
6、圣⼈⾃知不⾃见，⾃爱不⾃贵。
——出处：《道德经》第七⼗⼆章 【翻译讲解】：圣⼈有⾃知之明⽽从不⾃我表现，有⾃爱之⼼从不⾃显尊贵。
川外：《文学翻译批评与鉴赏》概论1(翻硕班 课件)
This course intends to be an introductory course of translation criticism which helps students to develop practical skills in judging and criticizing a translated work. The course aims at introducing the objectives, basic techniques and general ideas of translation criticism. A broad spectrum of perspectives in the study of translation criticism will also be introduced to help students to understand the complicate process of translation and the various factors to be considered in criticizing a work.
1.1.2 课程进度计划（Teaching Schedule） 第1-10周 英译汉译文批评与鉴赏 第1周 概论 第2-3周 英国小说《傲慢与偏见》片段译文批评与鉴赏 第4周 美国小说《飘》片段译文批评与鉴赏 第5周 英国小说《简爱》片段译文批评与鉴赏 第6周 因周日清明节，周一补假 第7周散文《作者自叙》译文批评与鉴赏 或 散文《谈读书》译文批评与鉴赏 第8周 诗歌《生命的礼赞》译文批评与鉴赏 第1-8周要求同学们完成第一个project, 任选一篇英文不同汉译本，进行对比分析。 第9-10周 Presentation of the first project（每人3.5分钟） 第11-18周 汉译英译文批评与鉴赏 第11周 小说《红楼梦》片段译文批评与鉴赏 第12周 小说《骆驼祥子》片段译文批评与鉴赏 第13周 散文《桃花源记》译文批评与鉴赏 第14周 诗歌《清明》译文批评与鉴赏 第15周 文学翻译批评与鉴赏课堂综合练习 第16周 因周六端午节，周一补假 第11-16周要求同学们完成二个project, 任选一篇中文不同英译本，进行对比分析。 第17-18周 Presentation of the second project（每人3.5分钟）
高英课文中英对照
Pub Talk and the King s English(酒吧闲谈与标准英语)Henry Fairlie (亨利·费尔利)1. Conversation is the most sociable of all human activities. And it is an activity only of humans. However intricate the way in which animals communicate with each other, they do not indulge in anything that deserves the name of conversation. 人类的一切活动中，闲谈是最具交际性的，也是人类特有的。
而动物之间的信息交流，无论其方式何等复杂，也是称不上交际的。
2. The charm of conversation is that it does not really start from anywhere, and no one has any idea where it will go as it meanders or leaps and sparkles or just glows. The enemy of good conversation is the person who has “something to say.” Conversation is not for making a point. Argument may often be a part of it, but the purpose of the argument is not to convince. There is no winning in conversation. In fact, the best conversationalists are those who are prepared to lose. Suddenly they see the moment for one of their best anecdotes, but in a flash the conversation has moved on and the opportunity is lost. They are ready to let it go. 闲谈的引人入胜之处就在于它没有一个事先设定好的主题。
墨子英译研究
墨子英译研究墨子英译研究王宏摘要：墨子是春秋战国时期著名的思想家，墨家学派的创始人。
现已出版的墨子英译本有两种：一是梅贻宝(Y．P．Mei)的译本，二是伯顿·沃森(Burton Watson)的译本。
《墨子》英译全译本由汪榕培、王宏历时两年半完成．已列入国家新闻出版总署的重大出版工程“大中华文库”出版计划，即将由湖南人民出版社出版。
本文通过对墨子全译的说明及墨子现有译本的比读分析，论证《墨子》英译全译本问世的必要性及特点，探讨文本考辨在典籍英译中的重要作用以及典籍英译所应遵循的基本原则。
笔者认为，1．典籍作品的文本考辨事关译文的准确，必须高度重视；2．“明白、通畅、简洁”可接纳为翻译《墨子》一类古籍作品所应遵循的基本原则。
关键词：墨子全译；墨子英译比读；文本考辨；翻译原则一、引言墨子，名翟，生于公元前约468年，卒于公元前约376年，是春秋战国时期著名的思想家、政治家、教育家、军事家及科学家，墨家学派的创始人。
在代表新兴地主阶级利益的法家崛起以前，墨家是先秦时期和儒家相对立的最大学派，曾与儒学并列为“世之显学”。
墨子的著作在西汉时由刘向整理成书，共七十一章，但六朝以后有所流失，现存的《墨子》只有五十三章。
现已出版的墨子英译本有两种：一是梅贻宝(Y．P．Mei)的译本(以下简称“梅译本”)，二是伯顿·沃森(Burton Watson)的译本(以下简称“沃译本”)。
梅译本的英文全称是：The Ethical an d Pol itic al Works of Motse(《墨子的伦理政治论著》)。
梅贻宝是天津人，1922年毕业于清华大学，1923年赴美国哥伦比亚大学专门从事墨子研究，1927年获得博士学位。
梅的博士论文题目为Motse，the Neglected Riv al of Confucius(11墨子：一位曾与孔子匹敌而后备受冷落的人》)，其译著是他博士论文的副产品。
梅贻宝是将《墨子》译成英语并在西方出版发行的第一人。
论语《乡党-论语》原文及解读
论语《乡党－论语》原文及解读（最新版）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。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!论语《乡党－论语》原文及解读【导语】：[十一] 孔子于乡党，恂恂如也，似不能言者。
《窗边的小豆豆》
一、简介（一） 1、书名：《窗边的小豆豆》2、出版：海南出版公司，2011年1月第二版3、作者简介：黑柳彻子黑柳彻子，生于1933年8月9日，日本著名作家、著名电视节目主持人、联合国儿童基金会亲善大使。
“社会福利法人小豆豆基金”理事长、“社会福利法人小步的箱子”理事、“日本文学俱乐部”会员、“世界自然保护基金”日本理事、“岩崎画册美术馆”馆长。
以《窗边的小豆豆》等享誉国际。
（二）作品简介《窗边的小豆豆》1981年出版后，不仅在日本，而且在全球都引起了极大的反响，截至2001年，日文版累计销售达938万册，成为日本历史上销售量最大的一本书。
该书已被译成了33种文字，介绍到世界各地。
英文版在美国出版时，《纽约时报》发表了两个整版的书评文章，这一“殊荣”，不仅在她之前没人获得，在此之后也再无第二人。
该书的英文版仅日本国内销售就达70多万册，至今无人超越。
1984年，联合国的官员在读完英文版的《窗边的小豆豆》后，认为“再也没有比她更了解孩子的了”，因而任命她为联合国儿童基金会亚洲历史上第一位亲善大使。
《窗边的小豆豆》讲述了作者上小学时的一段真实的故事。
作者因淘气被原学校退学后，来到巴学园。
在小林校长的爱护和引导下，一般人眼里“怪怪”的小豆豆逐渐变成了一个大家能接受的孩子，并奠定了她一生的基础。
整本书不仅带给全世界几万读者无数的笑声和感动，而且成为现代教育的发展注入了新的活力，成为20四级全球最有影响的作品之一。
中文简体版《窗边的小豆豆》出版至今，雄踞销售排行榜达8年之久，被广大媒体和读者评为“世纪最有价值图书”。
暑期读书笔记&影视剧点评精选读书笔记影视剧点评书评舞台艺术点评读后感（三）译者简介：赵玉皎：70年代末生人，日本文学博士，文学翻译者，著名翻译者，毕业于北京外国语大学日本学研究中心，获日本文学硕士学位。
翻译过《窗边的小豆豆》、《小时候就在想的事》、《小豆豆频道》、《丢三落四的小豆豆》。
小说《猫生十年》作者，北京大学日语文学博士。
双语小说：董贝父子16
What the Waves were always sayingPaul had never risen from his little bed. He lay there, listening to the noises in the street, quite tranquilly; not caring much how the time went, but watching it and watching everything about him with observing eyes.When the sunbeams struck into his room through the rustling blinds, and quivered on the opposite wall like golden water, he knew that evening was coming on, and that the sky was red and beautiful. As the reflection died away, and a gloom went creeping up the wall, he watched it deepen, deepen, deepen, into night. Then he thought how the long streets were dotted with lamps, and how the peaceful stars were shining overhead. His fancy had a strange tendency to wander to the river, which he knew was flowing through the great city; and now he thought how black it was, and how deep it would look, reflecting the hosts of stars - and more than all, how steadily it rolled away to meet the sea.As it grew later in the night, and footsteps in the street became so rare that he could hear them coming, count them as they passed, and lose them in the hollow distance, he would lie and watch the many-coloured ring about the candle, and wait patiently for day. His only trouble was, the swift and rapid river. He felt forced, sometimes, to try to stop it - to stem it with his childish hands - or choke its way with sand - and when he saw it coming on, resistless, he cried out! But a word from Florence, who was always at his side, restored him to himself; and leaning his poor head upon her breast, he told Floy of his dream, and smiled.When day began to dawn again, he watched for the sun; and when its cheerful light began to sparkle in the room, he pictured to himself - pictured! he saw - the high church towers rising up into the morning sky, the town reviving, waking, starting into life once more, the river glistening as it rolled (but rolling fast as ever), and the country bright with dew. Familiar sounds and cries came by degrees into the street below; the servants in the house were roused and busy; faces looked in at the door, and voices asked his attendants softly how he was. Paul always answered for himself, 'I am better. I am a great deal better, thank you! Tell Papa so!'By little and little, he got tired of the bustle of the day, the noise of carriages and carts, and people passing and repassing; and would fall asleep, or be troubled with a restless and uneasy sense again - the child could hardly tell whether this were in his sleeping or his waking moments - of that rushing river. 'Why, will it never stop, Floy?' he would sometimes ask her. 'It is bearing me away, I think!'But Floy could always soothe and reassure him; and it was his daily delight to make her lay her head down on his pillow, and take some rest.'You are always watching me, Floy, let me watch you, now!' They would prop him up with cushions in a corner of his bed, and there he would recline the while she lay beside him: bending forward oftentimes to kiss her, and whispering to those who were near that she was tired, and how she had sat up so many nights beside him.Thus, the flush of the day, in its heat and light, would gradually decline; and again the golden water would be dancing on the wall.He was visited by as many as three grave doctors - they used to assemble downstairs, and come up together - and the room was so quiet, and Paul was so observant of them (though he never asked of anybody what they said), that he even knew the difference in the sound of their watches. But his interest centred in Sir Parker Peps, who always took his seat on the side of the bed. For Paul had heard them say long ago, that that gentleman had been with his Mama when she clasped Florence in her arms, and died. And he could not forget it, now. He liked him for it. He was not afraid.The people round him changed as unaccountably as on that first night at Doctor Blimber's - except Florence; Florence never changed - and what had been Sir Parker Peps, was now his father, sitting with his head upon his hand. Old Mrs Pipchin dozing in an easy chair, often changed to Miss Tox, or his aunt; and Paul was quite content to shut his eyes again, and see what happened next, without emotion. But this figure with its head upon its hand returned so often, and remained so long, and sat so still and solemn, never speaking, never being spoken to, and rarely lifting up its face, that Paul began to wonder languidly, if it were real; and in the night-time saw it sitting there, with fear.'Floy!' he said. 'What is that?''Where, dearest?''There! at the bottom of the bed.''There's nothing there, except Papa!'The figure lifted up its head, and rose, and coming to the bedside, said:'My own boy! Don't you know me?'Paul looked it in the face, and thought, was this his father? But the face so altered to his thinking, thrilled while he gazed, as if it were in pain; and before he could reach out both his hands to take it between them, and draw it towards him, the figure turned away quickly from the little bed, and went out at the door.Paul looked at Florence with a fluttering heart, but he knew what she was going to say, and stopped her with his face against her lips. The next time he observed the figure sitting at the bottom of the bed, he called to it.'Don't be sorry for me, dear Papa! Indeed I am quite happy!'His father coming and bending down to him - which he did quickly, and without first pausing by the bedside - Paul held him round the neck, and repeated those words to him several times, and very earnestly; and Paul never saw him in his room again at any time, whether it were day or night, but he called out, 'Don't be sorry for me! Indeed I am quite happy!' This was the beginning of his always saying in the morning that he was a great deal better, and that they were to tell his father so. How many times the golden water danced upon the wall; how many nights the dark, dark river rolled towards the sea in spite of him; Paul never counted, never sought to know. If their kindness, or his sense of it, could have increased, they were more kind, and he more grateful every day; but whether they were many days or few, appeared of little moment now, to the gentle boy.One night he had been thinking of his mother, and her picture in the drawing-room downstairs, and thought she must have loved sweet Florence better than his father did, to have held her in her arms when she felt that she was dying - for even he, her brother, who had such dear love for her, could have no greater wish than that. The train of thought suggested to him to inquire if he had ever seen his mother? for he could not remember whether they had told him, yes or no, the river running very fast, and confusing his mind.'Floy, did I ever see Mama?''No, darling, why?''Did I ever see any kind face, like Mama's, looking at me when I was a baby, Floy?'He asked, incredulously, as if he had some vision of a face before him.'Oh yes, dear!''Whose, Floy?''Your old nurse's. Often.''And where is my old nurse?' said Paul. 'Is she dead too? Floy, are we all dead, except you?'There was a hurry in the room, for an instant - longer, perhaps; but it seemed no more - then all was still again; and Florence, with her face quite colourless, but smiling, held his head upon her arm. Her arm trembled very much.'Show me that old nurse, Floy, if you please!''She is not here, darling. She shall come to-morrow.''Thank you, Floy!'Paul closed his eyes with those words, and fell asleep. When he awoke, the sun was high, and the broad day was clear and He lay a little, looking at the windows, which were open, and the curtains rustling in the air, and waving to and fro: then he said, 'Floy, is it tomorrow? Is she come?'Someone seemed to go in quest of her. Perhaps it was Susan. Paul thought he heard her telling him when he had closed his eyes again, that she would soon be back; but he did not open them to see. She kept her word - perhaps she had never been away - but the next thing that happened was a noise of footsteps on the stairs, and then Paul woke - woke mind and body -and sat upright in his bed. He saw them now about him. There was no grey mist before them, as there had been sometimes in the night. He knew them every one, and called them by their names.'And who is this? Is this my old nurse?' said the child, regarding with a radiant smile, a figure coming in.Yes, yes. No other stranger would have shed those tears at sight of him, and called him her dear boy, her pretty boy, her own poor blighted child. No other woman would have stooped down by his bed, and taken up his wasted hand, and put it to her lips and breast, as one who had some right to fondle it. No other woman would have so forgotten everybody there but him and Floy, and been so full of tenderness and pity.'Floy! this is a kind good face!' said Paul. 'I am glad to see it again. Don't go away, old nurse! Stay here.'His senses were all quickened, and he heard a name he knew.'Who was that, who said "Walter"?' he asked, looking round. 'Someone said Walter. Is he here? I should like to see him very much.'Nobody replied directly; but his father soon said to Susan, 'Call him back, then: let him come up!' Alter a short pause of expectation, during which he looked with smiling interest and wonder, on his nurse, and saw that she had not forgotten Floy, Walter was brought into the room. His open face and manner, and his cheerful eyes, had always made him a favourite with Paul; and when Paul saw him' he stretched Out his hand, and said 'Good-bye!''Good-bye, my child!' said Mrs Pipchin, hurrying to his bed's head. 'Not good-bye?'For an instant, Paul looked at her with the wistful face with which he had so often gazed upon her in his corner by the fire.'Yes,' he said placidly, 'good-bye! Walter dear, good-bye!' - turning his head to where he stood, and putting out his hand again. 'Where is Papa?'He felt his father's breath upon his cheek, before the words had parted from his lips.'Remember Walter, dear Papa,' he whispered, looking in his face. 'Remember Walter. I was fond of Walter!' The feeble hand waved in the air, as if it cried 'good-bye!' to Walter once again.'Now lay me down,' he said, 'and, Floy, come close to me, and let me see you!'Sister and brother wound their arms around each other, and the golden light came streaming in, and fell upon them, locked together.'How fast the river runs, between its green banks and the rushes, 'Floy! But it's very near the sea. I hear the waves! They always said so!'Presently he told her the motion of the boat upon the stream was lulling him to rest. How green the banks were now, how bright the flowers growing on them, and how tall the rushes! Now the boat was out at sea, but gliding smoothly on. And now there was a shore before him. Who stood on the bank! -He put his hands together, as he had been used to do at his prayers. He did not remove his arms to do it; but they saw him fold them so, behind her neck.'Mama is like you, Floy. I know her by the face! But tell them that the print upon the stairs at school is not divine enough. The light about the head is shining on me as I go!'The golden ripple on the wall came back again, and nothing else stirred in the room. The old, old fashion! The fashion that came in with our first garments, and will last unchanged until our race has run its course, and the wide firmament is rolled up like a scroll. The old, old fashion - Death!Oh thank GOD, all who see it, for that older fashion yet, of Immortality! And look upon us, angels of young children, with regards not quite estranged, when the swift river bears us to the ocean!'Dear me, dear me! To think,' said Miss Tox, bursting out afresh that night, as if her heart were broken, 'that Dombey and Son should be a Daughter after all!'保罗⼀直没有从他的⼩床上起来过。
儒林外史十六章好句及赏析
儒林外史十六章好句及赏析(中英文实用版)Chapter 16 of "The Scholars" is filled with memorable sentences that offer profound insights into human nature and society.One such sentence is: "Knowledge is like a mirror; if you clean it carefully, it will reflect truth clearly." This sentence emphasizes the importance of self-reflection and introspection in the pursuit of knowledge and truth.《儒林外史》第十六章中，有一句令人印象深刻的话：“知识犹如镜子，若能精心擦拭，自会清晰映照真相。
”这句话强调了在追求知识和真理的过程中，自我反思和内省的重要性。
Another notable sentence is: "A man may be poor in worldly goods, but he must not be poor in mind." This sentence highlights the idea that wealth is not the only measure of a person"s worth, and that a rich inner life is more valuable than material possessions.还有一句值得注意的话：“一个人可能物质上贫穷，但精神上不可贫穷。
”这句话强调了财富并不是衡量一个人价值的唯一标准，丰富的内心生活比物质财富更为珍贵。
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第十六章文学翻译茅盾1954年在全国文学翻译工作会议上所作的报告《为发展文学翻译事业和提高翻译质量而奋斗》中指出，文学翻译是“用另一种语言，把原作的艺术意境传达出来，使读者在读译文的时候能够像读原作时一样得到启发、感动和美的感受，文学翻译必须是文学。
这是一个很大的课题，本意在此仅从最基本的几个方面做简要说明，即：文学翻译的标准，文学翻译的过程，文学翻译的语言艺术，以及文学翻译的基本功。
一、文学翻译的标准许多翻译家在讨论翻译标准时指出，翻译必须兼顾两面，即忠实与通顺。
而对于文学翻译来说，仅仅忠实与通顺还很不够。
因为文学作品是用语言创造的艺术，它不单单是事物的概念和情节的记叙，更具有能够吸引读者的艺术形象和艺术意境。
因此，文学作品的翻译必须和原作一样，具备文学所有的各种功能和持性，即在一般地传递信息和完成交际任务之外. 还要完成诸如审美功能、教育感化功能等多种功能。
这就是说，在翻译文学作品时。
不仅要再现原作的思想内容，而且要再现原作的艺术意境，尽可能彻底地保留原作的美学价值。
文学作品中，在可以实际把握的语言文字背后，还会有丰富的言外之意，弦外之音。
而这些，就决定了文学翻译的复杂性和艰巨性。
翻译时，绝不能满足于对原作的大致的把握和了解，而必须将其读深钻透，充分理解，全面接受。
只有这样，才能完全保存原有的风格，实现原著的价值与功能的再创造。
请看下面的例句：1 .他的眼时闪着逼人的光，嘴唇绷的紧紧的。
（刘知侠《铁道游击队》）There was a fierce glow in his flashing eyes and his lips were tightly drawn.2. 天空最高处作玉兰色，有几朵白云■飞驰；白云■的边缘色如乳糜，叫人微微眩目。
（郭沫若《春之胎动》）The depths of the sky are a jade blue flecked with scudding clouds, white clouds whose chyle-tinted edges almost dazzle the eye.下面抄录一段文字，请分组讨论，根据上述要求试译，然后对照参考译文，分析和体会文学翻译与其它题材翻译的不同。
（见参考译文I—— 45）海是深蓝色的，说不上光滑；排了队的小浪开正步走，数不活有多少，喊着口令“一、二、一”似的，朝喇叭口的海塘来了。
挤到沙滩边，哦嘶一一队伍解散，喷着忿怒的白沫。
然而后一排乂赶着扑上来了。
该段选自茅盾的《黄昏》，语言鲜明分明。
翻译时应尽量保留这些特点。
二、文学翻译的过程通常翻译的过程分为两个步骤：理解与表达，文学翻译也不例外，但根据茅盾先生的讲话，不妨理解为三个步骤，即在理解与表达之间，加一个印证阶段，以强调感性认识与理性认识的结合对于文学翻译的重要意义。
理解原作是翻译的首要大事，来不得半点马虎。
理解得深透才有可能译得正确，而误解则导致误译。
因此，在动手翻译之前，应努力读深、读透原文，并结合自己的直接的、间接的经验，发挥自己的想象力和联想力，充分掌握原文所传达的信息。
要正确理解原文，就必须对原文进行认真的分析，分析原文包括分析表层、挖掘深层、揣摩风格等几个方面。
既要理解内容，乂要研究形式；既要琢磨原文的词法、句法和修辞特点，乂要考虑作者的态度、观点、手法以及某些词语的特殊含义，捕捉弦外之音，进而把握原作精神。
所谓印证，即“通过原作的语言外形，深刻地体会了原作者的艺术创造的过程，把握住原作的精神，在自己的思想、感情、生活体验中找到最适合的印证。
’（茅盾语）表达阶段，即在理解印证的基础上，运用恰当的文学语言，尽可能准确而完整地再现原作纳内容、形式、风格、使译文达到内容和形式的辩证统一。
许多翻译家认为，文学翻译重在再现原作的神韵与语言风格。
文学翻译已被公认为一种艺术，一种再创造。
翻译者不仅要在思想意义上把原著读懂、读深、读透，领会其精神要旨，而且还要完成对它的审美鉴赏，在表达时也能细致地把握，尽量保持原作风格，力求内容和形式的辩证统一。
因此，我们建议学生们在教师指导下，选读一两部优秀译作，对比分析一下原文和译文，想必不无益处。
下面摘录《红楼梦》第三回的两个片断，并提供两种译文，译文一由杨宪益及其夫人戴乃迭所译，译文二出自David Hawkes之手。
请大家比较赏析，以汲取更大的教益。
1. “……只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢！”说着便用帕拭泪，贾母笑道：“我才好了，你乂来招我。
你妹妹远路才米，身子乂弱，也才劝住了，快别再提了。
”译文I. But poor ill-fated little cousin, losing your mother so young! ” With that she dabbed her eyes with a handkerchief. f've only just dried my tears. Do you want to start me off again? ” said the old lady playfully. Your young cousin 's had a long journey and she 's delicate. We've got her to stop crying. So don't reopen that subject. ”译文II. ••- but poor little thing! What a cruel fate to have lost Auntie like that! ” and she dabbed at her eyes with a handkerchief. f've only just recovered ”, laughed Grandmother Jia. Don't you go trying to start me again! Besides, your little cousin is not very strong, and we 've only just managed toget her cheered up. So let's have no more of this! ”说明：在此有三处应特别注意，一是“只可怜我这妹妹这么命苦”这句话应该怎么翻译，才能切合凤姐的辈分与身份。
二是“我才好了”应怎样理解？三是“身子乂弱”的“弱”字应怎样译才能表现出黛玉的弱中有美？2. 熙凤听了，忙转悲为喜道：“正是呢！我一见了妹妹，都在她身上，乂是喜欢，乂是伤心，竟忘了老祖宗了，该打！该打！”译文I: His-feng switched at once from grief to merriment. Of course," she cried, f was so carried away by joy and sorrow at sight of my little cousin, I forgot our Old Ancestress. I deserve to be caned. ”译文II: In obedience to the command Xi-feng at once exchanged her grief for merriment.Yes, of course. It was just that seeing my little cousin here put everything else out of my mind. It made me want to laugh and cry all at the same time. I' m afraid I quite forgot about you, Grannie dear. I deserve to be spanked, don 't I?”在这两句话中，曹雪芹用“忙转”两个字把王熙凤的善于奉承，随机应变活脱脱地呈现在读者面前。
那么应如何翻译“忙转”二字呢？还有，这里的两个“该打” 应如何理解？怎样译？三、文学翻译应使用文学语言文学是语言的艺术，借语言的表现才得以成为具体的作品。
所谓文学语言，即是文学作品的语言材料，乂有小说语言、诗歌语言、戏剧语言、散文语言等之分。
翻译文学作品，就要研究各种具体文学样式的具体语言特点，从而做到译什么像什么。
囿于篇幅所限，我们不可能面面俱到，在此仅举几个例子介绍一下文学语言翻译的几个侧面。
1. 优美的文学语言大都具有鲜明而生动的形象性。
由于文学语言具有形象性能再现客观现实的生活面貌，创造艺术形象，给读者留下关于人物或事物的活晰印象，且比一般的语言对事物反映得更准确、更鲜明、更生动。
因此，翻译时应根据原作的语言特色再现原作的思想内容与艺术意境。
例如：曲曲折折的荷塘上面，弥望的是田田的叶子。
叶子出水很高，像亭亭的舞女的裙。
层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，乂如碧天里的星星。
微风过处，送来缕缕活香，仿佛远处高楼上渺茫的歌声似的。
(朱自活《荷塘月色》)On the uneven surface of the pond, all one could see was a mass of leaves, all interlaced and shooting high above the water like the skirts of slim dancing girls. The leaves were dotted in between the layers with white flowers, some blooming gracefully; others, as if bashfully, still in bud. They were like bright pearls and stars in an azure sky. Their subtle fragrance was wafted by the passing breeze, in whiffs airy as the notes of a song coming faintly from some distant tower. (Tr. Wang Jiaosheng)2. 人物的语言是文学创造典型性格的重要手段，人物的形象化同他语言的个性化是分不开的。
因此，翻译时，译文的语言应同样能产生“如闻其声，如见其人”的艺术效果，力求再现人物语言的形象化和个性化。
例如：凤姐道：“暧往苏州走了一趟回来，也该见些世面了，还是这么眼馋肚饱的，你若爱她，不值什么，我去拿平儿换了她来，如何？”Well!” exclaimed His-feng. I should have thought you 'd have seen enough of the world now that you 're back from a trip to Soochow and Hangchow, but you're never satisfied. If you love her, that's simple: I 'll exchange our Ping-er for her, how about that? ”(Tr. Yang Xianyi & Gladys Yang)3. 文学语言对客观事物的反映方式有种种不同，有的话言是朴素的，有的是夸张的；有的语言是譬喻的，乂有的是比拟的。