文学翻译(英译汉)
文学翻译之小说翻译
译文：At that time, China’s reform and opening-up policy was not yet fully implemented. As an ordinary citizen, how could I get permission to go to Hong Kong merely for an exhibition?! Who should I approach for approval? Where should I go to put in the application? By the time I had managed to get through the tedious procedures, the exhibition would have long been over. I immediately sent Mr. Huang a telegram of congratulations, and that was the best I could do in answer to his invitation.
分析：原文中出现了四个“第一”，前两个 “第一”所讲意义一致，其余的则各不相同。 因此前两个同意译为“top”，将“倒数第一” 译成“brought up the rear”，而“顽皮第一” 译成动词“topped”，这样一来，第一个“第 一”与后两个“第一”分别形成反义与同义的
中国文学作品英译名词典
【《腐蚀》】Decay
【赋】fu;descriptive prose interspersed with verse; prose-poetry
【复仇悲剧】revenge tragedy
【《浮生六记》】Six Chapters of a Floating Life
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【干预生活】interventing in life
service examinations, knows for it rigidity of form and poverty of ideas ) 【白话诗】free verse written in vernacular 【白话文】writings in vernacular 【《白话文学史》】History of Vernacular Literature 【白描】simple, straightforward style of writing 【《白香词谱笺》】A Collection of Tunes of Ci Poems 【百花齐放，推陈出新】Let a hundred flowers blossom, weed through the old to bring forth
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【典型性】typicality
【典型性格】model personalities
【电影理论】film theory
【叠句】reiterative sentence
【叠韵】two or more characters with the same vowel formation
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中国文学作品英译名词典.doc
文学翻译（汉译英）
文学翻译：1．《柳家大院》（节选）原文作者：老舍这两天我们大院里又透着热闹，出了人命。
事情可不能由这儿说起，得打头来。
先交代我自己吧。
我是个算命的先生，我也卖过酸枣、落花生什么的。
那可是先前的事了。
现在我在街上摆卦摊儿；好了呢，一天也抓弄三毛五毛的。
老伴儿早死啦，儿子拉洋车。
我们爷儿俩住着柳家大院的一间北房。
除了我这间北房，大院里还有二十多间房呢。
一共住着多少家子，谁说得清？住两间房的就不多，又搭上今儿个搬来，明儿个又搬来，我没那么好的记性。
大家见面，招呼声“吃了吗？”透着和气，不说呢，也没什么。
大家一天到晚为嘴奔命，没有工夫扯闲盘儿。
爱说话的自然也有。
可得先吃饱啦。
王家住两间房。
老王和我算是柳家大院最“文明”的人了。
“文明”是三孙子。
2．《柳家大院》（节选）译文A prettykick-up has been the order of the day again in our compoun d lately, for a life has been lost.Butthisisn’tthewaytoopentheball. We shouldgo the whole animal.First , a few words about myself.I’mafortune-teller. Once I was a venderof sour dates , ground-nuts and what not. But that was ages ago. Now I keep a fortune-teller’sstallontheside-walk and can scrapeup three or five dimes a day at best. My old gal had long kickedup her heels. Myson’saricksha w-boy. That’swhathe’s. We two , fatherand son , hang our hats at a south-facingroom in the Liu’scompoun d.Besides the room we occupythere are twentymore rooms in the same compoun d. How many familie s live there , only God knows. Those who occupytwo rooms are quite few. Besides , they are alwaysonthego.Ihaven’tgotsuchagoodmemor yas to remembe r all that. When peoplemeet , theygreeteachotherwitha“Howdoyoudo?”, just to show their good neighbo urly feeling s. But if they shouldcut each other dead , nobodywould care. Whenone’sknocked about from pillarto post for his bread day in and day out , hewon’tfindgingerenoughfor gas and gaiters. Of course, there’sthosewhoarealljawlikeasheep’sheadamongus. But one can hardlybe in a mood for rag-chewingwhenone’sgutscrycupboar d .The Wang familyoccupie s two rooms. Old Wang and I are conside red the genteel fork in the compoun d. Gentili ty be hanged!注释：kick-up：有了问题，出了毛病open the ball：作为开头what not：诸如此类的东西old gal：（口）老伴kickedupone’sheels：(俚) 死ricksha w ：人力车，黄包车hangone’shatson:指望，依靠on the go：（口）忙个不停cut sb. dead：不理睬某人knock about ：（口）漂泊，游荡from pillarto post ：四处奔走着，到处碰壁地，for his bread (俚) ＝for his moneyday in and day out ：日复一日，每天不间断地ginger：（口）精力，活力，劲头gas ：（俚）令人非常满意（或愉快的）的事（或人）bealljaw(likeasheep’shead)：全是空话，废话连篇rag ：（俚）姑娘，情人（指女性）guts：（用作单）贪食者be hanged：（用于诅咒语中）不得好死3．原文言语风格分析老舍先生是善于运用群众的言语大师。
文学的翻译
散文翻译 Essay translation
概念
文学翻译，顾名思义，文学翻译就是对文学作品进行的翻译。 广义的文学翻译包括对所有涉及文学语言的广泛翻译。 文学翻译除了说明要传达出‚思维内容‛外，还着重强调了 ‚风格特色‛——因为这正是文学作品不可缺少的关键之一。 没有风格的作品必然显得苍白无血，毫无生气，正如人缺少了 他的个性一样。而作品有了风格，人物的音容笑貌便会跃然纸 上，机趣横生。因此，作为文学翻译，它必然也要力求传达出 原著的这种精神风貌，否则这种翻译是毫无意义的。 另一方面，文学翻译还强调了‚忠实、准确‛——这可是 文学翻译的要害，也是基难点所在。翻译毕竟不是创作，其性 质决定了它必须忠实准确地传达出原著的精神风貌，而不得随 心所欲，自由发挥。但是由于两种语言特点不同，规律不同， 一层不变地进行翻译是产生不了应有效果的。因此就需要进行 调整，在保持‚神韵‛的准则下语言上作些变通——这便是文 学翻译的‚再创作‛。不如此，翻译出来的东西看似忠实，实 则成了死译、硬译，违背了原作的精神风貌。
2、过左的译文 这一类译文的特点是译者自由发挥太大，主观随意性太大，违背了忠实于原作的翻译原则。最突出 的例子莫过于林纾的‚翻译‛——那实际上已不是翻译而是‚编译‛或‚译写‛了。由于林纾有深厚的 文学造诣，其‚译品‛固然有其不可否认的文学价值，但那不是文学翻译的艺术，而是‚译写‛的艺术 了。 《文汇读书周报》最近对《红与黑》的翻译讨论十分热烈，我想在此谈谈个人的拙见。我认为许渊 冲先生的某些观点、译文就带有过左的倾向。不错，文学翻译是要避免‚翻译腔‛。（见1995.5.6《文 汇读书周报》许渊冲先生《从<红与黑>谈起》一文）——即笔者前面说的‚过右的表现‛，但绝不能因 此而‚从心所欲‛，进行‚辉煌的发挥‛。我完全赞同许钧先生的观点，‚翻译家的再创作，有别于作 家的创造，作家创造可以‘从心所欲’，但翻译家的再创造则要‘不逾矩’。‛(见1995.5.6《文汇读 书周报》许钧致许渊冲《关于<红与黑>汉译的通信》)把翻译说成‚戴着镣铐跳舞‛是再准确形象不过 的了，跳舞即再创作，我们绝不能‚挣脱镣铐跳舞‛，那样就不成其为翻译了。 下面看几个实际的例子。许渊冲先生把‚belle‛（漂亮）译为‚山青水秀，小巧玲珑‛，把 ‚mourir‛（死）译为‚魂归离恨天‛，从翻译的角度讲是难以让人接受的，许先生的译文原作者完全 可以用法文表达出来，而司汤达之所以不如此，总是有其理由，或可看作是其创作风格使然。既然是翻 译总要‚亦步亦趋‛才是。（从该报民意测验结果看出，读者并不太喜欢过左的译文，还是喜欢带点 ‚洋味‛的译文。） 需要说明的是，并非所有许渊冲先生的译文都像上述两个例子那样，事实上，他的不少译文是很出 色的，‚戴着镣铐跳舞‛是跳得很好的。我曾读过他的汉诗英译，认为确实译得不错，并没有像上面那 样‚从心所欲‛，很好地把握了‚度‛的艺术。
英译汉(文学翻译)
英译汉（文学翻译）The work Joyce produced in Portrait of the Artist, his Kunstlerroman, his formative novel, is not without ambivalence. In one of the first scenes, he who will become the artist is in open opposition to the law and to authority. We have to look at the word "law" and render it more flexible. We have to analyze who lays down the law and who is in the law's place. In this respect, there is a difference between Joyce and Kafka. In Kafka, the law is not figured by anyone. In Joyce there are specific authorities. In the first page of his novel, the women threaten him with castration but, as in Clarice Lispector, the question of the father is important too. In Clarice's "Sunday, before falling asleep," the father is really a father/mother and everything is organized in the direction of the father. Genesis takes place in a maternal and paternal mode of production. In Joyce, something analogous is related to the very possibility of the formation of the artist. Which father produces the artist? The question is related to the superego. Yet it is not always the same self that has a repressive figure.The first two pages of Portrait of the Artist can be approached through a kind of multiple reading, which is what Joycean writing asks for. We read word for word, line by line, but at the same time it has to be read —because that is how it is written —as a kind of embryonic scene. The entire book is contained in the first pages, which constitute a nuclear passage. The ensemble of Joyce's work is here like an egg or an opaque shell of calcium. An innocent reading will lead us to believe that these pages are hermetic. One understands everything and nothing; everything because there is really nothing obscure, nothing because there are many referents. Perhaps Irish people would find it more accessible, at least if they know their history well. Here, we have something of a coup d'ecriture, with many signs of the ruse of the artist. The text is presented in an apparent naivete —like Clarice's "Sunday, before falling asleep"— but nothing is more condensed, or more allusive. It is already a cosmos.Joyce denied using psychoanalysis in his work, yet he was impregnated by it. It is as if Joyce, though writing when Freud's texts were not yet well known, was in a kind of intellectual echo with him.The story of A Portrait of the Artist is both that of a portrait being made and that of a finished portrait. The title indicates this kind of permanent duplicity. The reader is told that it is the portrait of an artist, not of a young man, which raises the question of the self-portrait of the artist, of the coming and going of the look, of the self, of the mirror and the self in the mirror.A Portrait of the Artist is a genesis, like Clarice's text. But hers was a genesis as much of the artist as of the world, and the artist-world relation went through that of father-daughter. In Portrait of the Artist, one first sees a series of births, inscribed through the motif of evasion, of flight, and that is how the artist is made. The first and the fifth chapters resemble each other most. In those chapters, writing is much more disseminated, dislocated, than in the others. The successive stories of birth are stories of the breaking of an eggshell, in relation with a parental structure. In the first scene, there is a kind of elementary kinship structure. The scene opens little by little. In this story of the eye and of birds, not the real but the symbolic father marks the artist as genetic parent.The text begins with an enormous O that recurs in the first pages. It can be taken as a feminine, masculine, or neuter sign, as zero. The o is everywhere. One can work on the o-a, on the fort-da. I insist on the graphic and phonic o's because the text tells me to do so. With all its italics and its typography, the text asks the reader to listen. There is also a series of poems. The last one, with its system of inversions and inclusions and exclusions, ends in an apotheosis with "apologise."In these two pages we have everything needed to make a world and its history, in particular that of the artist. The text begins with: ' 'Once upon a time . . . baby tuckoo" (3). We are in the animal world. / begins with a moocow. Daedalus constructed his maze not without relation to a cow. It was built to contain the Minotaurus, the child of a (false) cow. We are in the labyrinth. There is no sexual hesitation and the first structure puts Oedipus in place. A cow and a little boy form a dual structure. We go on rapidly to the formation of the subject through the intervention of a third term. We go through the history of the mirror stage and of the cleavage, which is much funnier in Joyce than in Lacan.In "His father told him that story:" the colon and the organization of the sentence arc important since they speak at all levels. "His father looked at him through a glass:" a window separates without separating. With mirror and glasses we are already in the complex space of the history of blindness and of identificatory images. His father told him this story. The reader waits to hear what the father thinks but at that very moment the father is seen: "He had a hairy face." This is brought about by the father's look cast upon the boy. We are reminded of Kafka's keeper of the law, who was also said to have a hairy face. Our first perception of the father focuses on the glasses and on hair."He was baby tuckoo": not cuckoo, but tuckoo, a failed bird linked through its double o to the moocow that is walking down the road. His song falls from the sky, in the guise of a failed phonic signifier.We go on to a succession of personal pronouns and adjectives:' 'His mother put on the oilsheet." She functions as an anal mother. She is at the center of a moment of corporeal perceptions: cold, warm, wet, smell. The bottom of the body and the odor are feminine but the mother is on the side of a certain orality as well.。
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。
英汉互译之文学名篇翻译赏析
文学翻译赏析一、雄健阳刚类艰难的国运与雄健的国民李大钊历史的道路，不会是坦平的，有时走到艰难险阻的境界。
这是全靠雄健的精神才能够冲过去的。
一条浩浩荡荡的长江大河，有时流到很宽阔的境界，平原无际，一泻万里。
有是流到很逼狭的境界，两岸丛山迭岭，绝壁断崖，江河流于其间，回环曲折，极其险峻。
民族生命的进展，其经历亦复如是。
人类在历史上的生活正如旅行一样。
旅途上的征人所经过的地方，有时是坦荡平原，有时是崎岖险路。
老于旅途的人，走到平坦的地方，固是高高兴兴地向前走，走到崎岖的境界，愈是奇趣横生，觉得在此奇绝壮绝的境界，愈能感到一种冒险的美趣。
中华民族现在所逢的史路，是一段崎岖险阻的道路。
在这一段道路上，实在亦有一种奇绝壮绝的景致，使我们经过此段道路的人，感得一种壮美的趣味。
但这种壮美的趣味，是非有雄健的精神的人不能够感觉到的。
我们的扬子江，黄河，可以代表我们的民族精神。
扬子江及黄河遇见沙漠，遇见山峡都是浩浩荡荡的往前流过去，以成其浊流滚滚，一泻万里的魄势。
目前的艰难境界，那能阻抑我们民族生命的曲调，在这悲壮歌声中，走过这崎岖险阻的道路。
要知在艰难的国运中建造国家，亦是人生最有趣味的事。
The Bad Luck of China and the Strong Will of the ChineseLi DazhaoThe progress of history sometimes comes into a territory full of hardships and hindrances, and only by means of strong will can it run through the territory.Sometimes in an extensive and open terrain with boundless plains, a huge and mighty river flows vigorously down thousands of miles. Sometimes it runs in an imposing and narrow terrain with ranges of high mountains, crags and cliffs. It zigzags its way down through them, which is drastically hazardous and precipitous. The progress of a nation undergoes the same experience.The life of human race in history is just like a journey. The places the travelers have traversed are open and flat here, but craggy and risky there. Walking on a flat and level road, an experienced traveler certainly feels delighted. However, walking in a rugged and rough terrain, one can enjoy more wits and humor. Walking in such an area of wonderful and magnificent scenes, one can savor more tastes of adventure.The road of history taken today by the Chinese nation is one full of twists and turns. But in this section of the road, there is an extremely fabulous and magnificent view which makes those of us who are going and have gone through it feel glorious and hallowed. It is a feel only those strongly-determined people are capable of enjoying.The Yangtze River and Yellow River stand well for our national spirit. They run into deserts and mountains, and mightily they run. They develop into huge muddy streams and vigorously theydash and roar down thousands of miles. The current crisis can never stop our nation from advancing forward. Strongly determined, we should sing a march and, accompanied by this touching and tragic song.白杨礼赞矛盾……那就是白杨树，西北极普通的一种树，然而实在不是平凡的一种树。
literature translation文学翻译
三、鲜明的个性特征 在文学写作过程中写作者形成了自己独特的语言 风格 一般来说，文学文本是写作者的生命体验和情感 演绎的物化形式，作为其媒介的语言就不能不带 上写作者个性和情感的烙印。而且，成就越高的 作家，他的语言的个性特征就越明显，愈独特。
散文翻译
Sample analysis
“What’s yours?” George asked them. “I don’t know,” one of the men said. “What do you want to eat, AL?” “I don’t know,” said AL. “I don’t know what I want to eat.” (Hemingway, The Killers)
Version 1 “两位吃啥？” 乔治问他们。 “还没有定。” 其中一个说。“你吃啥，埃勒？” “我也没有定，”埃勒说，“不知道吃啥好。” Version 2 “你们想吃什么？”乔治问他们。 “我不知道，”其中一个说，“你想吃什么，艾尔？” “我不知道，”艾尔说，“我不知道想吃什么。” Version 3 “你们吃点什么吗？”乔治问他们。 “我说不 上来，” 一个人说，“艾尔，你想吃什么？” “我也说不上来，”艾尔说， “我也说不上来想吃什么。 ”
一、形象性（文学文本语言的基本特征） 通过语言的手段对人物和事物（栩栩如生的人 物、优美如画的景色，引人入胜的故事、充盈 律动的情感）进行细致的描绘，使人物的形象 鲜明、事物的形态突出，具有可视性的效果
Elegy Written in a Country Churchyard
Thomas Gray
大学英语专业文学翻译
Literary Translation
陈水平 helen.csp@
Lecture One
1. Definition of Translation
By translation here I specrifically mean translating, the process of translation, in which something is translated, instead of the work translated.
3）翻译标准的具体化问题
“具体化”可从不同的角度出发，如可以时间、作者风格、文体、目的等为划分依据来确定所要翻译文本的最终标准。
赖斯以布勒（Buhler）的三种语言功能为基础，分出三种文本类型：重内容content-focused/ informative, 重形式form-focused/expressive, 重感染appeal-focused/operative。
翻译是将一种文字之真义全部移949）
翻译是用一种语言把另一种语言所表达的思维内容准确而完整地重新表达出来的语言活动。（张培基，1980）
翻译的实质是语际的意义转换。（刘宓庆，1990）
资料：1. 文学翻译英汉一
英汉文学翻译（一）On the Difference Between Wit and HumorBy Charles S. BrooksI am not sure that I can draw an exact line between wit and humor. Perhaps the distinction is so subtle that only those persons can decide who have long white beards. But even an ignorant man, so long as he is clear of Bedlam（混论）, may have an opinion.I am quite positive that of the two(指机智与幽默), humor is the more comfortable and more livable quality. Humorous persons, if their gift is genuine and not a mere shine upon the surface, are always agreeable companions and they sit through the evening best. They have pleasant mouths turned up at the corners（比喻他们能把艰涩的话说明白）. To these corners the great Master of marionettes has fixed the strings and he holds them in his nimblest fingers to twitch them at the slightest jest（把幽默者比喻成“the great Master of marionettes ”,“he holds them in his nimblest fingers to twitch them”比喻幽默者运用他精彩绝伦的语言表达艺术把话形象生动地说出来）. But the mouth of a merely witty man is hard and sour（话语艰涩）until the moment of its discharge. Nor is the flash（比喻头脑中一闪而过的灵光）from a witty man always comforting, whereas a humorous man radiates a general pleasure（夸张比喻油然而生的满足感）and is like another candle in the room.I admire wit, but I have no real liking for it. It has been too often employed against me, whereas humor is always an ally. It never points an impertinent（粗鲁的；）finger into my defects. Humorous persons do not sit like explosives on a fuse（比喻像熔炉里的炸药）. They are safe and easy comrades. But a wit's tongue is as sharp as a donkey driver's stick. I may gallop（疾驰）the faster for its prodding（刺激）, yet the touch behind is too persuasive for any comfort.Wit is a lean creature with sharp inquiring nose（夸张比喻，带有灵敏嗅觉的精简结构）, whereas humor has a kindly eye and comfortable girth（夸张比喻幽默有温柔的眼睛和舒适的周长）. Wit, if it be necessary, uses malice（恶意）to score a point--like a cat it is quick to jump--but humor keeps the peace in an easy chair. Wit has a better voice in a solo, but humor comes into the chorus best. Wit is as sharp as a stroke of lightning, whereas humor is diffuse（弥漫）like sunlight. Wit keeps the season's fashions and is precise in the phrases and judgments of the day, but humor is concerned with homely eternal things. Wit wears silk, but humor in homespun endures the wind. Wit sets a snare（陷阱）, whereas humor goes off （突发（声音））whistling without a victim in its mind. Wit is sharper company at table, but humor serves better in mischance and in the rain. When it tumbles, wit is sour, but humor goes uncomplaining without its dinner. Humor laughs at another's jest and holds its sides, while wit sits wrapped in study for a lively answer. But it（要弄明这个代词指的是什么，其实就是a workaday world）is a workaday world in which we live, where we get mud upon our boots and come weary to the twilight（比喻我们在生活里遇到不如意的时候）--it is a world that grieves and suffers from many wounds in these years of war: and therefore as I think of my acquaintance, it is those who are humorous in its best and truest meaning rather than those who are witty who give the more profitable companionship.And then, also, there is wit that is not wit. As someone has written:Nor ever noise for wit on me could pass,When thro' the braying I discern'd the ass.（这个举例只能按字面翻译，大概作者就是想说有种机智不是机智的现象）I sat lately at dinner with a notoriously witty person (a really witty man) whom our hostess had introduced to provide the entertainment. I had read many of his reviews of books and plays, and while I confess their wit and brilliancy, I had thought them to be hard and intellectual and lacking in all that broader base of humor which aims at truth. His writing--catching the bad habit of the time--is too ready to proclaim a paradox and to assert the unusual, to throw aside in contempt the valuable haystack（干草堆）in a fine search for a paltry（无价值的）needle. His reviews are seldom right--as most of us see the right--but they sparkle and hold one's interest for their perversity（邪恶）and unexpected turns.In conversation I found him much as I had found him in his writing--although, strictly speaking, it was not a conversation, which requires an interchange of word and idea and is turn about. A conversation should not be a market where one sells and another buys. Rather, it should be a bargaining back and forth, and each person should be both merchant and buyer. My rubber plant for your victrola(手摇留声机), each offering what he has and seeking his deficiency. It was my friend B--- who fairly（简直）put the case（假设）when he said that he liked so much to talk that he was willing to pay for his audience by listening in his turn.But this was a speech and a lecture. He loosed on us（loose something on/upon someone/something）from the cold spigot（水龙头）of his intellect a steady flow of literary（文学的） allusion（比喻）--a practice which he professes（公开）to hold in scorn--and wit and epigram（警句）. He seemed torn from the page of Meredith（像从梅雷迪斯这本书里面走出来的人物一样）. He talked like ink. I had believed before that only people in books could talk as he did, and then only when their author had blotted and scratched their performance for a seventh time before he sent it to the printer. To me it was an entirely new experience, for my usual acquaintances are good common honest daytime woollen folk（毛原民风斗篷）[132] and they seldom average better than one bright thing in an evening.At first I feared that there might be a break in his flow of speech which I should be obliged to fill. Once, when there was a slight pause--a truffle（松露）was engaging him--I launched a frail remark; but it was swept off at once in the renewed torrent. And seriously it does not seem fair. If one speaker insists--to change the figure--on laying all the cobbles of a conversation, he should at least allow another to carry the tar pot and fill in the chinks（裂缝）. When the evening was over, although I recalled two or three clever stories, which I shall botch in the telling, I came away tired and dissatisfied, my tongue dry with disuse.Now I would not seek that kind of man as a companion with whom to be becalmed in a sailboat, and I would not wish to go to the country with him, least of all to the North Woods or any place outside of civilization. I am sure that he would sulk（生气愠怒）if he were deprived of an audience. He would be crotchety（想入非非的）at breakfast across his bacon. Certainly for the woods a humorous man is better company, for his humor in mischance comforts both him and you.A humorous man--and here lies the heart of the matter--a humorous man has the high gift of regarding an annoyance in the very stroke of it as another man shall regard it when the annoyance is long past. If a humorous person falls out of a canoe he knows the exquisite jest while his head is still bobbing in the cold water. A witty man, on the contrary, is sour until he is changed and dry: but in a week's time when company is about, he will make a comic story of it.My friend A--- with whom I went once into the Canadian woods has genuine humor, and no one can be a more satisfactory comrade. I do not recall that he said many comic things, and at bottom he was serious as the best humorists are. But in him there was a kind of joy and exaltation thatlasted throughout the day. If the duffle（露营装备）were piled too high and fell about his ears, if the dinner was burned or the tent blew down in a driving storm at night, he met these mishaps as though they were the very things（想要的）he had come north to get, as though without them the trip would have lacked its spice. This is an easy philosophy in retrospect but hard when the wet canvas falls across you and the rain beats in. A--- laughed at the very moment of disaster as another man will laugh later in an easy chair. I see him now swinging his axe for firewood to dry ourselves when we were spilled in a rapids; and again, while pitching our tent on a sandy beach when another storm had drowned us. And there is a certain cry of his (dully, Wow! on paper) expressive to the initiated of all things gay, which could never issue from the mouth of a merely witty man.Real humor is primarily human--or divine, to be exact--and after that the fun may follow naturally in its order. Not long ago I saw Louis Jouvet(查不到权威翻译，只能自己音译) of the French Company play Sir Andrew Ague-Cheek. It was a most humorous performance of the part, and the reason is that the actor made no primary effort to be funny. It was the humanity of his playing, making his audience love him first of all, that provoked the comedy. His long thin legs were comical and so was his drawling talk, but the very heart and essence was this love he started in his audience. Poor fellow! How delightfully he smoothed the feathers in his hat! How he feared to fight the duel! It was easy to love such a dear silly human fellow. A merely witty player might have drawn as many laughs, but there would not have been the catching at the heart.As for books and the wit or humor of their pages, it appears that wit fades, whereas humor lasts. Humor uses permanent nutgalls. But is there anything more melancholy than the wit of another generation? In the first place, this wit is intertwined with forgotten circumstance. It hangs on a fashion（风尚犹存）--on the style of a coat. It arose from a forgotten bit of gossip. In the play of words the sources of the pun are lost. It is like a local jest in a narrow coterie（小圈子）, barren to an outsider. Sydney Smith was the most celebrated wit of his day, but he is dull reading now. Blackwood's at its first issue was a witty daring sheet, but for us the pages are stagnant. I suppose that no one now laughs at the witticisms of Thomas Hood. Where are the wits of yesteryear? Yet the humor of Falstaff and Lamb and Fielding remains and is a reminder to us that humor, to be real, must be founded on humanity and on truth."On the Difference Between Wit and Humor" by Charles S. Brooks first appeared in the collection Chimney-Pot Papers published in 1919 by Yale University Press.词汇表：（一）人名地名FalstaffLambFieldingthe North WoodsLouis JouvetCharles S. Brooks（二）生僻词Bedlam（混论）impertinent（粗鲁的）coterie（小圈子）paltry（无价值的）spigot（水龙头）woollen folk（毛原民风斗篷）perversity（邪恶）（三）心理情感类crotchety（想入非非的）sulk（生气愠怒）（四）名词Marionette（牵线木偶）Nimble (敏捷的)Engaging（迷人的）翻译技巧：整篇文章主要翻译难题是句子的比喻意义很难说明白，只能联系上下文自己琢磨。
文学翻译
1.英译汉：If a dog could speak, it would probably not distinguish between motion and life. Some primitive men do not do so, and travelers interpret them as saying there are spirits everywhere. In our age of machines we are apt to look for mechanical explanations of everything, yet it is only three hundred years since machines had been developed so far that Descartes first suggested that animal and human bodies were machines.如果一只狗说话，它可能不会区分运动和生活。
一些原始的人并不会这样，旅行者通常用一种无处不在的精神来解释。
在当下机器时代，我们倾向于机械的来解释一切，但这个时代只有三百年，因为机器时代已经发展到了笛卡尔所倡导的动物和人体都是机器的时代。
A scientist is apt to think that all the problems of philosophy will ultimately be solved by science. I think this is true for a great many of the questions on which philosophers still argue. For example, Plato thought that when we saw something, one ray of light came to from the sun, and another from our eyes, and that seeing was something like feeling with a stick. We now know that the light comes from the sun, and is reflected into our eyes. We don't know in much detail how the changes in our eyes give rise to sensation. But there is every reason to think that as we learn more about the physiology of the brain, we shall do so, and that the great philosophical problems about knowledge and will are going to be pretty fully cleared up.科学家总是认为哲学的所有问题最终都可以用科学来解决。
文学翻译英译汉
再次是情态方面 ， 文学作 品没有政论体 文章那么理性 ，文学作 品
主要是表达人的情感 ，注重 的是感染力 。
思想内容进行分析 ，最后进行艺术分析 ，然后一句 句进 行翻译 。在 翻 译 句子 时，先找 出句子主干 ，然后 把其他成分都译 成附加成分 。句 与
句之间可适 当的进行整合。在进行 英译汉时 ，要把英语 的树式结构译 为汉语的竹式结构 。在进行文化作品 的翻译 时 ，尤其是涉及到文化 翻 译的时候会涉及 到规划 和异化 的问题 。到底 是采用归化还是 异化 ，要
视 角来写 的，因此 ，在翻译的时候语言不能华丽 ，要平淡 ，要 译 出女 流浪汉 的百无聊赖 ，这样才符合她的身份 ，也只有这样 才保留 了原作 的风姿 。
今 ，也可 以 由实及 虚 ；涉及 相貌 、形状 、声 音 、感 官反 应、精神 活 动、思 想感受 、心理状态等等方面 ；文学作品用词 的语 域最宽 ，可 以 有正式英语 、非正式英语 ，可以有 口语 、书面语 ，也可 以大量使用 应重点注意作 品的时
文学作 品不 同于政论 体 文章 的 明细准 确、严禁 紧凑 、程式 规范 化，也不 同于外宣类的文章玩弄辞藻 ，多空话套话 ，文学作 品涉及 到
的范围广 ，内容多 ，涉及的文化内涵也多 ，多 以情动人 ，翻译 起来也 最难。译者平 时要多积累 ，多经历 ，面对不同 的文章 ，不同的情况 要 灵活地运 用 不 同的 翻译 方 法 ，力 争 保 留原 文 的风 姿 ，再 现 原 作 的
一
、
英语 文学作 品的特点
二． 作者 的知 识 水 准及 气 质 ；三 ．语 境 所 要 求 的 “ 正 式 的 等级 ”
等等。
文学翻译 与其他题材的翻译相 比是 比较有难度 的一种 ，其难度表 现在文学作品在用词 、语言现象 、情态和风格方面是最丰富的。 首先是用词 方 面的特 点 ，文 学体 裁范 围广 泛 ：哲学 、伦理 、历 史 、文学 、艺术、宗教 、法律 、军事 、政治 、经 济、社会 、科技等 等 任何一个领域中的人 物和事件都可 能成为文学作 品进行 描绘 、记述 和
文学文本翻译_中翻英
4、不求形似，但求神似，风格再现 所谓不求形似并非要一概不顾原作形式的保留，而
是在求神似的精神指导下采取必要的“变形”措施， 使原作的风貌尽出。
诗歌的翻译作为文学翻译的特例，尤其要不惜代价 保留原来的诗味，甚至要在创新中平添一点儿诗味。 诗味也即是意象、风格。
.
实例翻译
.
暮色中，河湾里落满云霞，与天际的颜色混合在 一起，分不清哪是流云哪是水湾。
another mouthful of food before leaving for
home.
.
• 这是黄河滩上的一幕。牧羊人不见了，他不知在何处歇息。只 有这些生灵自由自在地享受着这个黄昏。这儿水草肥美，让它 们长得肥滚滚的。如果走近了，你会发现它们洁白的牙齿，以 及那丰富而单纯的表情。
• This is one scene on the beach of the Huanghe River. The shepherd is resting somewhere beyond our sights, leaving these creatures enjoying the dusk at ease. The fertile and delicious waterweeds here feed them big and fat.
.
• 也就在这一幅绚烂的图画旁边，在河湾之畔，一群羊
正在低头觅食。它们几乎没有一个顾得上抬起头来，
看一眼这美丽的黄昏。也许它们要抓紧时间，在即将
回家的最后一刻再次咀嚼。
• Just beside this gorgeous picture, at the bank
of the river bay are a school of sheep busy
Unit+8+散文英译1+概略化
• 就觉得中国的文人，与秋的关系特别深了。 可是这秋的深味，尤其是中国的秋的深味， 非要在北方，才能感受得到底。
• Chinese men of letters seem to be particularly autumn-minded. But, to know the real flavor of autumn, especially China’s autumn, one has to visit the North. • (郁达夫《故都的秋》，张培基译）
• 上海，这个灯红酒绿的花花世界，对于一 个初上舞台的青年女演员，处处都是陷阱。 • Shanghai was a dazzling world of myriad temptation, yet for a young and inexperienced actress like herself, it seemed a place more of pitfalls than of opportunities. (谢大光“她在 追赶明天”，王伟译）
10. 花园里面是人间的乐园，有的是吃不了的 大米白面，穿不完的绫罗绸缎，花不完的 金银财宝。 周而复《上海的早晨》 • The Garden is like a paradise on earth. In there are luxurious food, fine clothing and good money that can never be used up. （generalization)
(“有味”和“像样”都是模糊词语，只能结合 上下文理解。）
• temperate • adjective [usually before noun] (technical) (of a climate or region) having a mild temperature without extremes of heat or cold: temperate zones (formal) behaving in a calm and controlled way
英汉翻译概论[整理版]
![英汉翻译概论[整理版]](https://img.taocdn.com/s3/m/43de8e7cae1ffc4ffe4733687e21af45b307feaf.png)
Introduction概论English-Chinese,,,,,Translation,,,,,of,,,,,Practical,,,,,Stylistic,,,,,V arieties英汉应用文互译SYLLABUS⏹Introduction,,,,,⏹ 1.,,,,,English,,,,,brand,,,,,and,,,,,advertising,,,,,press⏹ 2.,,,,,English,,,,,for,,,,,contract,,,,,and,,,,,letter,,,,,⏹,,,,,3.English,,,,,for,,,,,sociability,,,,,writing⏹(sociable,,,,,letter/,,,,,testimonial/certification),,,,,⏹,,,,,4.English,,,,,for,,,,,daily,,,,,life⏹(instruction/names/introduction/poster/logo),,,,,Schools,,,,,of,,,,,translation⏹翻译的文艺学理论：艺术；译者的主动性和创造性⏹翻译的语言学理论：科学，SL和TL具有客观性，翻译过程种的语言现象的研究与分析⏹翻译的美学理论：审美过程；内容美，形式美，意境美⏹翻译的文体学理论：1960s，Halliday⏹“从文体学的观点来看，原文和译文在语言和题材的风格方面必须保持一致。
”,,,,,,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,——布鲁姆菲尔德What,,,,,is,,,,,stylistic,,,,,varieties⏹Stylistics(文体学),,,,,,simply,,,,,defined,,,,,,is,,,,,a,,,,,discipline,,,,,that,,,,,studies,,,,,the,,,,,ways, ,,,,in,,,,,which,,,,,language,,,,,is,,,,,used;,,,,,it,,,,,is,,,,,a,,,,,discipline,,,,,that,,,,,studies,,,,,the,,,,,style,,,,,of,,,,,language,,,,,is,,,,,used.,,,,,⏹Language,,,,,,,,,,,,,,,The,,,,,way,,,,,,,,,,,,,,,The,,,,,style⏹Considering,,,,,different,,,,,communicative,,,,,environment,,,,,,methods,,,,,,objectives,,,,,and,,,,,purposes,,,,,,communicators,,,,,would,,,,,opt,,,,,different,,,,,lang uage,,,,,varieties,,,,,(语言变体),,,,,that,,,,,has,,,,,different,,,,,functions,,,,,so,,,,,as,,,,,to,,,,,perform,,,,,their,,,,, communication,,,,,effectively.,,,,,The,,,,,language,,,,,varieties,,,,,are,,,,,what,,,,,people,,,,,called,,,,,“style”,,,,,(文体或语体).Translation,,,,,techniques⏹直译与意译:,,,,,形式；意义⏹词类转换法：词性转化⏹增删法：词、词组、句子⏹句式转换法：句式特点；形合、意合⏹正反表达法：思维习惯⏹长句拆译法：语法结构和原文意义⏹变通手段：解释翻译、借译法、音译法、形译法应用文体的特点及其作用⏹ 1.应用文体的定义及其范畴⏹ 2.,,,,,应用文体的特点（文体）⏹ 3.,,,,,应用文体的功能与作用⏹ 4.,,,,,感受应用文体应用文体的定义⏹人们在日常工作和社会生活中为处理公私事务时所常用的具有直接使用价值和某种固定程式的各种文章的总称。
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I thought of that one evening as I was driving. The moon, one day short of fullness, rode with me, first gliding smoothly, then bouncing over the bumpy stretches, now on my right, then straight ahead, the silver light washing over dry grasses in open fields, streaking along through black branches, finally disappearing as the road wound its way through the一轮满月晃晃悠悠地悬浮在上面，离我们那么近，仿佛就要掉下来撞到我们身上。它光华照人，比前一天晚上还大，更令人心驰神往，在熔银般的水塘上空悄悄地爬升。就连十岁的孩童也能看出，这不仅仅是个月亮。这是个大写的月亮。
我转过身，只见约翰正咧着嘴笑，满脸期盼的神情；他热切的目光想从我的脸上探明他是否博得了我的欢心。他确实博得了我的欢心。我意识到现在月儿也正在随他同行。
（方杰译）
讲解
这是一篇非常优美的关于月亮的散文，它将细腻的描写和真挚的情感及人生感悟交融在一起。翻译这样的文章，译者不仅要译出基本信息——字面上的意思，还要译出原文的韵味。这就需要在选词、句式安排及形象化词语的运用上仔细琢磨，不仅要注意字、句上的局部效果，更要注意段落、篇章的整体效果。
John blinked a few times and looked at me as if I might, indeed, be loony. “Mom, it’s just the moon. Is this the surprise?” I suppose he was hoping for a puppy.
The night after I showed John the moon, he burst breathlessly through the door, calling, “Mom, come out for a minute!” This time, he led me, coatless and shivering. The driveway gravel crunched underneath our sneakers. From somewhere in the woods beyond the pond, the plaintive calls of geese honked and died away.
就该篇译文而言，译者基本做到了形神合一。原文中不乏一些十分抽象的描写性的语言，然而译者能发挥自己的形象思维能力，用形象化的语言化解原文的抽象性描述带来的理解与认知上的困难，从而使译文更贴近译语读者的理解模式（比如原文第二、六、七自然段）。这种应用形象化语言替代抽象化描述语言的译法较广泛地应用于文学语篇的翻译，是翻译的难点，也正是这篇译作的最主要的长处。
Often in the soothing, restorative glow we stare transfixed, bouncing our ambitions and hopes and plans off this great reflector. We dream our dreams; we examine the structure of our lives; we make considered decisions. In a hectic, confusing world, it helps to step out into a quiet, clear swath of moonlight, to seek out the fundamentals and eschew the incidentals.
罗伯特正在洗澡；于是我一把拉起约翰，说：“闭上眼睛，来看看什么东西随我回家了。”希望这样能增强戏剧性的效果。我牵着他走到户外的夜色中。 “行了，睁开眼睛！瞧，多美啊！”
约翰眨巴眨巴双眼，盯着我看，仿佛我真的发疯了一样。“妈，不就是月亮嘛。这有什么稀奇的？”我猜他希望我带了只小狗回来。
我本应该意识到这一点：他才十岁，也许还太小，弄不清我们有时是何等需要月光的魅力和浪漫，这种光和它所反射的太阳那耀眼的光芒是多么大相径庭。月光淡化了我们的各种缺点，所有的卑微都化解为依稀朦胧的阴影。它抹去了在阳光下充塞于我们周围、压迫着我们的无数细微的事物，只留下轮廓鲜明的剪影、最精彩的场面和粗线条的绘画——万物的基本形状。
Robert was in the bathtub, so I grabbed John. “ Close your eyes and come see what followed me home,” I said, hoping to increase the dramatic impact. I led him out into the night. “Okay. Open! Isn’t it beautiful?”
参考译文
月 儿 随 我 同 行
玛丽.E.波特
我的两个儿子各自都在很小的时候就有了那惊人的发现。每当我们驱车夜行的时候,后座上总会传来稚嫩惊奇的声音: “嘿,瞧!月亮实际上并没有跟在我们的汽车后面滑行。发出惊叹的孩子往往审视良久,终于得出定论,再一次用较冷静的口吻说: “它确实在动的嘛,我看得见的。”
When the Moon Follows Me
Mary E. Potter
Each of my sons made the discovery early. We would be riding in the car at night, and a little voice would call out from the back seat, “Hey, the moon is following us!” I would explain that the moon was not actually gliding along with our car. There would be another period of critical observation and the final verdict, delivered more quietly this time: “But it really is moving. I can see it.”
一天晚上，在驱车回家的途中，我想起了这件事儿。再过一天就要盈满的月亮随我一路同行；它先是平稳地滑行，继而又在崎岖的山路上跃动，忽而在我右边，忽而又跑到我的前头。银色的月光泼洒在旷野的枯草上，沿着一路黑黝黝的枝丛投下斑驳的光点，最后，当车道在山间绕了个弯，它便消失得无影无踪。
当我的车开上村子里的小山顶时，月亮又出现了——突然变得硕大、饱满；神奇的银辉充盈四野，整个城镇都被淹没在溶溶的月色中。我这才开始明白，为什么人们会说月儿能激发起“疯狂”。我急不可待地赶回家，想让孩子们出来看看。
此外，在处理形容词方面，该译作也有值得鉴赏之处。形容词在描写文体中出现的频率颇高。在翻译形容词时，译者一是要准确理解形容词在特定的上下文及搭配中的含义，二是在用汉语表达时要顺应汉语行文及修辞规范。该原文出现了好几处多个形容词排放在一起的句式，如翻译时把握不好，很容易造成上下文不通顺的断句，严重时会造成上下文意义的断裂，从而导致歧义。这也是同学们在翻译实践中常犯的错误之一。该译者充分注意到了这方面的问题，在充分理解原文的基础上他还充分考虑到了汉语的表达习惯和修饰特点，并顺应之，使译文流畅自然。
I should have realized that, being only ten, he was probably too young to know how much we sometimes need the magic and romance of moonlight——a light that is nothing like the harsh glare of the sun that it reflects. Moonlight softens our faults; all shabbiness dissolves into shadow. It erases the myriad details that crowd and rush us in the sunlight, leaving only sharp outlines and highlights and broad brushstrokes——the fundamental shape of things.
Past the row of pine trees that line the road, the sky opened up with the full moon on it, suspended so precariously close that it might come hurtling toward us—— incandescent, even larger and more breathtaking than the night before, climbing its motionless climb over the molten silver of our pond. Even a ten-year-old could see this wasn’t just the moon. This was The Moon.
When I turned around, John was grinning, expectant, studying my face intently to see if he had pleased me. He had. I knew that now the moon was following him too.