王治奎《大学英汉翻译教程》【笔记课后习题及翻译示例汇总考研真题详解】(文学翻译)

第18章文学翻译

18.1 复习笔记

一、文学翻译的标准

对于文学翻译的要求是，“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”。

钱钟书把文学翻译的最高标准概括为一个“化”字。

二、文学翻译的过程

借鉴茅盾的有关解释，把文学翻译过程分为三个阶段：

(1) 理解阶段；

(2) 印证阶段；

(3) 表达阶段。

在表达阶段强调的内容是：

(1) 必须使用文学语言；

(2) 尽量保持原作风格；

(3) 力求内容和形式的辩证统一。

三、文学翻译须使用文学语言

这里仅介绍英文小说翻译的几个侧面：

1. 文学语言具有准确、形象、生动、自然等特征，译者应根据原作的艺术意境和语言特色，在译文里寻找适当的语言形式，使之文情并茂。

Daffodils all along the hedgerow swung like yellow, ruffled birds on their perches.

清风徐徐，沿灌木篱笆旁的水仙花轻轻地摇摆着，颇似栖息的鸟儿掀动着金黄色羽毛。

2. 运用娴熟的汉语，再现人物语言的形象化和个性化，使译文产生“如闻其声，如见其人”的艺术效果。

“Say, some tenderness, that!” This is reference to a smile or a melting glance on the part of a female.

“唷，瞧那样多温存!”这说的是一位女性的嫣然一笑，或者回眸传情。

3. 凭借自己的审美体验，深刻理解原作的艺术美，进而形神兼备地再现这种艺术美。

四、加强文学翻译的基本功训练

有兴趣于或有志于从事文学翻译的青年，可在课内外分门别类地选做一些练习，以集中提高某些方面的表述能力。

18.2 课后习题详解

将下列英文译成汉语：

1. One morning, in the fall of 1880, a middle-aged woman, accompanied by a young girl of inquiry as to whether there was anything a- bout the place that she could do. She was of a helpless, fleshy build, with a frank, open countenance and

an innocent, diffident manner. Her eyes were large and patient, and in them dwelt such a shadow of distress as only those who have looked sympathetically into the countenances of the distraught and helpless poor know anything about. Any one could see where the daughter behind her got the timidity and shamefacedness which now caused her to stand back and look indifferently away. She was a product of the fancy, the feeling, the innate affection of the untutored but poetic mind of her mother combined with the gravity and poise which were characteristic of her father. Poverty was driving them. Together they presented so appealing a picture of honest necessity that even the clerk was affected. (Theodore Dreiser: Jennie Gerhardt, 1911)

【答案】1880年秋天的一个早晨，有一个中年妇人，带着一个18岁的青年女子，走进俄亥俄州科伦坡市的大旅馆里，到账房的写字台前，问他旅馆里有没有她能做的活。那妇人生着副绵软多肉的体格，一张坦率开诚的面容，一种天真羞怯的神气。一双大落落的柔顺眼睛，里边隐藏着无穷的心事，只有那些对于凄惶无告的穷苦人面目作过同情观察的人才看得出来。跟在她后面的是她的女儿，一种畏惧和羞怯使她躲缩在后边，眼睛不敢对面前正视，这种神情是谁都看得出她从哪儿得来的。原来她的母亲虽然没有受过教育，却有一种含有诗意的心情，具备着幻想、感情和天生的仁厚，她的父亲呢，又特具一种沉着和稳重的性格，两下结合起来造成她这样一个人了。如今贫穷正在逼迫她们。当时她母女俩那种穷困窘迫的情景是很动人的，连那账房也受感动了。

(傅东华译：《珍妮姑娘》，1959) 2. My mother chose to understand her (Peggy) in terms of another religion. “I

suppose,” she said, “only God really gives. But people can give by not denying, which comes to the same thing.” And then, like a stream swirling past a snag, the flow of her talk resumed, and her memories of buying the farm broadened to the farm itself, as it had been at the moment of purchase ravaged, eroded as it had been in her girlhood, the big upper field an ocean of barley, the little flat upper field laid out in tomato rows, the triangular field across from the meadow golden-green with sweet corn, the far field silver-green with alfalfa, a truck garden of potatoes and onions and cabbages and staked peas stretched all along the sandy ridge beyond the orchard whose overburdened lower limbs wore crutches, and even the woods fruitful, of berries and hickory nuts and firew0od;the farm as it was now, at rest, the shaggy fields needing to be mowed. (John Updike: Of the Farm, 1965)

【答案】我母亲有意从另一种信仰理解她(佩吉)。“我认为，”她说，“只有上帝才算真正地赐予。但是人能通过不拒绝来实现给予，可谓殊途同归吧。”犹如小溪绕过暗礁一样，她的谈话又滔滔不绝起来。她的记忆从购买农场扩展到了农场本身：当时是一片荒芜的、水土侵蚀严重的不毛之地。当她进入少女时期时，那一大片上坡地已经化作大麦的海洋；那一小片平坦的上坡地栽满了一排排、一行行的西红柿；草地对过的三角地里，甜玉米绿里透黄；远处的田野里，苜蓿绿中泛白；果园里那边沙岭一带的菜园中，有土豆、洋葱、大头菜，还有用木桩架起的豌豆；这边果园里，被果实压低的树枝用木棒支撑着；甚至树林里，除随处可见的烧柴木之外，浆果和山核桃都仰首皆是；而眼下的农场已闲置荒芜，杂草丛生，亟待耕锄。

(王治奎泽：《农场省亲》)