张保红文学翻译共151页
汉英比较翻译教程 第4单元
第4单元I 提示·原文来源原文作者是中国当代作家杨朔（1913-1968），语篇选自张梦井、杜耀文编译，1999年,《中国名家散文精译》。
青岛：青岛出版社。
·译文来源< 1 > 译文1 选自选自冯庆华编, 1997年，《实用翻译教程》。
上海：上海外语教育出版社。
< 2 > 译文2为张梦井、杜耀文译，选自张梦井、杜耀文编译，1999年，《中国名家散文精译》。
青岛：青岛出版社。
·语体特征与翻译策略< 1 > 篇章杨朔的名篇多半创作于20世纪50-60年代。
作者注重运用简单的情节将生活中极为平凡的事情诗意般地揭示人生感受或生活哲理；其作品多为“由情如景，由景到人，由人及理”的三段式。
《香山红叶》从情景入手，以人物老向导为主线，按时间逻辑发展情节。
结尾时，作者借对“红叶”的赞美来赞美“老向导”：“这不是一般的红叶，这是一片曾在人生经过风吹雨打的红叶，越到老秋，越红得可爱。
”小说虽情节简单，但是意境却层层深入，曲折有致，诗意盎然，耐人寻味。
< 2 > 句式传统意义上的汉语重意合，常用散句、松句、紧缩句、省略句、流水句或并列形式的复句，以中短句为多；有时候行文可能不那么严谨，有时候也因为行文的需要而显得“罗嗦”或者跳跃性多于逻辑性。
本语篇具备以上特征。
< 3 > 语义原文以共核词语为主，日常词汇突出，语言通俗，没有华丽的辞藻或刻意的雕琢；整个语篇的叙事语言控制在符合主人公身份之内的范畴。
< 4 > 翻译策略原文以叙事（包括对话）语言朴素无华，英译时自然应该以保持原作朴素风格为要义，译文造句宜力求简洁，避免使用华丽辞藻和成语典故。
如原文“美中不足”这样一个很口语化的表达，译文2以a fly in the ointment这样一个源自圣经的成语对应，使得译文太过于华丽。
另外在句式方面，应该注重原文意合向译文形合的转换，各种形式手段，如连词、介词以及其它连接手段，把各种成分连接起来，以便保持前后关系的一致或呼应，构筑出适当的长短句子。
张保红文学翻译PPT课件
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• 重译： • 西海的风啊， • 你轻轻地吹，轻轻地唱 • 西海的风啊， • 你轻轻地，轻轻地吹呀唱， • 越过波涛翻滚的海洋， • 掠过明月西沉的夜空，吹呀 • 再把他吹到我的身旁； • 我的小宝宝，我的乖宝宝，睡呀睡得香。
2 A Call on the Recluse Who Is Just Out
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--- tr. Sun Dayu
3 A Hermit Visited but not Encountered
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--- tr. Wan Changsheng & Wang Jianzhong
4 Looking for a Recluse but Failing to Find Him
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• 译文： 一个刚从学校回来的年轻女士正 在解释。“拿一个鸡蛋，”她说， “在底部打一个孔，在顶点上打 一个相应的孔。然后把嘴唇放在 孔上，用力吸气，蛋壳里的东西 就会完全抽空了。”一个听她讲 的老妇人惊叫道：“如今的人做 事真奇怪，我作小孩的时候，他 们一头打个洞，就吸干了。”
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• 译文： 一位刚从学校回家的女学生正在解 释：“取一枚鸡蛋，”她说，“在 蛋的底部打一个小孔，再在蛋的顶 点上打一个对应的小孔。然后将嘴 唇置于该孔之上并用力吸气，壳内 之物则尽释无遗。”一位听她讲话 的老太太嚷了起来：“如今的人做 事真叫人摸不着头脑，我作姑娘的 那阵儿，人们把蛋一头磕一个洞， 嘶溜儿一嘬就吃了。”
3 真实指涉性（真值性）VS 虚假指涉性（虚指性）
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1. 文学语言的自指性:
喝茶_Over_a_Cup_of_Tea
某公司又在廉价了，去买了二两好茶叶，每两洋二角。
开首泡了一壶，怕它冷得快，用棉袄包起来，却不料郑重其事的来喝的时候，味道竟和我一向喝着的粗茶差不多，颜色也很重浊。
2我知道这是自己错误了，喝好茶，是要用盖碗的，于是用盖碗。
果然，泡了之后，色清而味甘，微香而小苦，确是好茶叶。
但这是须在静坐无为的时候的，当我正写着《吃教》的中途，拉来一喝，那好味道竟又不知不觉的滑过去，像喝5 感觉的细腻和锐敏，较之麻木，那当然算是进步的，然而以有助于生命的进化为限。
如果不相干，甚而至于有碍，那就是进化中的病态，不久就要收梢。
我们试将享清福，抱秋心的雅人，和破衣粗食的粗人一比较，就明白究竟是谁活得下去。
喝过茶，望着秋天，我于是想： 不识好茶，没有秋思，倒也罢了。
茶，可以说是读书人“文房四宝”之外的必需品。
喝茶品茶，思考、阔谈的最佳中介，或可激发闲情和幽思，据统计，与“茶”相关的内容在鲁迅先生的日记中出现了百余次。
他几乎每月都要“买茗一斤”，临近知天命之年，更是敞开了喝，甚至两天购入十三斤茶叶，可谓是“喝茶狂魔”自己血管里流淌的是咖啡，照此类推，鲁迅先生的血管里流淌的恐怕就是绿茶了。
鲁迅先生作于1933年的随笔——破“译”精彩的密码*广东外语外贸大学高级翻译学院二级教授，博士生导师。
学习精彩的译例是我们每个学习翻译的人共有的经历。
译例精彩，让人如嚼橄榄，回味无穷，也让人念念难忘，心向神往。
向往译者深厚的双语语言文化功底，高超的双语转换技巧，以及娴熟精湛的艺术手腕。
然而，面对精彩的译例，有时又难免会生发出自愧弗如、望“译”却步、难。
第六小组 终版
高昂亢奋 开始爆发
7,000,000 Dutch men, women and children will want to be there to curse him during his dying moments.
A plebiscite was taken as to whether this was a fitting punishment. There was 4,981,076 yeas and one nay. The nay was voted by a man who preferred that Hitler be pulled to pieces by four horses.
可以看出人们似乎失去了“理智”，希特勒很 残暴，但是人们处死希特勒的方式似乎比
希特勒还要“残暴”，有强烈的讽刺意味。
故事情节
结构 开端 发展 高潮 结局
故事情节 讨论死刑 投票决定 执行火刑 火刑停止
段落 1-3 4 5-9 10-14
二、作品概述
从以上对文章的背景、人物、情节的分析，我们可以看 出，这篇文章文字浅显流畅、通俗易懂，故事情节跌宕起 伏，环环相扣，人物形象鲜明，字里行间都能体会到人们对 希特勒的仇恨。但是从群众处死的方式中，我们也可以感受 到强烈的讽刺意味。
➢此时作者笔下的民众深受希特勒迫 害，家破人亡，作者的描写体现了 对饱受战争之苦的人民的同情。
三、原文审美鉴赏
三、原文审美鉴赏
（一）节奏美 （二）语义美 （三）修辞美 （四）形象美
（一）节奏美
节奏美，除了表现在声调的轻重缓急，句子 的长短整散等语言构成的外在形式节奏上，还表 现在情绪自然消长的内在节奏上。
（张保红，2011:142）
张保红文学翻译小说英译汉作业
方明明文学翻译小说英译汉从土耳其来的侄儿伊利亚斯·哈里尔著去年的一天，突然响起了敲门声。
我的侄儿没打声招呼就从土耳其来了！我上一次见他时，他才到我膝盖，像蚱蜢似的小不点儿，长了一双怯生生的眼睛，两只像一双扇子的耳朵，没了俩门牙，头发短短的，和永远脏兮兮的手。
你知道，每一个侄子基本都长这样儿。
我喜欢这孩子，对他很钟爱。
用他那小不点的身高，他总是仰脸瞅着我好似在看一根电话线杆子，他的大眼睛笑着总能把我逗乐。
从短裤里露出的两条腿有点罗圈腿。
两只眼睛虽然直视着你但有点斗鸡眼。
我看着他的时候有点怜惜他······所以我从来没有对他发过火也没有打过他。
我俩说话时，他肩膀上好似放的有重重的东西，表现出防御的样子。
他要是犯错了，这个特点会更明显。
他的眼睛渐渐湿润，声音小的都听不到；颤抖的像一片叶子。
谁看见他都会以为他是一个孤儿会为之难过。
他们就想给他点儿钱或是一些糖果。
因为一些事我打过其他的侄子，但是从来没碰过他一根手指头。
我爱他还爱不够呢！在家时，不管谁惹大人生气了，我的这个小侄儿都能让自己离得远远的。
要是你跟他说话，他就不回答。
如果他回答了也是声音小小的。
你就是打他他也是安静的。
挨打的时候，叫的声音不是越来越大，而是逐渐降低。
因此，打他的那个人怒气会变成同情，于是这小男孩就逃过了更多的惩罚。
我是很久之后才总结出来，他跟其他人说话时，既不会罗圈腿也不会斗鸡眼耳朵更不会像飞落的叶子。
还有，他生气的时候，他知道怎样吵个不停。
要是他知道危险临近（要挨打了）他就会罗圈腿、斗鸡眼、耳朵拉长。
我移民加拿大之后有十五年没见到侄儿了。
现在他已经长成魁梧的大小伙儿了，英俊健壮！表示欢迎之后，我问了他一些问题，想知道他来这里的原因。
“侄儿，你想找什么样的工作啊？”“啊，蒙主的恩准，叔叔，我愿干任何的工作。
我什么都能干。
只要说得出来我就能干。
我什么都干过。
干过木匠、电工、货郎、修鞋匠、裁缝、汽车修理工；您还要吗？这些我都干过。
文学翻译的学思用（三）——破“译”精彩的密码
话。合格的译者可以做到双语转换，而好的翻译家能够做到与作者心灵上的
沟通。译者的用笔犹如一列磁悬浮列车，既没有亦步亦趋地贴在原作的文字
上，却又飘然自得地运行在作者心灵的轨道上。
□
2024·01 英语世界
学苑 113
臻此境的喟叹，甚至笃信这样的译例只可鉴赏远观，亲自实操很难。而加 深这一“信念”的还有平常所见到的套语式译评分析：译文读起来文从字顺， 朗朗上口，形式整饬，节奏优美，用词精到，意蕴豁然，给人以美的享受。 这类译评广义来说固然适切，但常常让人知其然而不知其所以然。因此， 如何走近精彩的译例，破解其中的密码，以备来日不时之需，这是我们需 要直面的话题。且引一例如下，试作演绎，就教于方家学人，相互切磋， 共同提高。
其最后所演绎出的是整齐中有变化、变化中有统一的审美节奏。从思维方
式看，原文先说结果，后说引起结果的种种现象，而译文先说现象，后说
由种种现象导致的结果，这是中西思维方式上的差异，上引译文的译者深
谙此道，前后腾挪，彼此调换，自然得体，恰到好处。至此，从语义的准
确到语言的质感，从节奏的建立到运思方式的转换，译者走完了自己的再
It was a day as fresh as grass growing up and clouds going over and butterflies coming down can make it. It was a day compounded from silences of bee and flower and ocean and land, which were not silences at all, but motions, stirs, flutters, risings, fallings; each in its own time and matchless rhythm. (The Vacation)
毛泽东诗词英译评析
毛泽东诗词英译评析外语与翻译2004年第1期(总第40期)毛泽东诗词英译评析张保红中国地质大学[提要】本文从风格,选词,意象,神形兼似以及再创造等角度对毛泽东诗词的不同译本进行了比较性的赏析研究,旨在为诗译,诗评提供多个可资借鉴的视角.【关键词】毛泽东诗词,翻译,赏析毛泽东诗词的英译为数不少,就笔者所知达十三种之多.众多的译本为我们提供了丰富的学习材料,同时也为诗歌翻译研究带来了诸多具体而生动的实例.本文以毛泽东诗词荚汉比读为经,以其鉴赏批评为纬,举隅数端来探析毛泽东诗词英译的艺术成就.1,风格的再现通常探讨某部作品的风格或与之相应译作的风格,除从风格的精神实质即作者的人格志趣来分析外,往往更多地借助构成风格的物质要素来考察,也就是从语言上来分析作品的音韵节奏,选词造句,篇章结构,修辞手段的种类和使用频率等.不言而喻,作者的风格,作品的诗义与诗趣是通过构成作品的诸多物质要素浑融一体地显现出来的.因此,翻译实践中,再现原作的风格不仅要考虑到作者的人格志趣,更应考虑到将作者的人格志趣与构成作品风格物质要素的具体内涵统一起来.因为只是看重作者的人格志趣,从宏观上来看可能转存了作者的风格,使译作与原作谋得了风格上的大体相符,但在某些具体的语境下却会使作者的人格志趣与构成作品风格的物质要素的具体内涵不能协调一致,从而有损原作意蕴的传递与再现.我们知道,作者有作者的风格,译者有译者的风格.张今(1987)将文学译品的风格大体归纳为五种境界:1)只有作者风格, 看不到译者风格,这种境界事实上是不可能的;2)作者的风格与译者的风格浑融一体, 这是上乘译品的境界;3)作者风格与译者风格平分秋色,这是中上乘译品的境界;4)看不到作者风格,只见译者风格,这是下中乘译品的境界;5)既看不到原作者的风格,也看不到译者的风格,这是下乘译品的境界. 由此可见,理想的情形是译者的风格无论在宏观上还是在微观上应与作者的风格浑成一体.任何有意识或无意识突显译者的风格都或多或少会损及或改变原作意蕴与风格的再现.那么,毛泽东诗词的风格在诸多译本中的再现情况是怎样的呢?且看以下诸例:(1)原文:六盘山上高峰,红旗漫卷西风. (清平乐~~tth)译文①OfSp~-alMountainatthecrest, Redflagswaveinwantonwindsfrcxnthe--tr.XuYuanchong译文②OnMountLiupan,nay,onitsverycrest, Redbannersplayinbreezesfrownthewest.--tr.ZhaoZhentao这首词是毛泽东在长征途中翻越最后一座雪山——六盘山时的咏怀之作.上文是该词下阙的首联,该联抒发了红军胜利登25外语与翻译2004年第1期(总第40期)上六盘山的豪迈气概.从该联中"红旗漫卷西风"一句里"漫卷"一词所营造出的随意舒展卷起的形象,可以见出其时诗人的心情是尤为轻松欢畅的.我们知道,"毛泽东诗词是偏重于豪放的,其意豪,其象大,其气雄." (马连礼等2000:139)从这个角度来看,译文①"wanton(winds)"的措词似不为过,但这一措词具体到这里则改变了"红旗漫卷"可折射出的创作主体特有的意味.相比之下, 译文②对该句的处理就比较稳妥,景中含情,字词间体现出了诗人的那份轻松,欢畅与惬意,与原文风格取得了宏观与微观上的一上文提到译者风格与作者风格的问题,下面我们来看看译者风格在译文中的体现及其与作者或作品风格的关系.为了便于分析,也因限于篇幅,我们只选取部分原文及其英译文为例来比较阐释.(2)原文:天连五岭银锄落,(送瘟神其二)热风吹雨洒江天.(4z律登庐山)洞庭波涌连天雪,(七律答友人)风雨送春归,(卜算子咏梅)参天万木,(念奴娇井冈山)重比翼,和云翥.(贺新郎)译文①黄龙的相应译文:(相应译文按顺序标出,下同) Ontheheaven—kissingFiveRidgesfallthe mattocksofsilver;Onthesky-kissingwatersthehotnd sprinklesrains.DongtingLake'ssurgesrollupsk3ukissing SnOWasitbeseems.Windandraink/ssedoffSpringwitha"good—bye",Myriadsoftim~.rskissingthefirmament Andsoarabreastwithfleecycloudskissing thesky.译文②许渊冲的相应译文: Onfivesky—scrapingRidgesOurhoesshine silver-bright; WarmwindssprinkleraindropsOnmirrorsofthesky.Dongting'Swavessurgelikesnowtolevel skyandlake; Thenspringdepartedinwindandrain;Sky-scrapingtreesThenliketwobirdswe'llny. Andcleavethecloudsonhigh.译文①中的斜体部分表明:"kiss"一词在不同诗句的译文里一再使用.汉英两文比照,我们不难意识到这是译者的措词特色或风格.仅从其表象来看,"kiss"一词的不断使用既显单调,也不符合毛泽东的个人风格或语言风格;原文诗句依情转意,意象鲜活,意境摇曳多姿,而译文千篇一律,尤显刻板,极大地消解了作者的创造性与原文诗句的艺术性.译文②随情转意,造语鲜活,意象间相互有别,都凭着自己特有的生命而生活着,较好地再现了诗人语言的艺术性与创造性.又如:(3)原文:踏遍青山人未老,(清平乐会昌)马蹄声碎,(忆秦娥娄山关)夏日消溶,(念奴娇昆仑)欲与天公试比高.(沁园春雪)已是悬崖百丈冰,(卜算子咏梅)炮火连天,弹痕遍地,(念奴娇鸟儿问答)译文①黄龙的相应译文:We'vetroddenallovergreenhillswithoutthe slightestse/xseofageanddecline,CrispandbrisksoundstheclatterofhorseInsurl'Lrnerdaysallthawandmeltaway, BothtDngtOoutrir~anddu~rfHeavenin height.Defyinghundred-zhang-longiciclesoverhanging thecliffsheerand^ Bycslqnonfiretheheavenisrentandshocked, Thewholeglobeshe//一scarredandbullet-pocked, 译文②许渊冲的相应译文: Wehavetroddengreenmountainswithoutgrow. ingold.SteedstrotwithhoovesoutwornWhensunm1ermeltsyourSnOW外语与翻译2004年第1期(总第40期) Alltrytomatchtheskyinheight. Thoughiciclesfrombeetlingcliffsstillhangmiles long,Withgunfiretheskyisloud Andbyshellstheearthisscarred;从译文①中的斜体部分我们可以看到,译者对原文中加点字词的翻译是细腻而深刻的.这样深挖原词句内涵在予人多角度同向审美感受之时,也有助于题意的渲染与揭示.然而,从毛泽东诗句翻译的整体来看,如此众多的译法遍布其间,无疑会消解毛泽东诗词简洁凝练的风格,拖沓其雄健有力的节奏,让读者难以看到毛泽东诗词风格的真面目.相比之下,译文②选词用字简洁凝练,干脆利落,既转存了原文鲜明的节奏,又再现了毛泽东诗词的精炼文风.再如: (4)原文:龟蛇锁大江.(菩萨蛮黄鹤楼)更加众志成城.(西江月井冈山)西风烈,(忆秦娥娄山关)莫叹韶华容易逝,(七律和周世钊同志)高路入云端.(水调歌头重上井冈山)白云山头云欲立,(渔家傲反第二次大"围剿")译文①黄龙的相应译文: TortoiseandSnake/ockupthegreatriverl/ke achain.Furthermore,1/keabronzezt~zllourhearts fuseandunite. Thewestwindstingslikeabite, Lamentnotovertheevanesceneofyouthful springtide1/keainthepan, Mountingroadspiercingthecrestofclound1/kealance. Cloudswouldbristleupwithwrathonthe summitofMt.WhiteCloud.译文②许渊冲的相应译文: TortoiseandsnakeholdtheRiverinchain. Ourranksasfirmasrock, Ourwillsformanev~wal1. Thewildwestwindblowsstrong; DonotregretOLlrgoldenhoursofdaysgone by!Andcloud—cappedroadsleadtothesky. AtoptheWhiteCloudMountaintheclouds seemtorear;上列原文各句语言平易浅近,意义简明易懂.译文①相应的译文均以比喻译出,这在一定程度上有助于渲染原诗的诗意,但其比喻多流于陈腐的俗套,缺乏生动鲜活的因子.同样地,从毛泽东诗词英译文的整体来观照,如此众多的陈辞充斥其间,译文读者是难以看到诗人语言运用上的创造性与艺术性的,甚至会得出这位独步古今的诗人只是徒有虚名的错误印象.而译文②则没有过多的主观藻饰,译语统观全局,悉依原文. 精炼鲜活,较好地传达了原文简明的风格. 2,译词,译意,译昧诗歌语言字句凝练,言简意赅,它想象丰富,形式独特,如音乐般动听,被称为"带有音乐性的思想".诗歌语言的这些特征使它有别于日常普通语言,所以翻译诗歌语言时,不能只做到以"词"译"词",即传递信息, 还应做到以"词"译"意",即传情达志;更应尽力做到以"词"译"味",即在再现原作气势与效果之时,能激发读者的想象,活跃读者的思维,使其得到美的享受.诗歌中字句的翻译之所以要如此,具体来讲,是因为诗歌中的字句是诗人传情达志最为基本的载体. 是营构诗作整体意蕴氛围的一分子,所以一旦剥离了诗歌中字句与诗人情志,诗作整体意蕴氛围的关系来翻译,译文的表现力与艺术性必然会大为逊色.例如:(1)/g文:不管风吹浪打,胜似闲庭信步. (水调歌头游泳)译文0)Letthe,vindblowandWaV esswill. Tome,itsbetterthanhavingastroll Inacourtyardatwil1.--tr.GuZhengkun译文②Inwindsandbillows,highasthey maybe,27外语与翻译2004年第l期(总第40期) Betterthanidlypacingquietyards,——廿.ZhaoZhentao译文③ignoring,Jl,ind'sblowingandwaves' beating:betterthanwalkingslowly inthequietcourtyard.一廿.Hua-lingNiehEngle&PaulEngle 译文④Bravingwildwindsandwaves,Ifeel rn0repleasure Thanstrollinginayardatleisure——廿.XuYuanchong原句是诗人畅游长江之所感,表现出诗人搏击大自然,征服大自然的伟大革命气魄,令人鼓舞,催人奋进!"不管"一句的翻译,译文①表达了原文的信息意义,主体(诗人)在与客体(风浪)冲突中的主导作用不明显;译文②也是只传达了原文的信息意义, 原文中的动态画面不见了,冲淡了主体与客体直接而生动的对抗,显得形象不足,气势不敌;译文③在传递原文的信息之时,颇能暗示出诗人置风浪于不顾的情怀,但显得不够具体生动;译文④将主客体的对抗直接表现出来,突显了主体在与客体冲突中的主导作用,形象生动,既表现出主体的豪情胜慨, 也揭示出主体的昂扬奋进,勇敢拼搏之情.(2)原文:雨后复斜阳,关山阵阵苍.(菩萨蛮大柏地)译文①Newlyoveristherain,thereala—pearsthesunsettingagain,.Now日踟盯arethepassesand hillsinaview80plain.——廿.GuZhengkun译文②Airafterrain,slantingsurl: mountainsandssturningblue ineachchangingmoment.一tr.Hua-lingNie}lEngle&PaulEngle译文③Afterthe.rainthesinkingSLIRis Seen: Themountainpassexhalesfloods ofdeepgreen.——tr.XuYuanchong毛泽东重临旧地,触景生情,抚今追昔,28欣然写成《菩萨蛮大柏地》,抒发了一种高度乐观的情怀.词中首句"赤橙黄绿青蓝紫,谁持彩练当空舞?"写的是天上的彩虹五彩缤纷,摇曳多姿;下旬(即上列原文)写人间山景,郁郁葱葱,充满生机.对诗句中"阵阵"一词的翻译,译文①未能译出原文的动态美感及诗人的主体情味,只是传达了原句的信息意义;译文②译出的是原文的概念意义,过于具体化,其诗味略显不足;译文③译出的是原词语浸润在全词中的蕴涵,"floods" 一词的选用既与前文"therain"一词取得了联系,贯通了文意,又再现了原文的动态变化与勃勃生机,此外,还予人山气蒸腾,烟雾缭绕,苍翠欲滴的联想,为下文"今朝更好看"的推出做好了铺垫.(3)原文:一山飞峙大江边,跃上葱茏四百旋. (七律登庐山)译文①Amountainstandsinmid-airby theriverside; Fourhundredtwistsandturns leadtoitscrestgreen-dyed.--tr.XuYuanchong译文②Toweringabovethemightyriverthe~tainseellxsabouttony,Fourhundredtwiststo.wgodedheightsinaflashwepassby.--tr.GuZhengkun译文③Amountain8oarstoheavenbythe riverside; Fourhundredtwistsandturnsleap toitstopgreen-dyed--tr.ZhaoZhentao原诗句写登庐山所见,写得既简洁凝练,又气象雄伟,神魄非凡.开阔的视野,宏大灵动的意象,既可暗示出创作主体的伟岸形象,又可表现其意气风发的革命豪情.译文①平铺直叙了原诗句的意义,对诗人造语的新奇与情志表现不够;译文②大体译出了诗人的创意,却显得不够凝练,行文舒缓,弱化了原句快捷如飞的节奏;译文③节奏逼近外语与翻译2004年第1期(总第40期)原文,译得准确生动,简洁有力,既传其意, 亦达其情,其味.3,意象的转存意象是诗歌的基本元件,是诗人情志最为直接的载体,诗歌诗意的形成有赖于意象的生成与组合.意象所表现的情感既有典型化的特点,又具个性化的内涵,是故有人将意象的艺术特征概括为主观象喻性,递向沿袭性和多义岐解性三大类.这里我们不拟对这三类意象在译文中的转存作面砥俱到的探讨,只对诗歌中具有递向沿袭性的意象在译诗中的转存进行概略地探究.所谓意象的递向沿袭性,纵向来看是指意象历史意蕴的延续;横向来看则指意象在诗人诸多作品中全部流动的意蕴轨迹.因此,具有递向沿袭性的意象,无论从纵向还是横向来看,都要求译者在翻译实践中如实地转存它们的本色,任何漏译或改译轻则减损意象可有的递向沿袭性蕴涵;重则会出现"一着不慎,满盘皆输"的尴尬,即在使原文诗意部分受损之时,甚至伤及作者的风格志趣.这里我们以毛泽东诗词中的递向沿袭性意象"红色"的转存为例,来看看诸位译者的具体处理情况.原文:看万山红遍(沁园春长沙)红旗跃过汀江(清平乐蒋桂战争)风展红旗如画(如梦令元旦)风卷红旗过大关(减字木兰花广昌路上)赣水那边红一角(蝶恋花从汀州向长沙)万木霜天红烂漫(渔家傲反第一次大"围剿")红旗漫卷西风(清平乐六盘山)看红装素裹(沁园春雪)红雨随心翻作浪(送瘟神其--)红旗卷起农奴戟(七律到韶山)不爱红装爱武装(JC绝为女民兵题照)红霞万朵百重衣(JC律答友人)译文①许渊冲的相应译文:Ise,ehiIlonhiIlallinred0'el"RiverTingourredflagsleap Thewindunrolls/Redflikescrolls Wegothroughthe~.tl'Drlgpasswithwind—frozen redflags BeyondtheRiverCanacomerblazesred. Underafrostykyallv/oods.ingorgeousred RednagSwaveinwantonwindsfromthewestAnds∞thefairbaskinsparklingsunshine Crimsonrain,aswewish,turnsintofertilebillows Redflagsarousedthepeasantstotakeupthespe~" Tofacethepowderandnottopowdertheface TheirpleateddressesI/ladeofmadcloudsrose- red.Onsteamingbsnnel"sred,departingsunbeamsfall译文②Hua-lingNiehEngle&PaulEngle的相应译文: lookingatthousandsofhills,/redallover RedflagsleapoverthengRiver,thendblow~redflailkeapainting.rednags,whiffedbythewind,/gothroughthe greatpass.OverOntheKarlRiver,/onestretchisalreadyred. Irnme~sewtxxtsunderfrostsl,/allblszingred. redflagsrippleinthewestwind. Somefinedayyouwills∞theland/dressedinred,wrappedinwhite, Redrainofblossomswhiffinginwaves. Redflagswokeupthepeasant,明rS. theylikeuniforms,notdresses.Thousandredclouds,many—layereddres~.(not available)译文③赵甄陶的相应译文:Is篦allcrimsonhiUsahead RedFlagshavej枷删aCl'IOISSTir~jiang, NowthefootofMountWuyi/SeesRedFlagsinthe breezes/Afloat∞picturesqudy. Wepressaheadthroughthegreatpass./,r whirlwindfloppingtherednags. ThatsidetheRiverCanappearsaO01TIeI"red, AllfrostywoodsWe~l'eblazingwithanautumn red. Redbannel"splayinbreezesfromthewest.29外语与翻译2004年第1期(总第4o期) Andlook,thelandwillgrowthemore/Enchant—ing,cladinwhiteandred. Thespringrainsswirlinwaveswithpeachflowers atourwish, TheRedBannel"arousedthepeasantswiththeir spears;Y ou'vescomforflashydress,butloveyourwarar—ray. Inheapsofrosycloudsthetwoarerichly dressed.(notavailable)通读毛泽东诗词,我们可以了解到,诗词中反复出现的"红色"意象是革命的颜色, 它予人情绪热烈,激昂的联想,它描绘出的图景是红红火火,灿烂夺目.它表现的是光明的胸怀和炽热的心灵,启示出的是浪漫主义的情怀,等等.这是"红色"意象在其诗词中的意蕴流动轨迹,这是诗人笔下个性化极强的"红色",是诗人社会历史语境下的本色.因此,"红色"意象在译诗中不宜随意改变,改变一次就减却一份诗人特有的情怀, 就缩减一次"红色"在诗人笔下所具有的"情感的晕轮",有鉴于此,"红色"意象应有趋于稳定的表达式,使它的本色得以保存.从上列三家译文来看,用"red"一词译"红色"的频率最高,这应是个趋于稳定的译法.译文①中对"红色"意象变通了三次;译文②中变通了一次;译文③中变通了四次.变通的次数越多,它在毛泽东诗词中的整体蕴涵就减损得越多,既不利于诗人主体情志的宏观再现,也不利于诗作中特色意象的充分突显. 因此,就"红色"意象的保存这一点看.三种译文中译文②较为成功,因为该译最大限度地保存了体现诗人情志的特色意象的本色. 可顺便提及的是,国内对许渊冲所译"不爱红装爱武装"的反复争论,若从上述角度来看则会又有新解.4,神形兼似诗歌形式整齐,情感丰富,韵味醇厚,意境深邃,而且情,韵,意相互融通,相互映照. 30浑然一体.因此,诗歌翻译不仅要译字,译句,译篇,让"字句与篇章映照",而且要译情,译韵,译意,让情,韵,意在字,句,篇中流动,真正做到"笔周意内,意尽神全,神形兼似".理论上的概述着实容易,而实践中的情形是怎样的呢?且看下例:原文:东方欲晓,莫道君行早.踏遍青山人未老,风景这边独好.会昌城外高峰,颠连直接东溟.战士指看南粤,更加郁郁葱葱.(清平乐会昌)译文OThedaywillsoonbreakintheeast, Saynot"Youareanearlybirdtostart". Havingtraversingallthehillsla/nnotoldin theleast Onlytofindthesceneryhereplaysthe fairestpart. Risingandfallingfromoutsidethecitywalls ofHuichang, Totheeastseasthemountainsrangesrun. OursoldierspointsouthwardtoEastand WtGuang. rethesouthernhillslookdoublyverdant andyoung.——tr.GuZhengkun译文②Dawntingestheeasternskies, Boastnotyoustartbeforesunrise. Wehavetroddengreenrrountainswithout growingold.W}1atsceneryuniqueherewebehold!Peaksafterpea1【soutsideHuichang,asifin motion, UndulateuntiltheyjoinwiththeeasternO—cean.Ourwarriors,pointingsouth,seeGuangdong loom Inarichergreenandalushergloom.——tr.XuYuancl~ng外语与翻译2004年第1期(总第40期)译文QThedayisdawningintheeasternpart; Don'tboastyourmarchhasmadeanearly start.Notgettingold,we'vecrossedhillsevery- where; Thenaturalscenesherearebeyondcompare. TherangeofpeaksoutsideofHuichang'Swall Rollseastwardstotheseawithriseandfal1. OurmenpointtoGuangdong.andwatchits sceneWithforestsmoreluxuriant,lushandgreen.--tr.ZhaoZhentao这首词是作者所作的登山抒怀词,它通过描写登山所见生机勃勃,壮阔宏伟的景色,表达了对革命前途充满信心的乐观主义精神.诗人的即景抒怀在译文中是如何充分再现的呢?其情,韵,意是如何在字,句,篇中流动的呢?从篇章结构上来看,原文从登山写起,后写所见之景,因此景的变换也就成了情的流动.以此为据,译文①未能突显原诗中的景的变换,景的变换线索不明显导致句与旬之间过多的显现衔接,散文味较浓,不利于诗情的渲染与传递.译文的语序,形式与原文也颇不一样,改变了原文诗情的流动方式.译文②的传情线路是start ——havetroddengreenmountatins——scenery here—peaks—ocean—Guangdong,诗意流转自如,传情达志亦较充分,只是末句的译法稍显抽象含糊,且"loom"与"gloom"两词的感情色彩不利于诗人诗情的表现.译诗语序, 形式逼近原诗,两句一换韵既强化了诗意, 又颇能表现景的变换所带来流动的诗意.译文③的传情线路是march—havecrossed hillseverywhere——thenaturalsceneshere——therangeofpeaks—thesea—watchitsscene,诗意流转,景显情现,前后相继,环环相扣.措词准确简练,文通辞畅.译诗语序,形式亦切近原诗,两句一换韵加之具体鲜明的词汇链共同成就了情,韵,意在字,句,篇中的流转.比照之下,译文③可谓是形神兼似的佳译.5,得失之间诗难译,甚至不可译,以致美国诗人罗伯特?弗洛斯特说:"诗就是在翻译中失去的那种东西".纵然如此,译诗的人仍不计其数,中外皆然.严格来说,诗是不可译的,因为语符变了,附着其上的意味也就变了;形式变了,意义也会跟着发生改变.但诗中的信息意义是可以传达的,诗中的思想是可以转存的,译诗改创了原作的形式,声律等,多少会损及原诗的情趣与蕴涵,但译诗在译入语中后起的生命又会以新的形式转存或突显原诗的情趣与蕴涵,是故有人提出翻译艺术中的"以创补失"论,这里我们不拟讨论创与失之间的关系如何,仅以毛泽东诗词的英译实例来作一演绎与赏析.(1)原文:茫茫九派流中国,沉沉一线穿南北. 烟雨莽苍苍,龟蛇锁大江.黄鹤知何去?剩有游人处.把酒酹滔滔,心潮逐浪高!(菩萨蛮黄鹤楼)译文:Ninevastriversrushthroughcentral China, anironlineplungesnorthtosouth,Rain,mist;gray,immensegray, TurtleandSnakeMountains blockthegreatY angtzeRiver. WherehastheY ellowCraneflown? Onlytheplacefortravelersremains, LiftingthecupofwinetothepouringRiv.er,myheart'Stidesurgeswave-high--IT.Hua-lingNiehEngle&PaulEngle原诗寓情于景,怀古抚今,诗人在流露出对大革命失败前夕危急形势的深切忧虑和苍凉的心情之时,也表达了将革命进行到底的信念与决心.原诗形式颇为整齐,七言31外语与翻译2004年第1期(总第40期)三顿.五言两顿,前后奇偶相间,有较强的咏叹调性;八句之内三次换韵,而且两句一押韵,脚韵的不断转换暗示出诗人澎湃的心潮,韵位密集表现出诗人迫促不安的忧虑情感;叠字的连用,读起来流畅自然,富有音韵美,而且使描绘的景象生动,形象,使所抒发的感情也更为深切,感人.比照之下,译诗没有较为整齐的形式,也没有像原诗那样较为明显的便于咏叹的调性;译诗无韵脚,也就没有韵脚可能带来的启示义;译诗也没有明显的叠字等等.但译诗的主旋律以扬抑格为主,听上去坚定有力,颇富气势感,宏观上较好地再现了原文的力量与气势;首行三个词的连续重读,可表现出"茫茫九派"的宏伟气势与广阔的意境;"rivers"与"rush"押头韵,头韵的连缀加快了行文的节奏,表现了江流浩浩荡荡的迅捷,一泻千里的气势;第二行中亦有两个词连续重读,加之行内韵连缀,译文顿挫凝重,铿锵有力,再现了原文势大力沉的意境;第三行宕开一笔,突显了每一个意象,逻辑贯通,表现了空蒙宏阔的意境;第五行中"block"一词位置的突显也暗示了龟蛇两山势力的强大.而且句式的编排予人悬念,生出意外的兴味;第六,七两行与原文可谓形神兼似;第八行中诗人举杯面对滔滔的江水,江水涌起给诗人斟酒,人情物态, 各擅其胜,予人不尽的遐想.如此等等,不一而足.6,小结毛泽东诗词的英译可研究的层面是多方面的,上文只是从几个方面鸟瞰式地比读评析了几家译文.从以上比读评析可知,作品的风格译可谓是作品生命的精髓,忽略了原作的风格,也就改变了原作的意趣,也就改变了诗人的人格志趣,消蚀了诗人的创造才华.因此,作品的风格译既要从宏观的方面(如诗人的诗风,作品整体的气势,神韵等)来把握,又要从微观的角度(如词句的选32择等)来赏玩,两者的和谐统一,才会避免实践中顾此失彼或互有抵牾的情形发生.作品中意象的转存既要遵从具体作品的具体语境,又要从诗人整体创作的角度来进行观照,两个方面的协调统一,诗人的情志与用心才会通过其个性化意象的转存得到最为充分的再现.诗歌翻译也是两种文字的转换,是两种语言之间诗学规范的转换.能充分考虑原诗的诗美特征,翻译中取神存形,这理所当然是我们的最高追求目标;然而在充分把握原文意境,神韵的基础上充分发挥译入语的诗学规范来传情达意亦不失为一条有效的途径.参考文献Hua—lingNiehEngle&PaulEngle.PoemsofMao Tse-tung[Z].NewY ork:SimonandSchuster,l972.陈植锷,1992,诗歌意象论[M].北京:中国社会科学出版社.辜正坤,1993,毛泽东诗词(英汉对照韵译)[Z].北京:北京大学出版社.黄龙,1993,毛泽东诗词英译[Z].南京:江苏教育出版社.柯平,1993,英汉与汉英翻译教程[M].北京:北京大学出版社.马连礼等,2000,毛泽东诗词纵横论[M].济南:山东人民出版社.许渊冲,1993,毛泽东诗词选(汉英对照)[z].北京:中国对外翻译出版公司.张宪忠等,1997,毛泽东诗词艺术赏析[M].沈阳:辽宁人民出版社.张今,1987,文学翻译原理[M].开封:河南大学出版社.赵甄陶,1992,毛泽东诗词(汉英对照)[Z].长沙:湖南师范大学出版社.(张保红:中国地质大学外语系副教授,博士生)收稿日期:2oo3—05—06通讯地址:430074武汉中国地质大学外语系。
格式塔意象重构：话剧翻译美学
格式塔意象重构：话剧翻译美学之维一、话剧翻译的特性一直以来，罕有翻译学者关注戏剧翻译，尤其是话剧翻译(modern drama translation) 。
安德曼认为(Gunilla Anderman)，“这可能是由于舞台会给译者带来一些特殊问题”。
其实，虽然戏剧(包括话剧)属于文学的一种体裁，具有文学体裁的普遍性质，但它还有若干特性。
穆南(G.Mounin) 曾把翻译活动分为七种类型，其中包括按照舞台表演形式分类的戏剧翻译。
著名戏剧艺术家焦菊隐先生特别指出：“文学的其他形式如小说、诗歌、散文的写作，只要求和读者见面。
戏剧却还要要求同观众见面。
戏剧具有一个更为复杂、更为延续的创作实践过程。
剧本的真正价值，不仅仅在于读起来动人，更重要的，是要演出来同样动人，或更加动人。
”这种特性也决定了话剧翻译的特殊性。
刘肖岩和关子安总结出戏剧翻译与其他文学体裁翻译的四点区别：(1) 戏剧翻译的服务对象不同，除案头剧专为阅读而创作和翻译外，“戏剧翻译的对象是剧院观众”，而“诗歌、散文和小说翻译的服务对象是读者”；(2) 视听性，“戏剧是一种视听艺术”，“戏剧观众既可以看见舞台上人物的表演，又能听到演员的声音”；(3) 无注性，“演出文本没有加注的可能”，所以“翻译中必须将应该加注的地方在文内处理”；(4) 通俗性，戏剧语言的通俗性同样是由舞台性决定的”，并体现在剧作家创作的人物语言适合舞台演出上。
综上所述，笔者认为，话剧翻译作为戏剧翻译的重要组成部分具有三个基本特性，即“直感性”、“诉求性”和“表演性”。
“直感性” (sensibility) ，即话剧翻译成功与否关键在于受众①能否产生视觉、听觉和想象等感性效果。
“诉求性” (reactivity) 指话剧翻译要寻求受众发自内心的感受、反应和思考。
“表演性” (performability) 是指话剧译本用于阅读或表演时，能准确地再现原剧的人物性格、故事情节和文化要素；尤其是在表演时，能符合舞台演出中参与人员的剧本要求，为舞台表演提供有力支持。
中国诗歌翻译历史与现状
浅谈中国诗歌翻译的历史与现状摘要：：中国不但创作了很多诗歌作品，而且引进和出口了许多诗歌作品。
在这一过程中，翻译起到了重要的作用。
纵观这段历史，人们从不同角度，使用不同理论对诗歌翻译的各方面作了全面而系统地创新研究。
本文陈述了中国诗歌翻译研究的特点、研究主题，分析了面临的问题和发展的趋势。
关键词：翻译诗歌功能翻译原则中图分类号：h059 文献标识码：a中国是诗的国度，中国古典诗歌代表着中国的文化。
如何把中国古诗介绍到国外去，关系中国诗歌乃至中国的形象；学习英语的人熟悉、阅读英语诗歌，可以开阔文学视野，增长文学知识，提高审美能力，同时还可以增进对英语学习的兴趣，提高英语素养。
因此，诗歌翻译在人们生活中起着很重要的作用。
一中国诗歌翻译研究的现状现存的中国古诗英译本，有外国译者译的，也有国内译者译的。
外国译者的译本大多数在1889-1946年间问世，watson的译本可谓当代英译本的代表。
国内译者的译本，大多是在近二十年间出版的。
如今，国内外的译本，加在一起也不在少数，但真正好的译作仍然罕见，不少还是成仿吾在数十年前曾经指出的那样：“这样的译诗，除酿成一般人对于诗的误解与表示译者的肤浅之外，是丝毫没有益处的。
”（罗新璋，384）。
而粗劣的译品越多、越泛滥，则越有损于中国诗歌的灿烂形象。
英译中国古诗本应是由英美翻译家来做的事情。
国内翻译家之所以从事这方面的研究和工作，主要原因是英译中国诗极难。
后来者有借鉴先行者的方便，watson的译作的确改正了不少过去译本中的“误译”。
然而，至少从现存译本来看，即使是出之国内译者之手，无论是对原文的理解，还是英语表达，也很难说一定超过外国译者，尤其是像herbert h.giles那样的早期译家。
换言之，尽管身为中国人，又可以借鉴外国人的译作，但并没有取得应有的进步，甚至还存在不少出于缺乏中国诗歌基本知识的误译。
中国翻译文学最早面世的是诗歌，在我国数千年的译介长河中，这个历史并不算太长，但诗歌翻译及其理论研究经历了从晚清和20世纪二三十年代的“幼年期”到80年代的“成年期”后，发展至今，无论是在翻译诗歌实践还是在理论研究方面，可谓百花竞放，成果颇丰。
精编张保红——文学翻译资料
3 A Hermit Visited but not Encountered
--- tr. Wan Changsheng & Wang Jianzhong
4 Looking for a Recluse but Failing to Find Him
--- tr. Burton Watson
张驼提盒去探亲， 李驼遇见问原因， 赵驼拍手哈哈笑， 世上原来无直人。
寻隐者不遇 贾岛
松下问童子， 言师采药去。 只在此山中， 云深不知处。
标题的翻译
1 A Note Left for an Absent Recluse
--- tr. Witter Bynner
2 A Call on the Recluse Who Is Just Out
3）现象学家英伽登的“五分法”：
①字音层：字音、字形等语义与审美意义。
②意义单位：句法结构都有它的意义单元。
③图式化方面：每一所写客体都是由诸多 方面构成，在文学作品中出现时只能写 出其某些方面。
④被再现客体：文学作品中所表达的人、 物、情、事等。
⑤形而上性质层：揭示生命和存在更深的 意义，如作品中所表现出的悲剧性、戏 剧等。
• 职业道德：“就是责任心，对自己负责，对他 人负责，对艺术负责。换言之，也就是要真实， 对自己真实，对他人真实，对艺术真实。”
• 扎实的双语语言功底：具有较强的驾驭译出语 和译入语的双语能力，具有较为出色的双语写 作技能，能正确理解原文，熟练运用双语。
• 广博的文化知识：相关国家的文化背景知识 （如历史、宗教、政治、地理、军事、外交 等），中西文化差异的知识以及翻译理论与翻 译研究相关学科的知识（如语言学、哲学、文 学、美学、心理学等）。
张保红——文学翻译分析
《英语世界》2012（2）：4-6
• 主要内容 1 文学语言的基本特性 2 文本层次论与翻译研究 3 文学译者的素质要求 4 文学翻译的原则 5 译例演示
一 文学语言的基本特性
指义性 VS 审美性
1 外部指涉性（他指性）VS 自我指涉性（自指性）
2 直接指涉性（直指性）VS 间接指涉性（曲指性）
3 真实指涉性（真值性语言话语突出和显示自身。其表现在：
--语音：日常语言注重意思的表达，发音 是否悦耳动听，节奏是否抑扬顿挫等就 顺其自然、比较随便；文学语言关注发 音谐拗、节奏疾徐、韵律有无等。
--语法：文学语言往往会偏离日常语言语 法规范，如语序调整，词性变换等。
2.文学语言的曲指性：
采用曲折迂回手法表达意思
--原因：作者的表意策略；形象指涉的内 容具有某种不可穷尽性特点；读者想象 与回味的审美要求。
--表现：各种修辞手段或含蓄手法。
--结果：“言有尽而意无穷” “言在此而 意在彼” “不着一字，尽得风流”。
--目的：强化和深化审美效果和艺术感染 力。
三驼图（明）李士达
--- tr. Sun Dayu
3 A Hermit Visited but not Encountered
--- tr. Wan Changsheng & Wang Jianzhong
4 Looking for a Recluse but Failing to Find Him
--- tr. Burton Watson
文学翻译工作者戒 （译事十戒；译事十法） 《英语世界》2012（3）：4-6
2)文学翻译由来已久，而且现在的本科翻 译专业基本上走的都是文学翻译的老路 子，……，仍然重复文学翻译的课程设 置,…… 《中国翻译》2012（1）：26 (文学翻译“假想
浅论对等视角下的法语诗歌翻译问题
浅论对等视角下的法语诗歌翻译问题摘要：诗歌是一格语言中重要的文学体裁，诗歌不仅受到了韵律等形式因素的限制，还集中体现了一个语言的思维和文化方式。
可以说，诗歌中所蕴含的文化、思维与情感与与诗歌的形式密不可分，所以，诗歌翻译一直是文学翻译中的焦点内容。
本篇论文意在以尤金·奈达的功能对等理论为指导。
通过比较法语诗歌的汉译，以及中文古诗在法语中的翻译问题，分析这些诗歌在韵律等形式因素以及词汇、意象和典故等内容文化因素方面的差异，为英法诗歌与中文诗歌的互译提供借鉴。
关键词：诗歌翻译；对等理论；意象；典故1 理论背景：尤金·奈达的对等理论关于对等的理论问题，奈达也曾经做过相关表述“……重要的是，受众语言的信息应当尽可能地与源语中的不同成分相匹配。
”（奈达，1964：158）。
所谓功能对等，“是一种翻译原则，译者据此原则致力于翻译源语的意思，以至于同源语的行文对源语读者的影响相比，目标语的行文会对目标语受众产生同样的影响。
”（奈达，1964）所谓的形式对等，是“译者要让译语中的信息尽量与源语中的各种因素吻合”。
可见，功能对等强调的是文本对文本读者所造成的影响，而形式对等强调的是目标语文本与源于文本在内容上是否忠实、可靠。
功能对等与形式对等是同一个问题的两个不同方面，两者的关系密不可分。
不过，有时考虑到了文体、风格、翻译目的和读者的文化水平等种种因素，不同的译者也会在两者之间各有侧重。
诗歌是一种表达型文本，所以在翻译时，译者要注意将原作者寄托在诗歌中的情感抒发出来，然而情感的宣泄也要张弛有度，不能逾越诗歌这一体裁的规范。
所以，有的译者能够将源语中的诗歌在另一种语言中得到升华，而有的译者虽然看似对原文亦步亦趋，却使得译诗不伦不类，自己也落得“翻译匠”的嫌疑。
2 法语诗歌与中文诗歌的异同之处法语属于表音文字，中文属于表意文字。
人们可以通过丰富的汉字产生视觉联想，而前者难以达到。
法语的语法层级与主次结构分明，而中文在这方面则略显不足。
意象与汉诗英译_以陶渊明诗_归园田居_其一_英译为例
收稿日期:2004-09-27基金项目:中国地质大学(武汉)优秀青年教师基金项目(C UG QNW 0501)作者简介:张保红(1969-),男,湖北应城人,中国地质大学(武汉)外国语学院教授,硕士生导师,南开大学外国语学院博士生,研究方向为文学翻译与英美诗歌。
意象与汉诗英译———以陶渊明诗《归园田居》(其一)英译为例张保红(中国地质大学外国语学院,湖北武汉430074)摘 要:本文从语词意象、意象组合以及意象系统三个方面探讨了陶渊明诗《归园田居》(其一)的翻译问题,旨在阐明意象视角下的汉诗英译研究的特色与显在优势。
关键词:意象;汉诗;翻译中图分类号:H31519 文献标识码:A 文章编号:10022722X (2005)0420051208I magery and Ch i n ese 2English Poeti c Tran sl a ti on—W ith O nce M ore G a rdens and F ields (1)by Tao Y uanm i n g a s Exam pleZ HANG Bao 2hong(Foreign Languages College,China University of Geosciences,W uhan,Hubei Pr ov .,430074,China )Abstract:The p resent paper makes a tentative study of the English versi ons of the poe m O nce M ore Gardens and Fields (1)by the J in dynasty poet Tao Yuan m ing fr om pers pectives of a single i m age,a combinati on of i m ages and a syste m of i m ages,in order t o highlight the characteristics and advantages of the i m agery 2oriented study of the English versi ons of Chinese poetry .Key words:i m agery;Chinese poetry;translati on 0.引言意象是中西文艺理论与诗学中共用的一个概念。
张保红文学翻译作业6(小说EC)-原文
Nephew from TurkeyIlyas HalilOne day last year, there was a sudden knock on the door. Without warning, my nephew had arrived from Turkey! When I had last seen him, he was knee-high to a grasshopper, with timid eyes, ears like two fans, two front teeth missing, short hair and continually dirty hands. You know, the look that fits every nephew. I liked and was closely attached to him. With that knee-high-to-a-grasshopper size, he used to look up at me as if viewing a telephone pole, his amber eyes smiling and secretly making fun of me. The legs sticking out of his short pants were a little crooked. Though his eyes were straight, he appeared a bit cross-eyed. I felt sorry when I looked at him…and I never got angry with him or hit him. When we talked, he seemed to have a weight on his shoulders and appeared offended. When he was guilty, this attribute definitely worsened. His eyes grew moist and his voice softened to where he could hardly be heard; it trembled like a leaf. Those who saw him, thought him an orphan and felt sorry. They felt like putting their hands in their pockets and giving him some spending money or candy. In spite of my hitting my other nephews for any old thing, this one I cou ldn‟t touch. I loved the little son of a gun!At home, no matter who got angry, our nephew managed to keep his distance. If you spoke to him, he didn‟t reply. If he did answer, it was quietly. Even if you hit him, he was quiet. When taking a beating, instead of increasing, his wailing decreased. Thus, the anger of who ever was beating him turned to compassion and the boy was saved from further punishment. Only much later did I come to this conclusion. When talking with others I observed that our lad had neither crooked legs, cross-eyes nor big ears hanging like fig leaves. Furthermore, when he got mad, he knew how to yell his head off. It was only when he detected danger that his legs went crooked, his ears grew and his eyes crossed.I hadn‟t seen my nephew for the fifteen years since I had emigrated to Canada. He had become a strapping young man, handsome and strong! After bidding him welcome, I asked a few questions about what he planned to do.“What job will you take, Nephew?‟“Golly, Uncle, I‟ll do any jo b there is. Nothing will get away fro m me. Just say it, I‟ll do it.I‟ve done everything! I‟ve been a carpenter, electrician, peddler, shoemaker, tailor, auto mechanic; you want more? I‟ve been all of these!”“Too bad! So you didn‟t get the chance to go to college?”“What kind of talk is that, Uncle! I finished law school.”“Very well, my boy, but how did you find time to do all these things? You‟re only twenty-three years old! How did you manage all these jobs and still go to college?”“Uncle, don‟t worry about the details! Just eat the grapes and don‟t ask about the vineyard! If you don‟t believe me, show me a broken electric sewing machine, radio, electric shaver or a juicer and I‟ll repair it. You can‟t tell a suit I‟ve reversed the cloth on from a new o ne. If I turn that handkerchief pocket over it will look real sharp! It‟s not hard to sell old clothes for new! If it‟s food you want, let me cook for you today! See if what I cook isn‟t so delicious you can‟t eat enough of it? The flavor will stay on your palate a hundred years! There‟s nothing I don‟t know, Uncle!”I saw that our boy certainly had learned “to shoot the bull.” I‟ve heard of all types but never one like this. The boy was a walking trades guild! Furthermore, he had studied law! Be logical, I thought to myself. If a person spent two years learning each job, it would take fifty years to learn all these professions. “Something‟s rotten in Denmark.” It‟ll probably surface later!“What job can you get here? Forget law for now. The source of Canadi an law is not Roman law. Napoleonic Civil Law isn‟t in effect here, either, ” I told him.“Napoleonic Law? What‟s that? We didn‟t study such law.”“You mean you don‟t know who Napoleon was?”“No,” replied our nephew.“So-o-o, what kind of history did you s tudy?‟“Ordinary history, Uncle! Only we didn‟t have a history teacher. A captain came to our class, a history buff from the nearby regiment. He gave us lots of lessons on soldiering and the repair of weapons. Because of him, I became a Number One gunsmith. Bring whatever you want! Blindfolded, I can take apart a machine gun and assemble it again, I can even repair heavy tanks. If you want, I‟ll make you a pistol form a water pipe! I know lots about weapons. Our captain used to say, “After you know weapons,you make history yourself. There‟s no need to learn history someone else has made!” I don‟t know who defeated whom in battle nor what year. What do I care?Would that make me powerful? It‟s hot air! Nah! If this right arm is strong, OK, forget the rest!”“Very well, Nephew! Tomorrow, let‟s go to the capital and register you at the embassy.”“Are we going to Washington, Uncle?”“Come on, is Washington the capital of Canada？Who taught you geography, my boy?”“O-hoh, Uncle, look at the question you asked. Gee, in a lifetime, who is going to ask me the capital of Canada? Instead of that, I learned more useful things! If your coat gets torn today will knowledge about Canada save you expense? Or is knowledge of sewing needed? Tell me, Uncle! The things our geogr aphy teacher taught us are always useful. After our school‟s geography teacher, Omer Temel, left to open a grocery store, the town tailor, Kasim Effendi, who knew how to read and write, came to teach the geography class. He taught us for six years. We learned a lot! Every year, we turned the cloth on two suits of clothes. We patched and learned to press! We learned how to sew trousers. Our teacher said, “Learn this and in life you‟ll never go hungry. Instead of memorizing the names of infidel foreign cities, or learning their rivers, learn something useful! What‟s that knowledge good for except to climb mountains and tear up your shoes? For what God-awful reason do you learn the population of Berlin or London? Doesn‟t the number change every year? Not only every year, it changes every day, every hour! Thousands of people die, are born, come and go…Don‟t those geographers have any brains? They never get tired of giving false figures to the students.”“Tailor Kasim Effendi used to say, “Now see! Look at Haydar,the literature teacher‟s house, then mine! Tell me now, whose knowledge is the most useful? Haydar Bey writes poetry, but he‟s hungry; so what‟s the use of this knowledge? Come and see whose knowledge provides more bread, butter and honey. Come and see who lives more comfortably. Pay attention to what I say! Learn what I show you and you won‟t eat bread without butter and honey!”I listened to my nephew in amazement. What he said was probably true. I compared my situation with his. There was a chasm between us! I was a graduate history teacher, fifty-three years old. For the past fifteen years I‟ve continued at the university every winter learning new things. Every year, I realize how far behind I am! In spite of this, in the same place, like a donkey‟s tail, I teach on and on, hoping for better things! With this way of life it seems I‟m getting nowhere.“Very well, my boy, how‟s your mathematics?” I asked.“Hot as a pistol, Uncle. Not a thing wrong with it! We learned mathematics fr om its origin. Ther e was no one better than our teacher. If you searched all of Turkey, you truly couldn‟t find a better teacher. Mison came to us for math. He was the accountant for a big institution. He taught us how to count money, put the excess in the safe and to bargain.“He impressed on us the fine points of addition and subtraction. For example: when buying a product, addition is one thing when selling, something else. It‟s the same with subtraction! Not everyone knows these fine points. Mison is a man who gives the government the run-around. He prepares tax returns every year and it‟s impossible to find a mistake in them. The government offered him thousands of lira: …Come and be our Minister of Finance!‟He didn‟t accept. …I‟m just a servant to free principles!‟ he replied. Truly, he was a modest man. It‟s too bad we couldn‟t learn multiplication and division form him. But never mind, I‟ll handle the situation with addition and subtraction. Thank God, I haven‟t been cheated yet.”“All right, son, didn‟t you have diff iculty in college with such a two-bit education?‟“What difficulty, Uncle? The teachers had the difficulty from us. It was really easy for us. At this time I learned auto repair. In the second year of law, our professor of International Law was sick and di dn‟t come to class the whole year. During those class periods, I went to the garage across from the university and worked. I did auto repairs. American tourists used to bring their cars to the garage. So I learned foreign money and exchange in addition to improving my knowledge of English. That year I earned as much as a professor.”I was becoming more and more interested. This was a philosophy of education unfamiliar to me. They were educating students in an atmosphere conforming to the goings-on in the world.“OK, son, what did you learn carpentry in place of?‟“I didn‟t learn it in place of anything, Uncle! When our professor of Civil Law suddenly died at the beginning of the school year, I worked at a carpentry shop to fill my spare time. Uncle, I have no regrets that I learned this. I built our house. Foundation, walls, ceiling, furniture----I made everything. Too bad I didn‟t stay there longer.“Six months later, a teacher came to our college of Medicine, a specialist in internal medicine. From him, I p icked up many facts related to civil law. He‟d been in the College of Medicine when one of his teachers died; a professor of Civil Law then came to teach them. So that‟s how he learned a great deal about law. That year he also increased our knowledge of health. If someonegets sick at home, I understand their condition, more or less. I know how to administer aspirin and quinine. Working on cruise ships, I measured blood pressure for two seasons and made lots of money. I was just about to become a doctor!”M y nephew‟s treasury of knowledge knew no bounds. He had learned something about everything. In Canada, he worked on and off… He couldn‟t hold a job anywhere. Everything he did was third-rate, so they gave him the gate. One day, we found that he‟d packed up his stuff and returned to Turkey. According to our latest news, in one year the boy became a millionaire.We correspond. In every letter he says, “Work hard on your university courses, Ha!”The Lemon LadyKatitiWe called her the "Lemon Lady" because of the sour-puss face she always presented to the public and because she grew the finest lemons we had ever seen, on two huge trees in her front garden. We often wondered why she looked so sour and how she grew such lemons ----but we could find out nothing about her. She was an old lady----at least 70 years of age, at a guess, perhaps more.One day we answered an advertisement for a flat to rent, as we had been asked to leave ours as soon as we could, and when we went to the address given, it was the house of the Lemon Lady.She didn't "unfreeze" during the whole of our interview. She said the flat would not be ready for occupation for about a month; that she had 45 names on her list and might add more before it was ready and then she would just select the people to suit her best. She was not antagonistic, just firm and austere, and I gathered that we were not likely to be the ones selected.As my husband and I were leaving, I said, "How do you grow those wonderful lemons?" She gave a wintry smile, which transformed her whole expression and made her look sweet and somehow pitiful."I do grow nice lemons," she replied. We went on to tell her how much we had always admired them every time we had passed, and she opened up and told us quite a lot about this fruit.“You know the general theory of pruning, I suppose?" She asked."Oh," said my husband, "I understand about pruning fruit trees and roses, but you must not prune lemons, or so I understand." He added these last words when he saw from the Lemon Lady's expression that he had said the wrong thing."No," said the Lemon Lady, "you must not prune lemons unless you want them to grow like mine. What is the reason for pruning?""Well, to cut off dead or diseased wood; to prevent one branch chafing another; to let the sunlight into the center of the bush and to promote the growth of the more virile buds.""Very nicely put," said the Lemon Lady. "And why do you think that lemons are better with dead or diseased wood on them; why should you not let sunlight into them; why should allowing many sickly buds to develop make it a healthier tree?""I hadn't thought about it at all," confessed my husband rather shame-facedly, as he prides himself on being an original thinker, and here he was allowing an old lady to out-think him. "Everyone here said you mustn't prune lemons, so I thought it must be right."We thanked her for the information and left, on much better terms with her than we would have ever thought possible. We even felt quite a degree of affection towards her.In the course of the next three weeks we saw several places that might have been to let but which for various reasons we could not get. Eventually we got a place that suited us very well and I returned to tell the Lemon Lady that we would not be needing her flat.She was very nice and gave me afternoon tea. She said in her precise and careful style, "I'm glad you have a house for your own sake and for the sake of your little boy, because a flat is no place for a child, especially a boy. But for my own sake, I'm very sorry. I had decided to let you have the flat because I think we could have got on very well together and because you liked my lemons."As I left, she handed me a bag with two huge lemons in it. They were the most magnificent I have ever seen----huge and without blemish, and two were all the load I would care to carry. As I looked back from the gate and saw her sweet smile, I wondered why we had called her the Lemon Lady.As my husband said to me afterwards, "No one could do anything so well as she grew those lemons, without being very proud of the accomplishment, and our touching on them was a goodpoint in psychology." We have used that idea to good effect several times since then.At the house we did rent was a decayed, dying old lemon tree with the woodlice playing havoc with the remnant of its body. My husband shook his head sadly as he gazed at it. "Too late for treatment, I'm afraid," he said, but he set to and pruned it ruthlessly. We were in that house for four years and from the second year onward, we each had the juice of a lemon every morning, and when we left we took with us two 60-pound cases of lemons from the tree, and after we left a friend wrote and asked why we had not picked the lemons before we left.We still call her the Lemon Lady, but the term is now one of pure affection.Hate(Excerpt)Hendrik Willem Van LoonSuddenly the war was over, and Hitler was captured and brought to Amsterdam. A military tribunal condemned him to death. But how should he die? To shoot or hang him seemed too quick, too merciful. Then someone uttered what was in everybody's mind: the man who had caused such incredible suffering should be burned to death."But," objected one judge, "our biggest public square in Amsterdam holds only 10,000 people, and 7,000,000 Dutch men, women and children will want to be there to curse him during his dying moments."Then another judge had an idea. Hitler should be burned at the stake, but the wood was to be ignited by the explosion of a handful of gunpowder set off by a long fuse which should start in Rotterdam and follow the main road to Amsterdam by way of Delft, The Hague, Leiden and Haarlem. Thus millions of people crowding the wide avenues which connect those cities could watch the fuse burn its way northward to Herr Hitler's funeral pyre.A plebiscite was taken as to whether this was a fitting punishment. There was 4,981,076 yeas and one nay. The nay was voted by a man who preferred that Hitler be pulled to pieces by four horses.At last the great day came. The ceremony commenced at four o'clock on a June morning. The mother of three sons who had been shot by the Nazis for an act of sabotage they did not commit set fire to the fuse while a choir sang a solemn hymn of gratitude. Then the people burst forth into a shout of triumph.The spark slowly made its way from Rotterdam to Delft, and on toward the great square in Amsterdam. People had come from every part of the country. Special seats had been provided for the aged and the lame and the relatives of murdered hostage.Hitler, clad in a long yellow shirt, had been chained to the stake. He preserved a stoical silence until a little boy climbed upon the pile of wood surrounding the former Fuhrer and placed there a placard which read, "This is the world's greatest murderer." This so aggravated Hitler's pent-up feelings that he burst into one of his old harangues.The crowd gaped, for it was a grotesque sight to see this little man ranting away just as if he were addressing his followers. Then a terrific howl of derision silenced him.Now came the great moment of the day. About three o'clock in the afternoon the spark reached the outskirts of Amsterdam. Suddenly there was a roll of drums. Then, with an emotion such as they had never experienced before, the people sang the Wilhelmus, the national anthem. Hitler, now ashen-gray, futilely strained at his chains.When the Wilhelmus came to an end, the spark was only a few feet from the gunpowder; five more minutes, Hitler would die a horrible death. The crowd broke forth to a shout of hate. A minute went by. Another minute. Silence returned. Now the fuse had only a few inches to go. And at that moment the incredible happened.A wizened little man wriggled through the line of soldiers standing guard. Everybody knew who he was. Two of his sons had been machine-gunned to death by parachute troops; his wife and three daughters had perished in Rotterdam's holocaust. Since then, the poor fellow had seemed deprived of reason, wandering aimlessly about and supported by public charity—an object of universal pity.But what he did now made the crowd turn white with anger. For he deliberately stamped upon the fuse and put it out."Kill him! Kill him!" the mob shouted. But the old man quietly faced the menacing populace. Slowly he lifted both arms toward heaven. Then in a voice charged with fury, he said:"Now let us do it all over again!"因为有了那个信箱林荣芝近来小镇治安有点乱。
张培基英译散文电子版上
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冲过去的(1)。
一条浩浩荡荡的长江大河，有时流到很宽阔的境界(2)，平原无际，一泻万里(3)。
有时流到很逼狭的境界，两岸丛山迭岭，绝壁断崖，江河流于期间，回环曲折，极其险峻(4)。
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(5)所经过的地方，有时是坦荡平原，有时是崎岖险路(6)。
志于旅途的人，走到平坦的地方，因是高高兴兴地向前走，走到崎岖的境界，俞是奇趣横生(7)，觉得在此奇绝壮绝(8)的境界，俞能感到一种冒险的美趣(9)。
中华民族现在所逢的史路，是一段崎岖险阻的道路。
在这段道路上，实在亦有一种奇绝壮绝的境至，使我们经过此段道路的人，感得一种壮美的趣味，是非有雄健的精神的，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(10)。
目前的艰难境界，那能阻抑我们民族生命的前进。
我们应该拿出雄健的精神，高唱着进行的曲调，在这悲壮歌声中，走过这崎岖险阻的道路。
要知(11)在艰难的国运中建造国家，亦是人生最有趣味的事……。
National Crisis vs Heroic NationLi DazhaoThe course of history is never smooth. It is sometimes beset with difficulties and obstacles and nothing short of a heroic spirit can help surmount them. A mighty long river sometimes flows through a broad section with plains lying boundless on either side, its waters rolling on non-stop for thousands upon thousands of miles. Sometimes it comes up against a narrow section flanked by high mountains and steep cliffs, winding through a course with many a perilous twist and turn. A nation, in the course of its development, fares likewise. The historical course of man’s life is just like a journey. A traveler on a long journey passes through now a broad, level plain, now a rugged, hazardous road. While a determined traveler cheerfully continues his journey upon reaching a safe and smooth place, he finds it still more fascinating to come to a rugged place, the enormously magnificent spectacle of which, he feels, is better able to generate in him a wonderful sensation of adventure.The Chinese nation is now confronted with a rugged and dangerous section of its historical course. Nevertheless, there is also in this section a spectacle of enormous magnificence that inspires in us passers-by a delightful sensation of splendor. And this delightful sensation, however, can only be shared by those with a heroic spirit. The Yangtse River and the Yellow River are both symbolic of our national spirit the two mighty rivers negotiate deserts and gorges until their turbid torrents surge forward with irresistible force. The present national crisis can never obstruct the advance of our national life. Let us brace up our spirits and march through this rugged, dangerous road to the tune of our solemn, stirring songs. The greatest joy of life, mind you, is to build up our country during its most difficult days.注释:李大钊此文载于1923年12月20日《新国民》第一卷第2号上，短小隽永，堪称一首诗意盎然的抒情散文诗。
五四时期我国翻译俄罗斯文学作品
五四时期我国翻译俄罗斯文学作品
平保兴
【期刊名称】《文教资料》
【年(卷),期】2000(000)001
【总页数】14页(P89-102)
【作者】平保兴
【作者单位】不详;不详
【正文语种】中文
【中图分类】H355.9
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