翻譯標(biāo)準(zhǔn)11公選1Unit3

1、Chapter One Unit 3翻譯的標(biāo)準(zhǔn)和原則Criteria and Principles of Translation1 The so-call principles and criteria of translation are actually the two sides of the same thing. The former lays emphasis on the translator, who should follow them while translating; while the latter on the reader or critic, who may u

2、se the criteria to evaluate translation works. 2Some of the criteria proposed by scholars in China:1. 支謙（ Eastern Han）： “佛言，依其義不用飾，取其法不以嚴(yán)。其傳經(jīng)者，當(dāng)令易曉，勿失厥義，是則為善。”32. 道安（ Eastern Jin ,314385）: warned translators on guard against 五失本 (five ways of losing the original essence in translation)4The five loss

3、es are:(1) unnecessary reversion of word order (2) added description (which does not exist in the original),(3) cutting of repeated wording (necessary as religious scriptures for prayers),5(4) omission of repetition of certain conclusive messages, (5) cutting of contents repeated as introduction to

4、a new topic.63. 玄奘（ Tang Dynasty 600664） （1）“既須求真，又須喻俗”（To be both true and coherent , or: must be both truthful and intelligible to the populace） （2） “五不翻”74. 馬建忠（18451900）： in response to the contemporary abuse in translation, brought forth the principle of “善譯” Ma Jianzhong wrote the first Chines

5、e grammar book “馬氏文通” 8Ma Jian-zhong, an expert of translation at the end of the Qing Dynasty in China, wrote a book entitled A Suggestion of Setting Up a Translating Academy (擬設(shè)翻譯書院議)and he pointed out, if you take a book, youll have to read it over and over so as to grasp its spiritual Essence, tr

6、y to figure out its style and understand its mood and translate it with great facility, and the translated text must be exactly like the original one without the slightest error, and the readers can get as much from the translated text as from the original one, only such translation can be called th

7、e first-class translation. 9 “所有相當(dāng)之實(shí)義，委屈推究，務(wù)審其音聲之高下，析其字句之繁簡(jiǎn)，盡其文體之變態(tài)，及其義理精深?yuàn)W折之所由然。夫如是，則一書到手，經(jīng)營(yíng)反復(fù)，確知其意旨之所在，而又摹寫其神情，仿佛其語(yǔ)氣，然后心悟神解，振筆而書，譯成之文，適如其所譯而止，而曾無(wú)毫發(fā)出入于其間，夫而后，能使閱者所得之益，與觀原文無(wú)異，是則為善譯也矣?！?0一書到手經(jīng)營(yíng)反復(fù)，comprehension知其意旨，摹寫神情、語(yǔ)氣，心悟神解, spirit振筆而書，譯成之文，適如其所譯而止，無(wú)毫發(fā)出入其間，accuracy夫而后能使讀者所得之益，與觀原文無(wú)異，則為善譯。equivalen

8、t response11Ma Jianzhong explained his standard of a “good translation”: “When the translator has a book to translate, he needs to read it over and over again until he is sure of what it is intended to mean, trying to capture its spirit and imitate its tone. Then he puts it in another language as he

9、 understands it. 12 Thus, the translated text is similar to the original without any difference between them. The reader of the translation benefits from it almost the same as the reader does from the original. A translation up to that is a good translation.”135. 嚴(yán)復(fù)（8541921):Faithfulness Expressiven

10、ess Elegance14 譯事三難：信，達(dá)，雅。求其信，已大難矣。顧信矣不達(dá)，雖譯尤不譯也。則達(dá)尚焉 譯文1: Translation has to do with three difficult things: to be faithful, expressiveness, and elegance. It is difficult enough to be faithful to the original, and yet if a translation is not expressive, it is tantamount to having no translation. Hen

11、ce expressiveness should be required too. 15 譯文2: In translation, there are three aspects difficult to bring about: fidelity/faithfulness, smoothness/fluency and elegance. It is no easy work to realize fidelity/faithfulness! If there is only fidelity/faithfulness without smoothness/fluency, the tran

12、slation doesnt amount to translation. From here we can see fluency/ smoothness is of great importance.”16 易曰修辭立誠(chéng)。子曰辭達(dá)而已。又曰言之無(wú)文，行之不遠(yuǎn)。三者乃文章正軌，亦即為譯事楷模。故信達(dá)而外，求其爾雅。（嚴(yán)復(fù)：天演論序言）譯文: The Book of Changes says that first requisite of rhetoric is truthfulness; Confucius says that expressiveness is all that matte

13、rs in language. He adds that if ones language lacks grace, it wont go far. These three qualities then are the criterion of good writing and, I believe, of good translation too. Hence besides faithfulness and expressiveness I also aim at elegance. 17Some people compare Yan Fu with Alexander F. Tytler

14、, and they said that the formers three translating standards of three Chinese characters and the latters three principles of translating are the same in essence, the only difference is that both of them used different languages of different cultural features and characteristics. 18“Fidelity” refers

15、to faithfulness or loyalty, “ Fluency” refers to the quality of being fluent and “elegance” refers to grace or good taste.19“Fidelity / faithfulness” is equivalent to “giving a complete transcription of the ideas of the original work”, “fluency /expressiveness” is equivalent to “have the ease of the

16、 original composition” and “elegance” is equivalent to “the style and manner of writing should be of the same character with that of the original”.20(1) Faithfulness(信): means that the translated text should be faithful to the original text. 準(zhǔn)確地傳達(dá)原文的內(nèi)容。21e.g. (1) My work, my family, my friends were

17、more than enough to fill my time. 原譯：我干工作，我做家務(wù)，我有朋友往來(lái)，這些占用了我的全部時(shí)間。 22e.g. (1) My work, my family, my friends were more than enough to fill my time. 改譯：我要工作，要做家務(wù)，要與朋友往來(lái)，這些事用全部時(shí)間應(yīng)付還不夠。23(2) Expressiveness（達(dá)）: means that the translated text should be expressive and coherent without anything awkward. Th

18、e translated text should be in accordance with the language rules of the target language. It demands that the version must be clear and flowing without any grammatical mistakes or confused logic and sense. 譯文語(yǔ)言應(yīng)該通俗明白，通順易懂，沒(méi)有文理不通，結(jié)構(gòu)混亂，邏輯不清的現(xiàn)象。24e.g.(1) Mr. Beg quickly returned to his office and filed

19、 an urgent story to his newspaper in London, little realizing that he was about to become part of a new journalistic legend on Fleet Street. 原譯：貝格連滿趕回辦公室，向倫敦報(bào)社發(fā)表了一條急電，沒(méi)有想到他自己就要成為倫敦新聞界最新的新聞傳說(shuō)的一部分。 25e.g.(1) Mr. Beg quickly returned to his office and filed an urgent story to his newspaper in London, l

20、ittle realizing that he was about to become part of a new journalistic legend on Fleet Street. 改譯：貝格連滿趕回辦公室，向倫敦報(bào)社發(fā)表了一條急電，沒(méi)有想到這件事后來(lái)在艦隊(duì)街傳為新聞界的美談。26(3) Elegance: Requires a translation to be esthetically pleasing. It demands that the translated text should be exquisite and that its style ought to be ve

21、ry graceful. (Many scholars in China approve of his faithfulness and expressiveness, but argue against his elegance.) 27e.g. This flat flourishing, easy country never could have looked more rich and prosperous, than in that opening summer of 1815, when its green fields and quiet cities were enlivene

22、d by multiplied red-coats. 原譯：這個(gè)平坦的旺盛的生活不困難的國(guó)家看起來(lái)從來(lái)沒(méi)有比1815年的夏季的開端更富裕和興旺。當(dāng)時(shí)它的綠色的田地和安靜的城市都被人數(shù)眾多的傳紅衣服的人弄得活躍起來(lái)。 28 e.g. This flat flourishing, easy country never could have looked more rich and prosperous, than in that opening summer of 1815, when its green fields and quiet cities were enlivened by mult

23、iplied red-coats. 改譯：1815年初夏，這平坦、舒適的國(guó)家真是空前的繁榮富庶。蒼翠的平原和安靜的城市里全是穿紅衣的軍人，頓時(shí)顯得熱鬧起來(lái)。29e.g. Its up to my neck to your bullshit. (原文是 美國(guó)大兵的粗話) 原譯：你把我害得好苦??！ 改譯：你讓我倒了八輩子邪霉了。30E.g. “ I kept it from her arter I heard on it,” said Mr. Peggotty, “going on night a year. We was living then in a solitary place, but

24、among the beautifullest trees, and with the roses a-covering our Bein to the roof” -David Copperfield (Charles Dickens ) (Mr. Peggotty：沒(méi)有文化、說(shuō)話不規(guī)范用詞和句法錯(cuò)誤百出)31該句的意思為：“ I kept it from her after I heard of it,” said Mr. Peggotty, “for nearly a year. We were living then in a solitary place among beautifu

25、l trees, with roses covering the roof of the house.”32原譯：* “我聽(tīng)到那消息以后”，皮果提先生說(shuō)道，“瞞著她差不多快一年了。我們當(dāng)時(shí)住在一個(gè)僻靜的地方。周圍有十分美麗的樹，屋頂上有薔薇花”(盡管通順，但不忠實(shí)于原作語(yǔ)言風(fēng)格 不能再現(xiàn)皮果提的口吻和神態(tài)) 33改譯： “起那時(shí)俺聽(tīng)了消息后，”辟果提說(shuō)：“瞞著她快一年了。俺們那時(shí)呆的地方挺背，前后八方的 樹林子說(shuō)不出的最漂亮，屋頂盡是薔薇花”346. 魯迅: “寧信而毋順”，譯作“力求其易解”并“保持著原作的豐姿” 。凡是翻譯，必須兼顧兩面，一當(dāng)然力求易解，一則保存原作的風(fēng)姿。(keep th

26、e full flavor of the original work) Whiling sticking to his principle “rather to be faithful in thought than smooth in the language”, Lu Xun advocated that “a translation must have both intelligibility and the style of the original text. ”357. 林語(yǔ)堂： 忠實(shí)標(biāo)準(zhǔn)、通順標(biāo)準(zhǔn)、美的標(biāo)準(zhǔn) (faithfulness, fluency, and beautifu

27、lness or aesthetic quality) 翻譯是一種藝術(shù)。翻譯的藝術(shù)所依賴的：第一是譯者對(duì)于原文文字上及內(nèi)容上的透徹的了解，第二是譯者有相當(dāng)?shù)膰?guó)文程度，能寫清晰暢達(dá)的中文，第三是譯事上的訓(xùn)練，譯者對(duì)于翻譯標(biāo)準(zhǔn)的問(wèn)題有相當(dāng)?shù)囊?jiàn)解。 譯者不但要求達(dá)意，并且要以傳神為目的，譯文必須忠實(shí)于原文之字神句氣與言外之意。 36Though in Lins opinion, his criterion of “aesthetic quality” covers more than Yans “elegance”, its self-evident that both sets of criter

28、ia emphasize a translators three-level responsibility:(1) a matter of responsibility for the original author;(2) a matter of responsibility for Chinese readers;(3) a matter of responsibility for the translated text.378. 傅雷：“神似” (the transfer of the original spirit: spiritual resemblance spiritual si

29、milarity or achieve the spirit of the original,)38 以效果而論，翻譯應(yīng)像臨畫一樣，所求的不在形似，而是神似。 He said: “As to the effect, translation ought to be like imitating a picture ;the ultimate aim lies in the resemblance in spirit rather than that in appearance.”39“以效果而論，翻譯應(yīng)當(dāng)像臨畫一樣，所求的不在形似而神似。以實(shí)際工作而論，翻譯比臨畫更難。臨畫與原畫，素材相同（顏色

30、、畫布，或絹），法則相同（色彩學(xué)，解剖學(xué)，透視學(xué)）。譯本與原作，文字既不侔，規(guī)則又大異。各種文字各有特色，各有無(wú)可模仿優(yōu)點(diǎn)，各有無(wú)法補(bǔ)救的缺陷，同時(shí)又各有不能侵犯的戒律。像英、法、德那樣接近的語(yǔ)言，尚且有許多難以互譯的地方；中西文字的桿路遠(yuǎn)過(guò)于此，要求傳神達(dá)意，銖悉稱，自非死抓字典，按照原文句法拚湊堆砌所能濟(jì)事”。40 This is Fu Leis famous “theory on being alike in spirit” (or: similarity in spirit), which has given a vivid description and a close metaph

31、or of translation. 41Then how to put it into effect? Fu adds: “To strive for resemblance in spirit, not in appearance, the translator must write pure Chinese, not something stiff and awkward, but a language which can be read harmoniously in a rhythm and tempo akin to the original.”42 任何作品，不精讀四、五遍決不動(dòng)

32、筆，是為譯事基本法們。第一要將原作（連同思想、感情、氣氛、情調(diào)等等）化為我有，方能談到迻譯。439. 錢鐘書: 化境 Mr Qian has created his “theory of sublimation”, he expounded that the highest standard of literary translation is “Hua”(化) (digestion), when a translator converts a language into another one, his or her version can completely keep the origi

33、nal flavour as well as shows no signs of stiff word-for-word translation because of the conventional differentiation of language and culture. 44 Mr Qians theory emphasizes that versions that are faithful to the original texts dont read like the translated texts, for the original texts themselves don

34、t exist in the form of the translated texts, but he admitted that “the wholly complete Hua (digestion or sublimation) is only an impractical ideal”. And now Mr Qians translation theory has been accepted as another theoretical standard to evaluate whether the translation is of high quality or not.45

35、文學(xué)翻譯的最高理想可以說(shuō)是“化”。把作品從一國(guó)文字轉(zhuǎn)變成另一國(guó)文字，既不能因語(yǔ)文習(xí)慣的差異而露出生硬牽強(qiáng)的痕跡，又能完全保存原作的風(fēng)味，那就算得入于“化境”。 譯文： “The highest standard of literary translation is “transmigration”. On the one hand, there should be no trace of unnaturalness and stiffness of language resulting from the differences between the two languages and, on

36、 the other, the flavor of the original is retained”. 46Qian borrowed the Buddhist term “transmigration”（脫胎換骨） to illustrate his view towards literary translation, during the course of which the soul of the spirit of the original remains in the target test even though its carrier, the language, has b

37、een changed. This requirement, in fact, is so high that Qian once had to admit that perfect transmigration of the original text into the target one was just an ideal to strive for. 4710. 呂叔湘 （參考教材）11.劉重德：“信、達(dá)、切”劉老認(rèn)為，嚴(yán)復(fù)的“信達(dá)”兩字仍可沿用，而“雅”字應(yīng)改用“切”字，這是因?yàn)椤把拧弊謱?shí)際上只不過(guò)是風(fēng)格中的一種，和“雅”相對(duì)立的，就有所謂“粗獷”或“豪放”?！按肢E”和“文雅”顯而易

38、見(jiàn)是迥然不同的兩種文體，因此，翻譯起來(lái)不能一律要“雅”，應(yīng)該實(shí)事求是，酌情處理，恰如其分，切合原文風(fēng)格?！扒小敝傅木褪且泻显娘L(fēng)格，適用于各種不同的風(fēng)格。 4812. 金媞 （參考教材）13.許淵沖：提出了詩(shī)歌翻譯的“三美”（音美、形美、意美）和 “三化”（等化、淡化、深化）原則。 49許淵沖： 意美，音美，形美 等化，淺化，深化 知之，好之，樂(lè)之 （1）詩(shī)詞翻譯的“三美”論（意美，音美，形美） （2）文學(xué)翻譯的“三似新論”（形似、意似、神 似） （3）詩(shī)詞翻譯的“三化論（等化，淺化，深化） （4）詩(shī)詞翻譯的“三之”論（知之，好之，樂(lè)之）50許淵沖的“譯經(jīng)”：“譯可譯，非常譯；忘其形，得其意

39、。得意，理解之初；忘形，表達(dá)之母。故應(yīng)得意，以求其同；故可忘形，以存其異。兩者同出，異名同謂：得意忘形，求同存異，翻譯之門?！?1許淵沖賀楊振寧新婚雙語(yǔ)詩(shī)句 振寧不老松，揚(yáng)帆為小翁， 歲寒情更熱，花好駐春風(fēng)。52 振寧不老松，揚(yáng)帆為小翁， 歲寒情更熱，花好駐春風(fēng)。譯文：Theagelesswontgrowold. Yousailwithyouryoungbride. Lovewillwarmwintercold. Springwilleverabide.5314. 辜正坤：翻譯標(biāo)準(zhǔn)多元互補(bǔ)論15. 譚載喜：提出翻譯的“東張西望”法和譯學(xué)內(nèi)容的“瞻前顧后”法?！皷|張”即發(fā)揮自身的語(yǔ)言優(yōu)勢(shì)，做到譯

40、文的“信達(dá)貼”、“信達(dá)切”、“神似”、“化境”?！拔魍眲t是借鑒西方譯論，立足分析，注重理論，放眼系統(tǒng)。 “瞻前”放開思路，大膽開拓；“顧后”繼承傳統(tǒng)，推陳出新。54Some of the criteria proposed by Western scholars:1. Etienne Dolet 多雷 (1509-1546):(1)The translators should understand perfectly the sense and intension of the author he is translating.55(2)The translator should have

41、not only perfect knowledge of the language of the author he is translating but also the same excellence in the language into which he is going to translate; i.e., the translator should know the SL and TL to perfection.56(3) The translator should avoid rendering word for word.(4) The translator shoul

42、d employ words that are in common use.57(5) The translator should link and order words with sweetness so as to produce the style.582. George Cambel (喬治 坎貝爾) ：翻譯三原則A good translator is: 1) To give a just representation of the sense of the original,592) To convey into his version, as much as possible,

43、 in a consistency with the genius of the language with which he writes, the authors spirit and manners, 603) To take care that the version has at least the quality of an original performance so as to appear natural and easy.613. Alexander Fraser Tytler: （泰特勒）In the history of modern translation, the

44、 first real western monograph on translation theory, is the book Essay on the Principles of Translating written by a famous English scholar, the professor of Edinburgh University, whose name is Alexander F. Tytler, and the translation theorist brought up the three principles of translation in the bo

45、ok published in 1792: 62 Essay on the Principles of Translation (1792) A good translation: That in which the merit of the original work is so completely transfused into another language as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belong

46、s as it is by those who speak the language of the original work. 63Three laws of translation:（1）A translator should give a complete transcript of the ideas of the original work. 譯文應(yīng)該完全傳達(dá)原文的思想。64（2）The style and manner of writing should be of the same character as that of the original. 譯文的風(fēng)格和筆調(diào)應(yīng)與原文的一

47、 致。65（3）A translation should have all the ease of the original composition. 譯文應(yīng)像原文一樣流暢。 664. Federov（費(fèi)道羅夫）: Translation should give a version which may be read with as much pleasure as the original, and yet remain faithful to its spirit, sense and style.675. Eugene A. Nida 尤金奈達(dá)：dynamic equivalence o

48、r functional equivalence (動(dòng)態(tài)對(duì)等，功能對(duì)等)“Dynamic or functional equivalence ” is defined “in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.” 68His functional equivalence is defined

49、as a translation principle, according to which the translator seeks to translate the meaning of the original in such a way that the target language text wording will produce the same impact on the target text audience as the original wording does upon the source text audience. 69 In “Towards a Scien

50、ce of Translating” , Nida put forward the term “dynamic equivalence” (Nida, 1964, 159)“A translation which attempts to produce a dynamic rather than a formal equivalence is based upon the principle of equivalent effect. In such a translation one is not so concerned with matching the receptor-languag

51、e message with the source-language message, but with the dynamic relationship, that the relationship between receptor and message should be substanially the same as that which existed between the original receptors and the message.”70 Nida said, “The older focus in translating was the form of the me

52、ssage, and translators tool particular delight in being able to reproduce stylistic specialties, e.g. rhythms, rhymes, plays on words, chiasmus, parallelism, and unusual grammatical structures. 71 The new focus, however, has shifted from the form of the message to the response of the receptor . Ther

53、efore, what one must determine is the response of the receptor to the translated message. This response must then be compared with the way in which the original receptors presumably reacted to the message when it was given in its original setting. （Nida, “The Theory and Practice of Translation” P1)7

54、2奈達(dá)的“動(dòng)態(tài)對(duì)等”論可以用一句話來(lái)表達(dá)：譯文讀者讀譯文所得到的反應(yīng)、影響和感受與原文讀者讀原文之所得大致相同。換言之，譯文對(duì)譯文接受者所起的作用，應(yīng)與原文對(duì)原文接受者所起的作用大體相同。736. 紐馬克：文本中心論 (參見(jiàn)教材P16)74In modern translation circle, the principle of “faithfulness（忠實(shí)） and smoothness”（通順） is well acknowledged as translation rules for translators to abide by. 75（1） “Faithfulness”: re

55、quires that a translation should be faithful to the content and style of the original. Faithfulness is the first important principle of translation. Translation is not creation. The translator ought to convey the authors ideas faithfully and exactly. He has no right to alter the meaning of the origi

56、nal to suit his own taste. 76忠實(shí)首先指忠實(shí)于原作內(nèi)容。譯者必須把原作的內(nèi)容完整而準(zhǔn)確地表達(dá)出來(lái)，不得有任何纂改、歪曲、遺漏閹割或任意增刪的現(xiàn)象。忠實(shí)還指保持原作風(fēng)格即原作的民族風(fēng)格、時(shí)代風(fēng)格、語(yǔ)體風(fēng)格、作者個(gè)人風(fēng)格等。要完全做到這些，實(shí)非易事。但作為基本要求，可先掌握口語(yǔ)體和筆語(yǔ)體的不同特點(diǎn)及其對(duì)翻譯的要求，掌握各種文體的不同特點(diǎn)及其對(duì)翻譯的要求。77E.g.（1）Jane does not work hard because she wants to earn money.誤譯：因?yàn)楹?jiǎn)想賺錢，所以才不下力。改譯：簡(jiǎn)不是因?yàn)橄胭嶅X才下力干的。78E.g.（2）Th

57、e president stands there, hat in hand, begging congress for their votes.誤譯：總統(tǒng)站在那里手里拿著禮帽，乞求國(guó)會(huì)投他的票。改譯：總統(tǒng)立在那里，畢恭畢敬地請(qǐng)求國(guó)會(huì)議員投贊成票。79（2）Smoothness: requires that a translation should be as expressive and natural as the original. Having achieved his faithfulness to the content of the original, the translator

58、 must aim at making his translation as expressive and natural as the original. We should not sacrifice some of the content to make our translation smooth, nor should we stick to the principle of “faithfulness”, therefore making our translation unreadable somewhere. We must learn to unify the two pri

59、nciples in our translation practice. 80所謂通順，即指譯文語(yǔ)言必須通順易懂，符合規(guī)范。譯文必須是明白流暢的現(xiàn)代漢語(yǔ)，沒(méi)有文理不通、晦澀難懂等現(xiàn)象。例如：E.g. (1) “You just keep your hair on and listen to me.”譯文：1. “你必須保持頭發(fā)在上，并聽(tīng)我說(shuō)?！?2. “汝勿怒，聽(tīng)吾曰?！?3. “你別激動(dòng)，好好聽(tīng)我說(shuō)?！?81 上面第一句譯文，不符合漢語(yǔ)習(xí)慣。第二句譯文，雖說(shuō)意思正確，語(yǔ)言也通順，但它不是現(xiàn)代語(yǔ)言。只有第三句譯文，才符合漢語(yǔ)的現(xiàn)代語(yǔ)言習(xí)慣。82E.g. (2) A kiss planted on the forehead of a young Iranian director by a well-known actress has landed the pair in court and sparked heated protests in the Islamic Republic over physical co