簡(jiǎn)介：POETRY,TONEANDSPEAKER,PROSEFICTIONVSPOETRY,ALLTHATAPPLIESTOPROSEMOREORLESSAPPLIESTOPOETRYDIFFERENCEBETWEENPROSEFICTIONANDPOETRYFORMMOSTPOEMSAREINTHEFORMOFSEPARATELINESANDSTANZARHYMEANDRHYTHMMOSTTRADITIONALPOEMSHAVERHYMESANDRHYTHMS,WITHASETNUMBEROFSYLLABLESARRANGEDINFEETINEACHLINEANDWITHWORDSTHATENDEACHLINEPATTERNEDINACERTAINRHYMESCHEMEREADING/READINGALOUDPOEMSARETOBEREADALOUDPOEMSAPPEALVERYMUCHTOEMOTIONSPOEMSUSELANGUAGEINASPECIALWAYTHATREQUIRESCAREFULREADINGTOFIGUREOUTTHEINTENDEDLOGIC,MEANING,REASON,EMOTION,WHATISPOETRY,POETRYISINDEFINABLETHEREAREASMANYDEFINITIONSOFPOETRYASTHEREAREPOETSWORDSWORTH“THESPONTANEOUSOVERFLOWOFPOWERFULFEELINGSITTAKESITSORIGINFROMEMOTIONRECOLLECTEDINTRANQUILITY“EMILYDICKENSON“IFIREADABOOKANDITMAKESMYBODYSOCOLDNOFIREEVERCANWARMME,IKNOWTHATISPOETRY“DYLANTHOMAS“POETRYISWHATMAKESMELAUGHORCRYORYAWN,WHATMAKESMYTOENAILSTWINKLE,WHATMAKESMEWANTTODOTHISORTHATORNOTHING“ROBERTFROST“APOEMBEGINSWITHALUMPINTHETHROAT,AHOMESICKNESSORALOVESICKNESSITISAREACHINGOUTTOWARDEXPRESSIONACOMPLETEPOEMISONEWHERETHEEMOTIONHASFOUNDITSTHOUGHTANDTHETHOUGHTHASFOUNDTHEWORDS“,USUALWAYOFDEFININGPOETRY,ASHORTPIECEOFIMAGINATIVEWRITING,OFAPERSONALNATUREANDLAIDOUTINLINESAPOEMISAWRITTENEXPRESSIONOFEMOTIONORIDEASINANARRANGEMENTOFWORDS/VERSEMOSTOFTENRHYTHMICALLYONTHEAPPEARANCE,APOEMCONSISTSOFWORDSARRANGEDINLINESOFVERSEPOETRYISAKINDOF“SAYING,”WHICHMANYPEOPLE,UNTILTHEYAREWELLACQUAINTEDWITHIT,FEELRATHERPECULIARANDEVENUSELESSPOETRYISARESPONSETO,ANDANEVALUATIONOF,OUREXPERIENCEOFTHEOBJECTIVE,BUSTLINGWORLDANDOFOURIDEASABOUTITPOETRYISCONCERNEDWITHTHEWORLDASRESPONDEDTOSENSORIALLY,EMOTIONALLY,ANDINTELLECTUALLY,HOWTOREADPOEMS,POETRYISWRITTENTOBEHEARDPOEMSCANBEBROKENDOWNINTO3PARTSTHESTANZAAGROUPOFLINESSETOFFFROMTHEOTHERLINESINAPOEMTHEPOETICEQUIVALENTOFAPARAGRAPHINTRADITIONALPOEMS,THESTANZAUSUALLYCONTAINSAUNITOFTHOUGHT,MUCHLIKEAPARAGRAPHTHELINEASINGLELINEOFPOETRYTHEFOOTASYLLABLEORAGROUPOF2OR3SYLLABLESTYPICALLYAFOOTWILLCONTAINASTRESSEDANDANUNSTRESSEDSYLLABLE,BASICSTEPSTOREADINGAPOEM,STEP1READTHROUGHTHEPOEMTOGETASENSEOFITSTEP2IDENTIFYTHESENTENCESANDINDEPENDENTCLAUSESCIRCLETHEPERIODS,EXCLAMATIONPOINTS,QUESTIONMARKS,ANDSEMICOLONSFORSOMEREASON,PEOPLEALWAYSFORGETTHATPOETRYISMADEUPOFCOMPLETESENTENCESSTEP3READAFEWLINESTOFIGUREOUTTHEMETERFIGUREOUTHOWMANYSTRESSESTHEREAREINATYPICALLINESTEP4NOTETHERHYMESCHEMELOOKFORAPATTERNSTEP5READTHEPOEMOUTLOUDTRYTOFOLLOWTHERHYTHMIFYOUDOTHISYOULLHEARWHERETHEPOETPLAYSWITHTHERHYTHMANDYOULLHEARTHERHYMESCHEME,,STEP6LOOKUPANYWORDSYOUDONTUNDERSTANDSTEP7REREADTHEPOEMOUTLOUDSTEP8MARKOFFANYSECTIONSINTHEPOEMTHESESECTIONSMAYBESPEECHESGIVENBYACHARACTER,DISCUSSIONSOFAPARTICULARTOPIC,CHANGESINMOOD,ORANEWSTAGEOFANARGUMENTSTEP9REREADTHEPOEMSTEP10FIGUREOUTTHETONETHEEMOTIONOFTHEPOEMSTEP11REREADTHEPOEMSTEP12ANALYSIS,ITONEANDSPEAKER,THETONEOFAPOEMINDICATESTHESPEAKER’SATTITUDETOWARDHISTHEMEORHISSUBJECT,TOWARDHISAUDIENCE,ANDSOMETIMESTOWARDHIMSELFHOWWOULDYOUDESCRIBETHEPOETS“VOICE“INTHEPOEMISTHEPOETSPEAKINGINACHARACTERINASENSE,ALLWRITERSSPEAKINACHARACTERYETWEMUSTNOTALWAYSIDENTIFYTHEWRITERWITHTHESPEAKEROFTHEPOEMIRONY,AEHOUSMANAND“THELOVELIESTOFTREES”,ABOUTTHEPOETALFREDEDWARDHOUSMAN18591936,BRITISHPOETANDSCHOLARWHOSEWORKSAPPEAREDINASHROPSHIRELAD1896ANDLASTPOEMS1922HISPOEMSARELYRICALANDALMOSTEPIGRAMMATICINFORMOFTENABOUTWISTFULEVOCATIONOFDOOMEDYOUTHINTHEENGLISHCOUNTRYSIDE,INSPARELANGUAGEANDDISTINCTIVEIMAGERYTHEREISADEEPPERVADINGPESSIMISMANDPREOCCUPATIONWITHDEATH,WITHOUTRELIGIOUSCONSOLATIONINHISPOEMSPRESENTEDINANIDEALIZEDPASTORALLIGHT,,THEMAINTHEMEOFASHROPSHIRELAD,FROMWHICH“THELOVELIESTOFTREES”NO2OF63POEMSISTAKEN,ISMORTALITY,ANDSOLIVINGLIFETOITSFULLEST,SINCEDEATHCANSTRIKEATANYTIMEFORMTHREEFOURLINESTANZASQUATRAINSWITHTHERIMESCHEMEAABBCCDDEEFF,ESSENTIALLYIAMBICTHEPOEMAPPEARSTOBEINTHETRADITIONOFCARPEDIEM,BUTITGOESBEYONDTHELIMITATIONOFTHEPHILOSOPHYOFMERELY“SEIZINGTHEDAY”WHOISTHESPEAKERISHETHEPOET,THEFIRSTSTANZA,THESPEAKERDESCRIBESABEAUTIFULSCENETHATHEISOBVIOUSLYENJOYINGASHESPEAKSHEISRIDINGTHROUGHAWOODEDAREAANDOBSERVESTHATTHEBEAUTYOFTHEBLOSSOMSONTHECHERRYTREESMAKESTHEMTHE“LOVELIESTOFTREES”THETIMEOFTHEYEARISSPRINGTHESPEAKERSAYSDESCRIBINGTHEBLOSSOMSTHATTHEYARE“WEARINGWHITEFOREASTERTIDE”,THESECONDSTANZA,THESPEAKERREVEALSTHATHEISTWENTYYEARSOLDASHECALCULATES,ACCORDINGTOTHEBIBLICALCLAIMTHATALIFESPANIS“THREESCOREYEARSANDTEN,”THATHEHASONLYFIFTYMOREYEARSTOENJOYSUCHBEAUTYINSPRINGTHESPEAKER’SEMPHASISTHROUGHOUTTHEPOEMISONTHEINTENSITYOFTHEBEAUTYANDBREVITYOFTHETIMEHEWILLHAVETOENJOYTHATBEAUTY,THETHIRDSTANZA,THESPEAKERCLAIMSTHATBECAUSEFIFTYMOREOPPORTUNITIESTOENJOYTHESELOVELYTREESWITHTHEIRLUSCIOUSBLOSSOMSISNOTENOUGH,HEWILLGOOBSERVETHESAMETREESALSOINWINTER,WHENTHEYARE“HUNGWITHSNOW”THATWAYTHESPEAKERDOUBLESHISOPPORTUNITIESTOENJOYTHECHERRYTREES“WEARINGWHITE”,,THEPOEMSUGGESTSAPROGRESSIONFROMYOUTHTOOLDAGE,FROMCHERRYTREESHANGWITHBLOOMINSPRINGTOCHERRYTREESHUNGWITHSNOWINWINTERTHECHERRYTREESARESYMBOLICOFHUMANLIFEYOUTHJUSTASLOVELYASCHERRYBLOOMSLIFEISASTRANSIENTASTHEBEAUTYOFFLOWERSDOESITMEANTHATHUMANLIFEISESSENTIALLYBEAUTIFULYETSHORTANDDOOMEDTOENDINDEATH/WINTER/WHITE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RISGROWIN
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簡(jiǎn)介：,,翻譯的方法,成都大學(xué)外國(guó)語(yǔ)學(xué)院,一、直譯與逐字譯的區(qū)別1、直譯（LITERALTRANSLATION）所謂直譯，我們認(rèn)為，是在譯入語(yǔ)語(yǔ)法能力所允許的范圍內(nèi)，盡可能貼近原文內(nèi)容與形式的翻譯方法。魯迅倡導(dǎo)直譯的方法的，在他看來(lái)，翻譯必須兼顧兩面，一則當(dāng)然求其易懂，一則保持著原作的風(fēng)姿，但這保存，卻又常常和易懂相矛盾看不慣了。不過(guò)它原是洋鬼子，當(dāng)然誰(shuí)也看不慣，為比較的順眼起見(jiàn)，只能改換他的衣裳，卻不該削低他的鼻子，剜掉他的眼睛。,第一節(jié)直譯與意譯,直譯就是逐字譯（WORDFORWORDTRANSLATION）逐字譯是一種嚴(yán)格遵循原文措辭的翻譯方法，翻譯時(shí)以詞為單位進(jìn)行考慮，力求譯文中的每一個(gè)詞都與原文相對(duì)應(yīng)。杜甫登高風(fēng)急天高猿嘯哀WINDKEENSKYHIGHAPESSCREAMMOURNING渚清沙白鳥(niǎo)飛回ISLETPURESANDWHITEBIRDSFLYREVOLVING無(wú)邊落木蕭蕭下WITHOUTLIMITFALLINGTREESBLEAKLYBLEAKLYSHED不盡長(zhǎng)江滾滾來(lái)NOTEXHAUSTIBLELONGRIVERROLLINGROLLINGCOME萬(wàn)里悲秋常作客MYRIADLIMELANCHOLYAUTUMNCONSTANTLYBETRAVELER百年多病獨(dú)登臺(tái)HUNDREDYEARSMUCHSICKNESSALONEASCENDTERRACE艱難困苦繁霜鬢DIFFICULTIESBITTERREGRETSPROLIFERATEFROSTYTEMPLES潦倒新停濁酒杯DESPONDENTNEWLYSTOPMUDDYWINECUPS,楊雄道“這個(gè)兄弟，姓杜，名興，祖貫是中山府人氏。因?yàn)樗骖伾么置?，以此人都叫他做鬼臉兒。”賽珍珠YANGHSIUNGANSWERED,“THISBROTHERISSURNAMEDTUANDHISNAMEISHSING,ANDHISANCESTORSWEREMENOFCHUNGSHANFUBECAUSEHISFACEISSOCOARSEANDWILD,MENALLCALLHIMTHEDEVILFACED．”沙博理‘‘DUXINGISHISNAMEHESFROMTHEPREFECTUREOFZHONGSHANBECAUSEOFHISCRUDEFEATURESEVERYONECALLSHIMDEMONFACE”,ASTHISWASAGREATDEALFORTHECARRIER（WHOSENAMEWASMRBARKIS）TOSAYHEBEING,ASIOBSERVEDINAFORMERCHAPTER,OFAPHLEGMATICTEMPERAMENT,ANDNOTATALLCONVERSATIONALIOFFEREDHIMACAKEASAMARKOFATTENTION,WHICHHEATEATONEGULP,EXACTLYLIKEANELEPHANT,ANDWHICHMADENOMOREIMPRESSIONONHISBIGFACETHANITWOULDHAVEDONEONANELEPHANTS董秋斯這些話在腳夫（他的名字是巴吉斯先生）說(shuō)來(lái)是很多了如我在前一章所說(shuō)，他是一個(gè)黏液質(zhì)的人，一點(diǎn)也不喜歡談話我給他一塊點(diǎn)心，作為酬勞的表示，他一口便吃下去了，完全像一頭象，那一塊點(diǎn)心在他那大臉上，比在一頭象的臉上，引不起更多的表情。張谷若這幾句話，在車夫方面，就算是說(shuō)得最多的了（他的名字叫巴奇斯），因?yàn)樗@個(gè)人，像我前面說(shuō)過(guò)的那樣，脾氣很冷靜，一點(diǎn)也不愛(ài)多說(shuō)話。我因?yàn)樗f(shuō)了那么些話，要對(duì)他表示表示客氣，就給了他一塊點(diǎn)心。他接了點(diǎn)心，一口就把它咽下去了，和大象吃東西完全一樣；吃的時(shí)候，他那個(gè)大臉，又沒(méi)露出一丁點(diǎn)吃東西的樣子來(lái)，也完全和大象一樣。,直譯與逐字譯之間區(qū)別直譯照顧到譯入語(yǔ)的語(yǔ)法規(guī)范，對(duì)原文形式作必要的調(diào)整，因而文字比較通順，讀者能夠看懂。逐字譯則不顧譯入語(yǔ)的語(yǔ)法規(guī)范和表達(dá)習(xí)慣，視原文為“神圣不可侵犯”，一味追求形式對(duì)應(yīng)，結(jié)果就是譯出來(lái)的文字晦澀生硬，甚至不知所云。逐字譯在同一語(yǔ)系的語(yǔ)言如英語(yǔ)、德語(yǔ)或法語(yǔ)、意大利語(yǔ)之間也是人們盡量避免的，在語(yǔ)言形態(tài)大相徑庭的英語(yǔ)和漢語(yǔ)之間，就更不宜用。從外譯漢的實(shí)際情況來(lái)看，逐字譯、死譯的作風(fēng)時(shí)下普遍存在，漢語(yǔ)的純正正面臨著空前的威脅。更可怕的是，自幼就熏習(xí)于這種“惡性西化”的中文的國(guó)人，已經(jīng)適應(yīng)了種種本不自然的中文表達(dá)方式，而無(wú)從辨別中文的本來(lái)之美。,二、意譯的定義種種意譯（FREETRANSLATIONORLIBERALTRANSLATION）張今“意譯是指在譯文中另外尋找新的表現(xiàn)法，來(lái)表達(dá)原文的邏輯內(nèi)容或形象內(nèi)容?！边@個(gè)定義主要強(qiáng)調(diào)意譯的文字同原文相比，采用了“新的表現(xiàn)法”。對(duì)此他有進(jìn)一步的說(shuō)明“由于語(yǔ)言外殼變了，原作的表現(xiàn)法直接移植過(guò)來(lái)，往往違反譯文語(yǔ)言的習(xí)慣，或者不能生動(dòng)地再現(xiàn)原作意境。這時(shí)就需要根據(jù)原作者的創(chuàng)作意圖，另外尋找新的表現(xiàn)法來(lái)再現(xiàn)原作意境?！?范仲英“意譯從意義出發(fā)，只要求將原文大意表達(dá)出來(lái)，不注意細(xì)節(jié)，譯文自然流暢即可。”但是譯文的“自然流暢”并不意味著譯者可以對(duì)原文內(nèi)容“隨意刪改，或添枝加葉。譯者必須深入鉆研原文，達(dá)到融會(huì)貫通，方能抓住要點(diǎn)，起到畫龍點(diǎn)睛的作用”。孫致禮意譯法不拘泥于原文的表現(xiàn)形式，而應(yīng)以傳達(dá)原文的深層意思為主旨。這里的重點(diǎn)在于傳達(dá)原文的精神主旨，為此原文的表現(xiàn)形式是可以犧牲的。許淵沖“直譯是把忠實(shí)于原文內(nèi)容放在第一位，把忠實(shí)于原文形式放在第二位，把通順的譯文放在第三位的翻譯方法。意譯則是把忠實(shí)于原文的內(nèi)容放在第一位，把通順的譯文形式放在第二位，而不拘泥于原文形式的翻譯方法?！?英國(guó)翻譯理論家卡特福德（JCCATFORD）意譯的“等值關(guān)系可以在上下層次間變動(dòng)，但趨向于較高的層次，有時(shí)是在比句子更大的單位間進(jìn)行”。這里需要交代的是“層次”（RANK）一詞的含義，在卡特福德的理論體系中，層次是指從語(yǔ)素到句子等各種不同大小的語(yǔ)言單位。按等值關(guān)系（EQUIVALENCE）發(fā)生的層次劃分，翻譯包括逐字譯、直譯和意譯三種，其中逐字譯是建立在單詞層次上的等值關(guān)系，意譯則不受限制（UNBOUNDED），而直譯介于兩者之間。蘇聯(lián)翻譯理論家巴爾胡達(dá)羅夫（BARKHUDAROV）“超出必要層次使內(nèi)容不變并遵守譯入語(yǔ)規(guī)范”的翻譯。,沙特爾沃斯（MARKSHUTTLEWORTH）和考伊（MOIRACOWIE）“側(cè)重于使目標(biāo)文本讀起來(lái)自然流暢，而不是完整保留原語(yǔ)文本措辭的翻譯類型”。兩位學(xué)者認(rèn)為意譯和意對(duì)意翻譯（SENSEFORSENSETRANSLATION）的含義是完全相同的，目的都是譯出符合譯入語(yǔ)文化的語(yǔ)言和文本規(guī)范的譯文，使譯文讀起來(lái)沒(méi)有“外國(guó)味”，從而滿足譯入語(yǔ)讀者的需要。羅賓遜（DOUGLASROBINSON）“一個(gè)無(wú)所不包的范疇，它包含任何不忠實(shí)于原文的翻譯?；旧?，任何不屬于有確定規(guī)范的可接受的翻譯都可以稱為意譯，即使所謂的偏離原文的譯文事實(shí)上同原語(yǔ)文本是緊密相關(guān)的”。,類似意譯新的術(shù)語(yǔ)有奈達(dá)動(dòng)態(tài)對(duì)等（DYNAMICEQUIVALENCE）和功能對(duì)等（FUNCTIONALEQUIVALENCE），紐馬克交際翻譯（COMMUNICATIVETRANSLATION）圖里（GIDEONTOURY）可受性（ACCEPTABILITY）拉爾森（MILDREDL．LARSON）地道翻譯（IDIOMATICTRANSLATION）,,三、直譯與意譯的各自功能直譯功能保持原語(yǔ)同譯入語(yǔ)之間的差異特征，從而最大限度地傳達(dá)原作的“異域風(fēng)味”。可以輸入一些原語(yǔ)的詞匯和表達(dá)方式，豐富譯入語(yǔ)文化系統(tǒng)的語(yǔ)言。武裝到牙齒BEARMEDTOTHETEETH斯芬克司之謎SPHINXSRIDDLE灑鱷魚淚SHEDCROCODILETEARS特洛伊木馬TROJANHORSE對(duì)應(yīng)的“純”中文的說(shuō)法全副武裝、難解之謎、貓哭耗子假慈悲、（潛藏內(nèi)部的）顛覆分子,NO,THERESSOMETHINGWRONGWITHTHEMENTALLIFE,RADICALLYITSROOTEDINSPITEANDENVY,ENVYANDSPITEYESHALLKNOWTHETREEBYITSFRUIT不，是精神生活出了問(wèn)題，很嚴(yán)重的問(wèn)題。根源就是怨恨和嫉妒，嫉妒和怨恨。你觀其行即可知其人。YESHALLKNOWTHETREEBYITSFRUITEITHERMAKETHETREEGOOD,ANDHISFRUITGOODORELSEMAKETHETREECORRUPT,ANDHISFRUITCORRUPTFORTHETREEISKNOWNBYITSFRUIT你們或以為樹(shù)好，果子也好；樹(shù)壞，果子也壞。因?yàn)榭垂?，就可以知道?shù)。,意譯功能如果說(shuō)直譯的功能是圍繞“形式”（盡量保留原作的語(yǔ)言形式）的，那么是圍繞“效果”的，也就是說(shuō)，譯者可以不受原文語(yǔ)言結(jié)構(gòu)的束縛，對(duì)原文的詞句順序、邏輯關(guān)系、修辭手段等進(jìn)行調(diào)整和變通，使譯文地道流暢，符合譯入語(yǔ)讀者的閱讀習(xí)慣，以更好地傳達(dá)原文的藝術(shù)效果，使譯文讀者在閱讀中能夠產(chǎn)生原文讀者讀原文時(shí)類似的審美體驗(yàn)。強(qiáng)調(diào)一點(diǎn)雖然就形式而言，意譯的文本同原文往往有很大出入，但這并不意味著譯者可以脫離原作，隨意所至，率爾為之，意譯的方法仍應(yīng)以原作為根本的出發(fā)點(diǎn)，以再現(xiàn)原作的藝術(shù)意境為最后歸依，否則就不是意譯，而是自由譯、亂譯了。,意譯的方法反映了各語(yǔ)言之間的“翻譯度”問(wèn)題老翻譯家楊絳同一語(yǔ)系之間“翻譯度”不大，移過(guò)點(diǎn)兒就到家了，恰是名副其實(shí)的“迻譯”。中西語(yǔ)言之間的“翻譯度”很大。如果“翻譯度”不足，文句就仿佛翻跟斗沒(méi)有翻成而栽倒在地，或是兩腳朝天，或是蹩了腳、拐了腿，站不平穩(wěn)。意譯的理論根據(jù)不同文化間的差異。作為一種交際方式，特定的語(yǔ)言表達(dá)在不同的民族間往往有不同的含義，在一種文化中人們習(xí)以為常的東西，在另一種文化中則可能是新鮮事物；在一種文化中有效的交際方式，在另一種文化中可能就沒(méi)有同樣的效果，甚至適得其反。如果將原文的詞句一一對(duì)應(yīng)地翻譯過(guò)來(lái)，不見(jiàn)得就能保持“原汁原味”，而譯文讀者在閱讀這樣的譯文時(shí)，得到的感受同原文讀者的感受可能會(huì)完全不同。,兩彎似蹙非蹙罥煙眉，一雙似喜非喜含情目。態(tài)生兩靨之愁，嬌襲一身之病。淚光點(diǎn)點(diǎn)，嬌喘微微。閑靜時(shí)如嬌花照水，行動(dòng)處若弱柳扶風(fēng)。心較比干多一竅，病如西子勝三分。（曹雪芹、高鶚，紅樓夢(mèng)）HERDUSKYARCHEDEYEBROWSWEREKNITTEDANDYETNOTFROWNING,HERSPEAKINGEYESHELDBOTHMERRIMENTANDSORROWHERVERYFRAILTYHADCHARMHEREYESSPARKLEDWITHTEARS,HERBREATHWASSOFTANDCHARMINREPOSESHEWASLIKEALOVELYFLOWERMIRROREDINTHEWATERINMOTION,APLIANTWILLOWSWAYINGINTHEWINDSHELOOKEDMORESENSITIVETHANPIKAN,MOREDELICATETHANHISSHIH,一位美國(guó)讀者BILLHOFMANN教授的評(píng)價(jià)ICANHARDLYSEE,THROUGHTHISPASSAGE,ABEAUTYBEFOREMYEYES,THEOVERWHELMINGIMPRESSIONBEINGTHATTHEYOUNGWOMANISFRAILANDPALEWHENWESAYSOMEBODYSBREATHISSOFTANDFAINT,WEDOBELIEVETHATSHEORHEISFATALLYSICKANDSHOULDBEHOSPITALIZEDASSOONASPOSSIBLE,,四、技術(shù)層面上的直譯與意譯處理“直譯派”和“意譯派”之爭(zhēng)直譯派主張翻譯之為翻譯，自然不同于母語(yǔ)文字的創(chuàng)作，譯者的使命就是要讓讀者多了解異域文化，體會(huì)異域情調(diào)。此外，保留原語(yǔ)文本的語(yǔ)言特色，還能豐富譯入語(yǔ)的表達(dá)方式，這也是翻譯的目的之一。意譯派主張不同的語(yǔ)言文字有其自身特有的文化內(nèi)涵，一種語(yǔ)言文字中的某些含義，有時(shí)候很難通過(guò)譯文用另一種語(yǔ)言文字表達(dá)出來(lái)，在這種情況下，譯者需要做的是犧牲表面上的文字對(duì)應(yīng)，另辟蹊徑，采用意譯的方法再現(xiàn)原文的藝術(shù)形象和藝術(shù)意境，使譯文讀者獲得同原文讀者近似的感受。,我們認(rèn)為直譯和意譯作為兩種最基本的翻譯方法，適用于不同的翻譯目的、讀者類型、文本性質(zhì)和作者意圖等，因而各有其優(yōu)勢(shì)和價(jià)值。直譯和意譯并非互相排斥，非彼即此，而是可以并行不悖，相輔相成。沒(méi)有絕對(duì)直譯或絕對(duì)意譯的譯文，直譯和意譯都是相對(duì)的說(shuō)法，它們并不像自然科學(xué)中的某些概念一樣，可以有決然的界限。周作人譬如英文的LYINGONHISBACK一句，不譯作“仰臥著”而譯為“臥著在他的背上”，那便是欲求信而反不詞了。據(jù)我的意見(jiàn)，“仰臥著”是直譯，也可以說(shuō)即意譯；將它略去不譯，或譯作“坦腹高臥”以至“臥北窗下自以為羲皇上人”，是“胡譯”；“臥著在他的背上”這一派乃是死譯。,STUDIESSERVEFORDELIGHT,FORORNAMENT,ANDFORABILITYTHEIRCHIEFUSEFORDELIGHT,ISINPRIVATENESSANDRETIRINGFORORNAMENT,ISINDISCOURSEANDFORABILITY,ISINTHEJUDGMENTANDDISPOSITION（FRANCISBACON,OFSTUDIES）譯文A讀書是為了娛樂(lè)，裝飾和增長(zhǎng)才能。其娛樂(lè)方面的主要用途在于獨(dú)處和引退之時(shí)；其裝飾方面的主要用途在于言談之中；其增長(zhǎng)才能方面的主要用途在于對(duì)事務(wù)的判斷和處理。（東旭譯）譯文B讀書可以作為消遣，可以作為裝飾，也可以增長(zhǎng)才干。孤獨(dú)寂寞時(shí)，閱讀可以消遣。高談闊論時(shí)，知識(shí)可以裝飾。處世行事時(shí)，正確運(yùn)用知識(shí)意味著才干。（何新譯）譯文C讀書足以怡情，足以傅彩，足以長(zhǎng)才。其怡情也，最見(jiàn)于獨(dú)處幽居之時(shí)；其傅彩也，最見(jiàn)于高談闊論之中；其長(zhǎng)才也，最見(jiàn)于處世判事之際。（王佐良譯）,注意避免兩種傾向第一個(gè)傾向避免死譯（RIGIDTRANSLATION），死譯是指不顧目的語(yǔ)的表達(dá)習(xí)慣而采用同原文的語(yǔ)言形式亦步亦趨的翻譯方法。THEDEVELOPMENTOFANECONOMICALARTIFICIALHEARTISONLYAFEWTRANSIENTFAILURESAWAY發(fā)展一個(gè)經(jīng)濟(jì)的人工心臟只是幾個(gè)短暫的失敗。只消再經(jīng)過(guò)幾次失敗，就能造出價(jià)格低廉的人工心臟了。第二個(gè)傾向避免過(guò)度意譯（UNDULYFREEOROVERFREETRANSLATION）。過(guò)度意譯實(shí)際上就是胡譯、亂譯或者曲譯。具體表現(xiàn)要么附加過(guò)多的額外信息，要么信息含量不能夠等同原文的信息含量，要么改變了原文的信息，要么歪曲了原文的歷史、文化等背景信息。,1、直譯不等于硬譯所謂“硬譯”，也叫逐詞翻譯，翻譯時(shí)是以詞為單位進(jìn)行考慮的，力求目的語(yǔ)的每個(gè)詞都能與原語(yǔ)的每個(gè)詞對(duì)等。這也叫“對(duì)號(hào)入座”。硬譯過(guò)于拘泥于原文形式，一味追求形式對(duì)等，置翻譯效果于不顧。（1）ITWASANOLDANDRAGGEDMOON譯文一那是一個(gè)又老又破的月亮。譯文二這是一彎下弦殘?jiān)?。?）IGUESSEDVAGUELYFROMMYMOTHER’SSIGNSANDFROMTHEHURRYINGTOANDFROINTHEHOUSETHATSOMETHINGUNUSUALWASTOHAPPEN譯文一我猜到模模糊糊從母親的手勢(shì)和匆忙去來(lái)在房子里某件事不尋常要發(fā)生。譯文二從家里人來(lái)回匆忙的走動(dòng)及母親的手勢(shì)，我隱隱約約地猜到有什么不尋常的事就要發(fā)生。,（3）櫥窗里擺著的是什么東西譯文一SHOPWINDOWINDISPLAYEDISWHATTHING譯文二WHAT’STHATINTHESHOPWINDOW（4）在我生活的那個(gè)寂靜無(wú)聲、黑暗的世界里，沒(méi)有強(qiáng)烈的感情，也沒(méi)有溫柔。譯文一INILIVEDTHATQUIETSOUNDLESSANDDARKWORLDTHEREWASNOSTRONGFEELINGSORTENDERNESS譯文二INTHESTILLDARKWORLDINWHICHILIVEDTHEREWASNOSTRONGSENTIMENTORTENDERNESS（5）IGAVEMYYOUTHTOTHESEAANDICAMEHOMEANDGAVEMYWIFEMYOLDAGE譯文一我把我的青春獻(xiàn)給了大海，我回到家里，給了我的妻子我的老年。譯文二我把青春獻(xiàn)給了大海，我回到家里和我妻子共度晚年。譯文三我把青春獻(xiàn)給了海洋，等我回到家里時(shí)，已經(jīng)是白發(fā)蒼蒼了。,2、意譯不等于胡譯所謂“胡譯”，就是為了所謂“表達(dá)的順暢”，在沒(méi)有真正理解原文的情況下，往往望文生義，對(duì)上下文進(jìn)行隨意的闡釋，增添原文中并不存在的內(nèi)容或刪減、遺漏原文所包含的內(nèi)容。（6）HEISLYINGONHISBACK,FIXINGHISEYESONSHININGSTARSINTHESKY譯文一他坦腹高臥，遙望星空，神游天際。譯文二他仰臥著，直目天空中閃爍的群星。（7）ANDHECOULDNOTTAKETHECHANCEOFPUTTINGHISCERTAINIGNORANCEAGAINSTTHISMAN’SPOSSIBLEKNOWLEDGE譯文一他可不能冒失地以自己的愚昧無(wú)知來(lái)對(duì)抗這人的真知灼見(jiàn)。譯文二他不能冒這個(gè)險(xiǎn)，以自己的全然無(wú)知去否認(rèn)此人的可能了解。（8）我不會(huì)拖你的后腿。譯文一IWON’TPULLYOURLEG譯文二IWON’TBEINYOURWAY,3、能直譯就盡量直譯（9）IHAVEEATENMORESALTTHANYOUOVERTHEYEARS直譯我比你多吃了幾年鹽。意譯我比你經(jīng)驗(yàn)豐富。（10）CRIMINALSMUSTBEMADETOSEETHECONSEQUENCESOFTHEIRCRIMES“ANEYEFORANEYEANDATOOTHFORATOOTH”ISTHEVERYBASISOFJUSTICE直譯必須使罪犯看到自己犯罪的結(jié)果，“以眼還眼，以牙還牙”正是法制的基礎(chǔ)。意譯必須使罪犯看到自己犯罪的結(jié)果，“以其人之道還治其人之身”正是法制的基礎(chǔ)。,（11）DURINGTHERUSHHOURS,YOUCANOFTENSEEABOILINGSEAOFBICYCLESRUNNINGINALLDIRECTIONS直譯在高峰期間，你可經(jīng)常看到沸騰的自行車海洋涌向四面八方。意譯在高峰期間，你可經(jīng)?？吹綗o(wú)數(shù)的自行車涌向四面八方。（12）AMONGSOMANYWELLDRESSEDANDCULTUREDPEOPLE,THECOUNTRYGIRLFELTLIKEAFISHOUTOFWATER直譯同這么多穿著體面而又有教養(yǎng)的人在一起，這位鄉(xiāng)下姑娘頗有如魚離水之感。意譯同這么多穿著體面而又有教養(yǎng)的人在一起，這位鄉(xiāng)下姑娘感到很不自在。,,4、不能直譯就采取意譯（13）HEDESCRIBEDMEASANONPRACTICINGCHRISTIAN直譯他把我說(shuō)成是一個(gè)不積極參加活動(dòng)的基督徒。意譯他把我說(shuō)成是一個(gè)掛名的基督徒。（14）BUTOFALLTHEBEAUTYSPOTSOFTHEWESTLAKE,THEFIRSTIHEARDOFWASLEIFENGPAGODAMYGRANDMOTHEROFTENTOLDMETHATLADYWHITESNAKEWASAPRISONERUNDERNEATHIT直譯然而在所有的西湖美景中，我最先知道的卻是這雷峰塔。我的祖母曾經(jīng)常常對(duì)我說(shuō)，白娘子就是這塔底下的一個(gè)罪人。意譯然而在所有的西湖美景中，我最先知道的卻是這雷峰塔。我的祖母曾經(jīng)常常對(duì)我說(shuō)，白娘子就被壓在這塔底下。,（15）BOBBYRD,FORMERLYTHOUGHTTOBEATWORSTACOURTLY,FIDDLEPLAYINGGASBAG,ISPORTRAYEDASAVORACIOUSMONSTEROFTHEPORKBARREL直譯伯德議員從前最糟糕也不過(guò)被人認(rèn)為是個(gè)圓滑的、愛(ài)拉小提琴的、話太多的人?，F(xiàn)在他被描述為大桶豬肉的貪婪怪物。意譯從前伯德議員最糟糕的也不過(guò)是被認(rèn)為過(guò)于圓滑，愛(ài)拉小提琴而話又太多，現(xiàn)在他被描述為爭(zhēng)奪政治撥款的貪婪怪物。（16）DOYOUSEEANYTHINGGREENINMYEYE直譯你看到我眼中有綠色的東西嗎意譯你以為我幼稚可欺嗎,（17）“ITHREWYOURSTAMPALBUMINTHEFURNACE,RICHARD，”SHETOLDHIMOUTOFACLEARSKYAFTERSUPPERONENIGHT直譯“我把你的集郵冊(cè)扔到火爐里去了，理查德，”一天晚上吃過(guò)晚飯，天空晴朗無(wú)云，她對(duì)他說(shuō)。意譯“我把你的集郵冊(cè)扔到火爐里去了，理查德，”一天晚上吃過(guò)晚飯，她突如其來(lái)地對(duì)他這么說(shuō)。（18）HISRETORTWASDELIVEREDWITHASTRONGNOTEOFVINEGAR譯文一他的反駁是帶著強(qiáng)烈的酯意發(fā)出的。譯文二他用非常尖酸刻薄的口氣進(jìn)行了反駁。（19）ITSEEMSTOMEWHATISSAUCEFORTHEGOOSEISSAUCEFORTHEGANDER直譯我覺(jué)得煮母鵝用什么醬油，煮公鵝也要用什么醬油。意譯我認(rèn)為如何律人就應(yīng)如何律己／兩種情況都適合。,（20）你真是不到黃河不死心。直譯YOUREALLYDOREFUSETOGIVEINUNTILTHEYELLOWRIVERISREACHED意譯YOUREALLYDOREFUSETOGIVEINUNTILALLHOPEISGONE（21）在園里面是人間的樂(lè)園，有的是吃不了的大米白面，穿不完的綾羅綢緞，花不完的金銀財(cái)寶。直譯INSIDETHEGARDENISAPARADISEONEARTH,WITHMORERICEANDWHITEFLOURTOEAT,MORESILKCLOTHESTOWEARANDMORESUCHTREASURESASGOLDANDSILVERTHANENOUGHTOSPEND意譯THEGARDENWASAPARADISEONEARTH,WITHMOREFOODANDCLOTHESTHANCOULDBECONSUMEDANDMOREMONEYTHANCOULDBESPENT,（22）我曾多次見(jiàn)他畫小雞，毛茸茸，很可愛(ài)；也見(jiàn)過(guò)他畫的魚鷹，水是綠的，鉆進(jìn)水里的，很生動(dòng)。直譯FORSEVERALTIMES,IHAVESEENHIMPAINTCHICKS,FLUFFYANDLOVELYIHAVEALSOSEENCORMORANTSPAINTEDBYHIMTHEWATERISGREEN,THEYPUTTHEIRHEADSINTHEWATERANDTHEVIEWISVIVID意譯ONSEVERALOCCASIONSIWATCHEDHIMPAINTFLUFFYLITTLECHICKSANDVIVIDCORMORANTSWITHTHEIRHEADSINCLEARGREENWATER,5、直譯和意譯并用互補(bǔ)（23）INTHISCASE,WHAT’SMOREIMPORTANTFORUSISTOFINDAPERSONWHOCANBELLTHECAT譯文在這種情況下，對(duì)我們而言更重要的是找到一個(gè)能為大家的利益承擔(dān)危險(xiǎn)的人。（24）THEEVIDENCEISRAPIDLYMOUNTINGTHATHEISTHEREALDECISIONMAKERINTHISGIGANTICENTERPRISE譯文急劇增多的證據(jù)表明，他是這家巨型企業(yè)的真正決策者。,（25）THENEEDTOPRODUCEGOODSANDSERVICESATQUALITYLEVELSPREVIOUSLYTHOUGHTIMPOSSIBLETOOBTAININMASSPRODUCTIONREQUIRESTHEMANAGERSTORECRUITAMOREHIGHLYEDUCATEDWORKFORCE譯文以前人們認(rèn)為在大規(guī)模生產(chǎn)中無(wú)法做到提供優(yōu)質(zhì)的產(chǎn)品和服務(wù)，而對(duì)于兩者的需求要求經(jīng)理人員雇用受教育水平更高的勞動(dòng)力。（26）我最不愿做的事情就是與他爭(zhēng)辯，因?yàn)樗苋菀资ツ托摹Ｗg文THELASTTHINGI’DLIKETODOISTOARGUEWITHHIMSINCEHEISPRONETOLOSE
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