翻译三原则

和

“

达

”

没有什么争论

,

唯有

“

雅

”

字例外。再

用

汉以

前字法、句法

”

进行翻译是不行了。因此人们对

“

雅

< br>

”

字作过各种解释

,

发过各种

议论。纵观各家之言

,

我认为周照良教授的解释是比较可取的。

周照良教授在

“

翻译三论

”

一文中说

:“

我认为应当作为

?

得体

'

来理解。得体不仅仅指文笔

,

而是指

文笔基本上必须根据内容来定；文笔必 须具有与其内容相适应的风格。

”

他还

说

:“

信、达、雅

”

< br>三者哪一个最重要

?

我以为要看内容而定。如果译的是《 读者文

摘》或旅游见闻

,

那就要着重达

,

便是漏译一两句也无关宏旨。如果译的是哲学、

社会科学

,

特别是经典著作

,

信就应当放在首位。

...

至于文学翻译

,

那当

然要讲究文笔。

如果一篇译文在内容上是忠实的

,< /p>

在语言上是通顺的

,

在风格上

,

那的确就是一篇很好的译文了。

1.

2

“

忠 实

”

和

“

通顺

”

的标准

“

忠实

”

主 要是指内容。翻译是在理解了别人用某种

语言表达的意思之后

,

把同样的意思用另外一种语言表达出来。

也就是说

,

译者的

任务是表达别人 的意思

,

而不是自己进行创作。因此

,

就要力求准确地表达原作者

的意思。

“

通顺

”

指的是语言。

< br>如果原文是通顺易懂的

,

那么译文也要尽量做到通顺、< /p>

易懂。

1.3

Tytler?s

Three

Principles

If

it

were

possible

accurately

to

define,

or,

perhaps more properly, to describe what is meant by a good Translation, it is

evident that a considerable progress would be made towards establishing the

Rules

of

the

Art;

for

these

Rules

would

flow

naturally

from

that

definition

or

description.

But

there

is

no

subject

of

criticism

where

there

has

been

much

difference of opinion ...I would therefore describe a good translation to be, 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 belongs, as it is by those who speak the

language

of

the

original work.

Now,

supposing

this description

to

be

a

just

one, which I think it is, let us examine what are the laws of translation which

may be deduced from it.

It will follow,

I.

That

the

Translation

should

give

a

complete

transcript

of

the

ideas

of

the

original work.

II. That the style and manner of writing should be of the same character with

that of the original.

III. That the Translation should have all the ease of original composition. (from

A. F. Tytler: Essay on the Principles of Translation)

the

popular

language

of

the

people

can

be

used

to

translate

any

foreign

language in the world. But Yan Fu opposed the application of the vernacular in

translation,

that is why many people criticized his “elegance.”

Of course Yan

Fu's

explanation

of

the

translation

criteria

is

limited

by

the

age

he

lived

in.

Therefore

we

must

look

at

his

criteria

with a

critical eye.

Furthermore,

Yan

Fu's “elegance” can only be regarded as one style. Its opposite is the style of

“boldness and unconstraintedness.” “Elegance” and “boldness” constitute two

different

styles.

Of

course

there

are

many

other

styles

in

translation.

So

“elegance”

as

an

overall

translation

principle

may

give

rise

to

diverse

interpretations.

Mr.

Lu

Xun,

the

greatest

modern

Chinese

writer

proposed

“faithfulness”

and

“smoothness”

as

translation

standards

and

attached

importance to the preservation of the original flavor. But he once said, “Rather

be faithful (in thought) than smooth (in language).” This was only p

ut forward in

opposition

to

Zhao

Jingshen's

saying:

“It's

better

to

have

a

smooth

version

than

a

faithful

one.”

And

this

is,

of

course,

understandable.

Criteria

for

translation

constitute

the

yardstick for measuring

a

piece of

translated

work.

The common criteria applied in translation can be summarized in the following

two words: faithfulness and smoothness.

1

）

“Faithfulness” first refers to the

content of the original work. The translator must bring out the original meaning

both comprehensively and accurately without any distortion or casual addition

or deletion of the original thought.

Faithfulness also includes the keeping of

the original style, as Xun put it, “keep the full flavor of the original work.”

Sometimes, even the original emotions or feelings such as anger or distress,

satire or irony, joy or happiness should not pass unnoticed.

2

）

“Smoothness”

requires

that

version

must

be

clear

and

distinct,

flowing

and

easy

to

read

without

signs

of

the

mechanical

word-for-word

translation,

of

obscure

and

crabbed

language,

of

grammatical

mistakes,

confused

structure

and

turbid

logic.

By

smoothness

we

mean

that

we

should

make

the

language

forceful,

clear

and

idiomatic.

Different

languages

have

different

ways

of

expression.

The translator must try to follow the custom and good usage of the languages

used

and

not

stick

to

the

mode

of

expression

of

the

original.

Sometimes

there

are

contradictions

between

faithfulness

and

smoothness,

but

the

translator must try his best to arrive at the unity of the contradictions. The most

important thing is, he must first have a thorough understanding of the authors,

ideas

and

feelings

expressed

in

the

original

and

put

them

into

a

different

language

idiomatically

according

to

some

of

the

fundamental

rules

and

methods of translation. Only thus can he be said to be responsible both to the

author

and

the

readers.

In

the

last

decade

of

the

18th

century,

Alexander

Fraser

Tytler,

professor

of

history

at

Edinburgh

University,

laid

down

three

fundamentals

by

which

a

translation

should

be

made

or

judged.

They

were

(1)a translation should give a complete transcript of the ideas of the original

work;(2)the style and manner of writing should be of same character as that of

the

original,

and

(3)a

translation

should

have

all

the

ease

of

original