1、Chapter One Unit 3,翻译的标准和原则Criteria and Principles of Translation,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.,Some of the criteria proposed by scholars in China:,1. 支谦（ Eastern Han）：“佛言，依其义不用饰，取其法不以严。其传经者，当令易晓，勿失厥义，是则为善。”,2. 道安（ Eastern Jin ,314385）: warned translators on guard against 五失本 (five ways of losing the original essence in translation),The five losse
3、s 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),(4) omission of repetition of certain conclusive messages, (5) cutting of contents repeated as introduction to
4、a new topic.,3. 玄奘（ Tang Dynasty 600664）（1）“既须求真，又须喻俗” （To be both true and coherent , or: must be both truthful and intelligible to the populace）（2） “五不翻”,4. 马建忠（18451900）： in response to the contemporary abuse in translation, brought forth the principle of “善译”Ma Jianzhong wrote the first Chinese
5、grammar book “马氏文通”,Ma 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 (拟设翻译书院议)and he pointed out, if you take a book, youll have to read it over and over so as to grasp its spiritual Essence, try t
6、o 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 the f
7、irst-class translation.,“所有相当之实义，委屈推究，务审其音声之高下，析其字句之繁简，尽其文体之变态，及其义理精深奥折之所由然。夫如是，则一书到手，经营反复，确知其意旨之所在，而又摹写其神情，仿佛其语气，然后心悟神解，振笔而书，译成之文，适如其所译而止，而曾无毫发出入于其间，夫而后，能使阅者所得之益，与观原文无异，是则为善译也矣。”,一书到手经营反复，comprehension知其意旨，摹写神情、语气，心悟神解, spirit振笔而书，译成之文，适如其所译而止，无毫发出入其间，accuracy夫而后能使读者所得之益，与观原文无异，则为善译。equivalent resp
8、onse,Ma 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 underst
9、ands it.,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.”,5. 严复（8541921):,Faithfulness ExpressivenessElegance
10、,译事三难：信，达，雅。求其信，已大难矣。顾信矣不达，虽译尤不译也。则达尚焉译文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. Hence expressivene
11、ss should be required too.,译文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 translation doesnt amo
12、unt to translation. From here we can see fluency/ smoothness is of great importance.”,易曰修辞立诚。子曰辞达而已。又曰言之无文，行之不远。三者乃文章正轨，亦即为译事楷模。故信达而外，求其尔雅。（严复：天演论序言） 译文: The Book of Changes says that first requisite of rhetoric is truthfulness; Confucius says that expressiveness is all that matters in language. He
13、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.,Some people compare Yan Fu with Alexander F. Tytler, and they said that
14、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.,“Fidelity” refers to faithfulness or loya
15、lty, “ Fluency” refers to the quality of being fluent and “elegance” refers to grace or good taste.,“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 original composition” a
16、nd “elegance” is equivalent to “the style and manner of writing should be of the same character with that of the original”.,(1) Faithfulness(信): means that the translated text should be faithful to the original text. 准确地传达原文的内容。,e.g. (1) My work, my family, my friends were more than enough to fill m
17、y time.原译：我干工作，我做家务，我有朋友往来，这些占用了我的全部时间。,e.g. (1) My work, my family, my friends were more than enough to fill my time.改译：我要工作，要做家务，要与朋友往来，这些事用全部时间应付还不够。,(2) Expressiveness（达）: means that the translated text should be expressive and coherent without anything awkward. The translated text should be in
18、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. 译文语言应该通俗明白，通顺易懂，没有文理不通，结构混乱，逻辑不清的现象。,e.g.(1) Mr. Beg quickly returned to his office and filed an urgent story to his newspape
19、r in London, little realizing that he was about to become part of a new journalistic legend on Fleet Street.原译：贝格连满赶回办公室，向伦敦报社发表了一条急电，没有想到他自己就要成为伦敦新闻界最新的新闻传说的一部分。,e.g.(1) Mr. Beg quickly returned to his office and filed an urgent story to his newspaper in London, little realizing that he was about t
20、o become part of a new journalistic legend on Fleet Street.改译：贝格连满赶回办公室，向伦敦报社发表了一条急电，没有想到这件事后来在舰队街传为新闻界的美谈。,(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 very graceful. (Many scholars in China
21、approve of his faithfulness and expressiveness, but argue against his elegance.),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 multiplied red-coats.原译：这个平坦的旺盛的生活
22、不困难的国家看起来从来没有比1815年的夏季的开端更富裕和兴旺。当时它的绿色的田地和安静的城市都被人数众多的传红衣服的人弄得活跃起来。,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 multiplied red-coats.改译：1815年初夏，这平坦、舒适的国家真是空前的繁
23、荣富庶。苍翠的平原和安静的城市里全是穿红衣的军人，顿时显得热闹起来。,e.g. Its up to my neck to your bullshit. (原文是 美国大兵的粗话)原译：你把我害得好苦啊！改译：你让我倒了八辈子邪霉了。,E.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 among the beautifullest trees, and with the rose
24、s a-covering our Bein to the roof”-David Copperfield (Charles Dickens )(Mr. Peggotty： 没有文化、说话不规范 用词和句法错误百出),该句的意思为：“ 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 beautiful trees, with roses covering the roof of the hous
25、e.”,原译：* “我听到那消息以后”，皮果提先生说道，“瞒着她差不多快一年了。我们当时住在一个僻静的地方。周围有十分美丽的树，屋顶上有蔷薇花” (尽管通顺，但不忠实于原作语言风格不能再现皮果提的口吻和神态),改译： “起那时俺听了消息后，”辟果提说：“瞒着她快一年了。俺们那时呆的地方挺背，前后八方的 树林子说不出的最漂亮，屋顶尽是蔷薇花”,6. 鲁迅: “宁信而毋顺”，译作“力求其易解”并“保持着原作的丰姿” 。 凡是翻译，必须兼顾两面，一当然力求易解，一则保存原作的风姿。(keep the full flavor of the original work)Whiling sticking
26、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. ”,7. 林语堂： 忠实标准、通顺标准、美的标准 (faithfulness, fluency, and beautifulness or aesthetic quality)翻译是一种艺术。翻译的艺术所依赖的：第一是译者对于原文
27、文字上及内容上的透彻的了解，第二是译者有相当的国文程度，能写清晰畅达的中文，第三是译事上的训练，译者对于翻译标准的问题有相当的见解。译者不但要求达意，并且要以传神为目的，译文必须忠实于原文之字神句气与言外之意。,Though in Lins opinion, his criterion of “aesthetic quality” covers more than Yans “elegance”, its self-evident that both sets of criteria emphasize a translators three-level responsibility: (1)
28、 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.,8. 傅雷：“神似” (the transfer of the original spirit: spiritual resemblance spiritual similarity or achieve the spirit of the original,),以效果而论，翻
29、译应像临画一样，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.”,“以效果而论，翻译应当像临画一样，所求的不在形似而神似。以实际工作而论，翻译比临画更难。临画与原画，素材相同（颜色、画布，或绢），法则相同（色彩学，解剖学，透视学）。译本与原作，文字既不侔，规则又大异。各种文字各有特色，各有无可模仿优
30、点，各有无法补救的缺陷，同时又各有不能侵犯的戒律。像英、法、德那样接近的语言，尚且有许多难以互译的地方；中西文字的杆路远过于此，要求传神达意，铢悉称，自非死抓字典，按照原文句法拚凑堆砌所能济事”。,This is Fu Leis famous “theory on being alike in spirit” (or: similarity in spirit), which has given a vivid description and a close metaphor of translation.,Then how to put it into effect? Fu adds:“To
31、 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.”,任何作品，不精读四、五遍决不动笔，是为译事基本法们。第一要将原作（连同思想、感情、气氛、情调等等）化为我有，方能谈到迻译。,9. 钱钟书: 化境Mr Qian ha
32、s 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 original flavour as well as shows no signs of stiff word-for-word translat
33、ion because of the conventional differentiation of language and culture.,Mr Qians theory emphasizes that versions that are faithful to the original texts dont read like the translated texts, for the original texts themselves dont exist in the form of the translated texts, but he admitted that “the w
34、holly 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.,文学翻译的最高理想可以说是“化”。把作品从一国文字转变成另一国文字，既不能因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原作的风味，那就算得入于
35、“化境”。译文： “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 the other, the flavor of the original is retained”.,Qian borrowed the Budd
36、hist term “transmigration”（脱胎换骨） 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 been changed. This requirement, in fact, is so high that Qian once had to admi
37、t that perfect transmigration of the original text into the target one was just an ideal to strive for.,10. 吕叔湘 （参考教材） 11.刘重德：“信、达、切” 刘老认为，严复的“信达”两字仍可沿用，而“雅”字应改用“切”字，这是因为“雅”字实际上只不过是风格中的一种，和“雅”相对立的，就有所谓“粗犷”或“豪放”。“粗犷”和“文雅”显而易见是迥然不同的两种文体，因此，翻译起来不能一律要“雅”，应该实事求是，酌情处理，恰如其分，切合原文风格。“切”指的就是要切合原文风格，适用于各种不同的风格
38、。,12. 金媞 （参考教材） 13.许渊冲：提出了诗歌翻译的“三美”（音美、形美、意美）和 “三化”（等化、淡化、深化）原则。,许渊冲： 意美，音美，形美等化，浅化，深化 知之，好之，乐之（1）诗词翻译的“三美”论（意美，音美，形美）（2）文学翻译的“三似新论”（形似、意似、神 似）（3）诗词翻译的“三化论（等化，浅化，深化）（4）诗词翻译的“三之”论（知之，好之，乐之）,许渊冲的“译经”：“译可译，非常译；忘其形，得其意。得意，理解之初；忘形，表达之母。故应得意，以求其同；故可忘形，以存其异。两者同出，异名同谓：得意忘形，求同存异，翻译之门。”,许渊冲贺杨振宁新婚 双语诗句,振宁不老松，扬
39、帆为小翁，岁寒情更热，花好驻春风。,振宁不老松，扬帆为小翁，岁寒情更热，花好驻春风。 译文：The ageless wont grow old. You sail with your young bride. Love will warm winter cold. Spring will ever abide.,14. 辜正坤：翻译标准多元互补论 15. 谭载喜：提出翻译的“东张西望”法和译学内容的“瞻前顾后”法。 “东张”即发挥自身的语言优势，做到译文的“信达贴”、“信达切”、“神似”、“化境”。“西望”则是借鉴西方译论，立足分析，注重理论，放眼系统。 “瞻前”放开思路，大胆开拓；“顾后”继
40、承传统，推陈出新。,Some 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.,(2) The translator should have not only perfect knowledge of the language of the author he is transla
41、ting 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.,(3) The translator should avoid rendering word for word. (4) The translator should employ words that are in common use.,(5) The translator should link
42、and order words with sweetness so as to produce the style.,2. George Cambel (乔治 坎贝尔) ：翻译三原则 A good translator is: 1) To give a just representation of the sense of the original,2) To convey into his version, as much as possible, in a consistency with the genius of the language with which he writes, t
43、he authors spirit and manners,3) To take care that the version has at least the quality of an original performance so as to appear natural and easy.,3. Alexander Fraser Tytler: （泰特勒） In the history of modern translation, the first real western monograph on translation theory, is the book Essay on th
44、e 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 book published in 1792:,Essay on the Principles of Translation (1792) A good t
45、ranslation: 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.,Three laws of
46、translation: （1）A translator should give a complete transcript of the ideas of the original work.译文应该完全传达原文的思想。,（2）The style and manner of writing should be of the same character as that of the original.译文的风格和笔调应与原文的一 致。,（3）A translation should have all the ease of the original composition. 译文应像原文一样
47、流畅。,4. Federov（费道罗夫）: 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.,5. Eugene A. Nida 尤金奈达：dynamic equivalence or functional equivalence (动态对等，功能对等) “Dynamic or functional equivalence ” is defined “i
48、n 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.”,His functional equivalence is defined as a translation principle, according to which the translator seeks to translate the mea
49、ning 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.,In “Towards a Science of Translating” , Nida put forward the term “dynamic equivalence” (Nida, 1964, 159) “A t
50、ranslation 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-language 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.”,
