钱钟书翻译经典翻译
1．If all the sky were parchment and all the sea were ink
按“青天做纸张”之语，西方各国诗人皆有之，常以“碧海化墨水”为对。P.19 2．New forms are simply canonization of inferior genres.
百凡新体，只是向来卑不足道之体忽然列品入流。P.35
3．behind its attributes
须在未具性德以前，推其本质。P.37
4．“Not of the letter, but of the spirit; for the letter killeth, but the spirit giveth life.”
意在言外，得意忘言，不以词害意。P.43
5．To hold, as’t were, the mirror up to nature.
持镜照自然。P.60
6．selective imitation
取舍之工。P.60
7．This is an art / Which does mend nature, change it rather, but/ That art itself is Nature (The Winter’s Tale, IV, iv. Polixenes)
莎士比亚尝曰：“人艺足补天工，然而人艺即天工也。”p.61
8．In shape the perfection of the berry, in light the radiance of the dewdrop. (Lord Tennyson; A Memoir, by his son, Vol. I, P.211)
体完如樱桃，光灿若露珠。P.114
9．“A poem round and perfect as a star. ”（Alexander Smith: A Life Drama）“诗好比星圆。”P.114
10．“It used to be said of a famous cricketeer that he bowled or batted with his head. ”（S. Alexander: Beauty and Other Forms of Value, p.25）
画以心而不以手。P.211
11．A direct sensuous apprehension of thought.
能以官感领会义理。P.232
12．Be thou thine own home, and in thy selfe dwell;/Inn any where, continuance maketh hell./ And seeing the snaile, which every where doth rome, /Carrying his owne house still, still is at home.(Complete Poetry and Selected Prose, ed. J. Hayward, pp.153-4)
万物皆备于身，方之蜗牛戴壳，随遇自足，著处为家。——约翰唐（John Donne）名篇: （To Sir Henry Wotton）P.232
13．“Poetry should strike the Reader as a working of his own highest thoughts and appear almost a Remembrance. ”（Letter to Taytor, 27 Feb. 1818, H. E. Rollins, ed., Letters I, 238）
“好诗当道人心中事，一若忆旧而得者。” ——济慈(Keats) 论诗第一要义（axiom）P.255
14．ear pleasure
悦耳P.269
15．mind pleasure
餍心P.269
16．unreasonable or magical element
不落理路、神幻无方。P.269
17．natural magic
魔力P.269
18．inspiration
落笔神来之际P.269
19．catharsis
情欲宣泄P.270
20．purification
斋心洁己P.270
21．All Arts aspire to the condition of music.
佩特谓诸艺造妙皆向往于音乐之空灵澹荡。P.271
22．Most imitative of arts（S. H. Butcher: Aristotle’s Theory of Poetry and Fine Art, P.122）
“乐在诸艺中最近自然。”P.271
23．committed fornication
意淫P.273
24．mental fictions
乱真P.273
25．“All emotion, Of thorough enough, would take one to heaven.”
“一切情感，充极至尽，皆可引人入天。” P.288
26．“This creative reason thinks eternally. Of this unceasing work of thought,
however, we retain no memory, because this reason is unaffected by its objects. ”（Aristotle’s Psychology, with Introduction and Notes, by E. Wallace, ” P.161, P.272）
“无时间性，变易不居，勿滞于物，不可记忆。” P.289
27．“None can care for literature in itself who do not take a special pleasure in the sound of names. ”
“凡不知人名地名声音之谐美者，不足以言文。”——史梯芬生《游美杂记》（Stevenson: Across the Plains Tuesday）P.295
28．“Silence and speech acting together”
“语言与静默协力”——卡莱尔论象征P.309
29．“Leave something to the willing intelligence of the reader. ”
须留与读者思量。——佩特论文P.309
30．thinking intently of his own name
英诗人丁尼生常言自思其名字，系念不散。P.312
31．“and the earth looked black behind them, /as though turned up by plows. But it was gold,/All gold—a wonder of the artist’s craft. ”—Iliad, XVIII 630-32 “犁田发土，泥色俨如黑。然此盾固纯金铸也，盖艺妙入神矣。”P.318
32．“O! One glimpse of the human face, and shake of the human hand, is better than whole reams of this cold, thin correspondence, etc. ”—Works, ed. E. V. Lucas, VI, 175
“得与其人一瞥面、一握手，胜于此等枯寒笔墨百函千牍也。噫！” P.320 33．habitualization, automatization
落套刻板P.320
34．defamiliarization
使熟者生P.320
35．rebarbarization
使文者野P.320
36．“Grace of style comes from arrangement. ”
“词意位置得当，文章遂饶姿致。”P.325
37．repose, perfect fitness
一字之稳当P.328
38．“I have such a sensitive ear that the repetition of a word irritates me three
pages away. ”—A. Rhodes, The Poet as Superman, 46
“至谓一字在三页后重出，便刺渠耳。”——邓南遮P.329
39．“We have had the brow and the eye of the moon before; but what have we reserved for human beings, if their features and organs are to be lavished on objects without feeling and intelligence? ”—Letters: Later Years, ed. E. de Selincourt, I, 436
“语已有月眉、月眼矣。复欲以五官百体尽予此等无知无情之物，吾人独不为己身地耶。”——华兹华斯P.344
40．“The first is physical. The second is intellectual and is much higher. The third signifies a nobler power of the soul which is so high and so noble that it apprehends God in His own naked being. ”—Sermon XIX, in James M. Clark, Meister Eckhart, 220, cf. 62
“学为有上中下三等：下学以身；中学以心知；上学以神，绝伦造极，对越上帝。” ——十四世纪德国神秘宗师爱克哈特（Meister Eckhart）P.366
41．Meister Eckhar t, Sermon, XII:“I take a basin full of water, place in it a mirror and put it below the sun’s disc. The reflection of the sun is the sun within the sun, and yet the mirror remains what it is.”
“以一镜照形，以余镜照影，镜镜相照，影影相传；是形也、与影无殊，是影也、与形无异。”P.371
42．“If Galil eo had said in verse that the world moved, the Inquisition might have left him alone. —quoted in R. Gittings, The Older Hardy, Penguin, 1980, 120
“苟伽俐略只作诗述其地球转动说，则宗教法庭或且任纵之而不问。”——哈代P.388
43．To count chicken before they are hatched.
“卵未抱而早计雏数。”P.392
44．Edward Young, Conjectures on Original Composition: “A genius differs from a good understanding, as a magician from an architect; that raises his structure by means invisible, this by the skilful use of common tools.”—E. D. Jones, ed., English Critical Essays;16th, 17th and 18th Centuries, “The World’s Classics”, 279
“天才与聪慧之别，犹神通之幻师迥异乎构建之巧匠；一则不见施为，而楼台忽现，一则善用板筑常器，经之营之。”——爱德华·杨P.411
45．E. H. Gombrich, Art and Illusion, 5th ed., 1977, 174-5,“screen”, “the power of expressing through absence of brush and ink.”
无笔墨处与点染处互相发挥烘托。P.415
46．“The most beautiful figure is the sphere among solids and the circle among plane figures.”—Diogenes Laertes, VIII. 35, “Loeb”, II, 351
立体中最美者为球，平面中最美者为圈。——毕达哥拉斯P.430
47．“Let it (the mind) once become a sphere, and sp herical it abides.”—Marcus Aurelius, Meditations VIII§41, tr. J. Jackson, 152
心不为外物所著，当如圆球。——古罗马哲人马可·奥勒留P.430
48．“On a Drop of Dew”
So the Soul, that Drop, that Ray,
Of the clear Fountain of Eternal Day,
…
Does, in its pure and circling thoughts express
The greater Heaven in an Heaven less
—Helen Gardner, ed., The Metaphysical Poets, Penguin, 1972, 241
露珠圆澄，能映白日，正如灵魂之圆转环行，显示天运也。——英国诗人马委尔（Andrew Marvell）《露珠》诗P.431
49．“Till rolling time is lost in round eternity.”—Dryden, The Hind and Panther, Pt III, 1.19
圆永恒P.431
50．Why, at the height of desire and human pleasure—worldly, social, amorous, ambitious, or even avaricious—does there mingle a certain sense of doubt and sorrow?—L. A. Marchand, Byron, 1957, II, 900
入世务俗，交游酬应，男女爱悦，图营势位，乃至贪婪财货，人生百为，于兴最高、人最欢时，辄微觉乐趣中杂以疑虑与忧伤，其故何耶。P.438
51．I have thought some of nature’s journeymen had made men, and not made them well, they imitated humanity so abominably.— Hamlet, III. Ii
“其人似为大自然之学徒所造，手艺甚拙，像人之形而狞恶可憎。”——哈姆雷特P.464
52．One may remember the lion of medieval bestiaries who, at every step forward, wiped out his footprints with his tail, in order to elude his pursuers.—L. Spitzer:“Linguistics and Literary History”, in D. C. Freeman, ed., Linguistics and Literary Style, 1970, 31
有如中世纪相传，狮子每行一步，辄掉尾扫去沙土中足印，俾追者无可踪迹。P.466
53．Why does a painting seem better in a mirror than outside it? —Leonardo da Vinci, Notebooks, tr. E. Maecurdy, II, 272
“镜中所映画图，似较镜外所见为佳，何以故？”P.483
54．Of making many books there is no end; and much study is a weariness of
flesh. —Ecclesiastes, xii. 12
“书籍无穷，多读徒疲精弊体。”——旧约全书P. 502
55．Wit, you know is the unexpected copulation of ideas, the discovery of some occult relation between images in appearance remote from each other.—Rambler, No. 194, Everyman’s Lib., 284;cf. R. Wellek, A His tory of Modern Criticism, I, 3
“使观念之配偶出人意表，于貌若漠不相关之物象察见其灵犀暗通。”——约翰生P.522
56．Foregrounding, the intentional violation of the norm of the standard, distortion
刻意破常示异。P.532
57．Normally every datum of sense is at once devoured by a hungry intellect and digested for the sake of its vital juices. Knowledge is not eating. —G. Santayana, The Life of Reason, I, 75, 77
当世论师以唯心论与为实论均常拟致知于饮食，遂嘲为“口腹哲学。” P.535 58．Everything is the same, but you are not here, and I still am. In separation the one who goes away suffers less than the one who stays behind. —Leslie A. Marchand, Byron, II 783
“此间百凡如故，我仍留而君已去耳。行行生别离，去者不如留者神伤之甚也。”P.541
59．Poetry, like schoolboys, by too frequent and severe corrections, may be cowed into Dullness.—The Notebooks of S. T. Coleridge, ed. K. Coburn, I 35 诗苟多改痛改，犹学童常遭塾师扑责，积威之下，易成钝儿。——柯尔律治P.557 60．that particular kind of borrowing which thinks to disguise itself by inserting or extracting “notes”—G. Saintsbury, History of Criticism, III, 591
“取古人成说，是其所非，非其所是，颠倒衣裳，改换头面，乃假借之一法耳。”P.562 61．They are to me original: I have never seen the notions in any other place; yet be that reads them here persuades himself that he has always felt them. —Lives of the Poets, ed., B. Hill, III, 442
“创辟崭新，未见有人道过，然读之只觉心中向来宿有此意。”——葛雷（Thomas Gray）凭吊墟墓诗P.573
62．Now I never wrote a “good” line, in my life, but the moment after it was written it seemed a hundred years old. Very commonly I had a sudden conviction that I had seen it somewhere.—O. W. Holmes, The Autocrat of the Breakfast, Table, ii
“吾生平每得一佳句，乍书于纸，忽觉其为百年陈语，确信曾在不忆何处见
过。”——霍姆士P.574
63．History is philosophy teaching by or learned from examples.
“历史乃哲学用以教人之实例。”P.586
64．Use of the description instead of the name of a thing—Rhetoric, VI. i, Loeb, 375
不道事物之名而写事物之状P.567
65．in peace—which is as much above joy as joy is above pleasure, and which can scarcely be called emotion, since it rests, as it were, in final good, the premium mobile, which is without motion—we find ourselves in the region of “great art”—C. Patmore,Principle in Art 1889, 29
艺之至者，终和且平，使人情欲止息，造宁静之境；此境高于悦愉，犹悦愉高于痛快也。P.589
66．I never can catch myself.
自我不可把捉。——休谟P.597
67．The passage is remarkably like a central tenet of Buddhism, a cult of which Hume could hardly have heard.—O. Elton, A Survey of English Literature: 1730—1780, 1928, II, 163
酷似佛教主旨，然休谟未必闻有释氏也。P.597
68．Shakespeare in composing had no I, but the I representative. —Biographia Literaria, ed. J. Shawcross, I, 213 note
无我而有综盖之我。——柯尔律治P.597
69．When I am assailed with heavy tribulations, I rush out among my pigs, rather than remain alone by myself. The human heart is like a millstone in a mill: when you put wheat under it, it turns and grinds and bruises the wheat to flour; if you put no wheat, it still grinds on, but then’ tis itself it grinds and wears away. So the human heart, unless it be occupied with some employment, leaves space for the devil, who wriggles himself in, and brings with him a whole host of evil thoughts, temptations and tribulations, which grind our the heart. — Martin Luther, Table Talk, tr. W. Hazlitt, “Bohn’s Library”, 275
“吾遭逢大不如意事，急往饲牧吾猪，不欲闲居独处。人心犹磨坊石硙，苟中实以麦，则碾而成面；中虚无物，石仍辘转无已，徒自研损耳。人心倘无专务，魔鬼乘虚潜入，挟恶念邪思及诸烦恼以俱来，此心遂为所耗蚀矣。”——马丁·路德P.599
70．Peer Gynt, IV. Xiii, Begriffenfeldt:“Long live the Emperor of self; V. v, Peer:“There’s a surprising lot of layers (in the wild onion).
Are we never coming to the kernel?
There isn’t one!
To the innermost bit
It’s nothing but layers, smaller and smaller…”
—Everyman’s Library 171, 201-2
易卜生一名剧中主角号：“自我之皇帝”而欲觅处世应物之“自我”，则犹剥玉葱求其核心然，层层揭净，至境无可得。P.600
71．For one can only“interpret”a poem by reducing it to an allegory—Which is like eating an apple for its pips.—G. Orwell, Collected Essays, Journalism and Letters, 1968, I, 72
“此举何异食苹婆者，不嗜其果脯而咀嚼其果中核乎。”P.610
72．The movement of love is circular, at one and the same impulse projecting creatures into independency and drawing them into harmony.—Collected Papers, ed. C. Hartshorne and P. Weiss, VI, 191
情爱运行，做团圆相，此机一动，独立与偶合遂同时并作，相反相成。——美国哲学家皮尔斯P.615
钱钟书先生的这篇散文说的是窗子，但是其用意绝不仅仅是说说窗子而已，而是要以窗子来比喻生活、比喻人生。从语言上看，《窗》延续了一贯的钱派手法，用词平实、普通，没有长句，没有什么复杂结构，非常从容地叙述、说理，却又紧紧地扣住了主题。这样的特点对翻译构成的难度不言而喻，翻译中应当时时充分考虑上述特点，尽量在译文中体现出来。
一逐句分析：
窗
Random Thoughts on the Window
（题目中的这个窗字，包含的意思较为丰富，使人有多种联想，因此译成Random Thoughts
on the Window.）
又是春天
It is spring again
中文是无主句，英文没有这样的句子结构，因此用It is……句型。原文里“又”用在句首，但是英文如果也把again放在句首，这个词就太突出，分量太重了。所以again一词在译文中放在句末和原文“又”放在句首分量相当。
窗子可以常开了
and the window can be left open as often as one would like
用定冠词the 加单数名词window来代表所有的窗子。英语里表示“全部”可以有几种方法：1）复数名词，2）不定冠词a/an+名词，3）定冠词+名词。这里就是用的第三种，更侧重其一致性。“常开”不能译成can open often或can be opened often.因为原文是从人的角度说的，人们什么时候想开窗都行，所以用了one would like这样的说法。
春天从窗外进来
As spring comes in through the windows
这句把春天拟人化了，英文也用同样的结构就行。窗外：out of the window.但是，如果把“从窗外进来”理解成一个过程，用through表示就比较好。
人在屋子里坐不住，就从门里出去
so people——unable to bear staying inside any longer——go outdoors
破折号之间的形容词短语说明人们在屋里坐不住的原因。bear：忍受，后面既可跟-ing 动词，也可跟不定式动词。
不过屋子外的春天太贱了
The spring outside, however, is much too cheap
这里的“贱”，是说春天多阳光，以多为贱，中外同理，用cheap也就顺理成章了。
到处是阳光
for the sun shines on everything
这里和上一句是连接在一起的，所以用了连接词for来说明原因。最好不要译成the sunshine is everywhere.因为阳光并不是一种存在，而是说照耀在所有的一切上面，因此说shines.
不像射破屋里阴深的那样明亮
and so does not seem as bright as that which shoots into the darkness of the house
用seem是指屋里屋外阳光是一样的，只是环境的反差使阳光显得不同罢了。as……as 是表示屋里屋外阳光的比较。that指the sun.
到处是给太阳晒得懒洋洋的风
Outside the sun-slothed breeze blows everywhere
这里加了一个词outside，因为后面马上要说到的“屋里”并不包括在“到处”一词里：“晒”字英文里与之相当的词就是shine，但是shine并没有带复合宾语的用法，所以换了一个角度来说这句话。sun-slothed是一个复合词。
不像搅动屋里沉闷的那样有生气
but it is not so lively as that which stirs the gloominess inside the house 沉闷这个词在这里不是形容词，而是名词，所以用gloomy加上词尾-ness构成了表示状态的名词。
就是鸟语，也似乎琐碎而单薄，需要屋里的寂静来做衬托
Even the chirping of the birds sounds so thin and broken that the quietness of the house is needed to set it off
说thin and broken而不说broken and thin只是因为语音的关系，音节少的词放在前面，多的放在后面，结构上显得平稳，不至于头重脚轻。只要把这几个词连在一起朗读一下就可体会出来。
我们因此明白，春天是该镶嵌在窗子里看的，好比画配了框子
It seems that spring was always meant to be put behind a windowpane for show, just like a picture in a frame
“我们因此明白”译成It seems……，因为这是一种比喻的说法，直译成英文会给人以突兀的感觉，所以用“似乎如此”的说法。be meant to be的意思是“原本为……”，加了always等于从语气上与原文更相符合，并没有特别具体的含义。中文说“窗子里”，而英文却不能说in a windowpane，windowpane指的是窗子上的玻璃，这就是用behind的原因。
同时，我们悟到，门和窗有不同的意义
At the same time it also becomes clear that the door has a different significance from the window
悟到和上一句中的“明白”是相同的意思，it become clear that 这一说法比it seems that 要肯定一些。
当然，门是造了让人出进的
Of course, doors were made for people to pass through
出进可以译成to come out and go in，但译成to pass through就显得句子紧凑、精炼一些。
但是，窗子有时也可作为进出口用
but a window can also sometimes serve as an entrance or as an exit
entrance和exit这两个词比door和window抽象化了，充分表明了“进出口”的字面意思和含义。
譬如小偷或小说里私约的情人就喜欢爬窗子
and is used as such by thieves and by lovers in novels
译文用了by thieves and by lovers，而不说by thieves and lovers，因为这本来就是两类人，不能放在一起混为一谈。
所以窗子和门的根本分别，决不仅是有没有人进来出去
In fact the fundamental difference between a door and a window has nothing to do with them being either entrances or exits
比较一下different between和前文的different （from）：说两者之间的区别，用different between A and B；而说A怎样不同于B则说A is different from B.
若据赏春一事来看，我们不妨这样说
When it comes to the admiration of spring, it could be put this way
When it comes to是比较中庸的说法，不那么正式，但也不那么随意，意思是“说起赏春……”，让人们对下文有一个期待。
有了门，我们可以出去
a door makes it possible for one to go out
“有了门”不能译成with a/the door，因为这里不是说有还是没有，而是有门存在，人们就可以进出房屋。
有了窗，我们可以不必出去
whereas a window makes it possible for one not to have to
Whereas而……。这是一个连接词，表示一种前后的比较或对照。这里的句型和上面是一样的，但是后面的not to have to 是不定式的否定形式，后面省略了go out.
窗子打通了大自然和人的隔膜
A window helps to pull down the partition between man and nature
“由于有了窗子，人和大自然之间的隔膜才得以打破”，窗子起的是一种促进作用，其本身并不能去“打破”什么，因此用了helps to pull down.partition隔离墙。“隔膜”是解剖学词汇，这里用的是其引申意义，不能按字面译成diaphragm，那样意思就不对了。man and nature：man是指整个人类，所以不用任何冠词；nature则是不可数名词。
把风和太阳逗引进来，使屋子里也关着一部分春天
It leads breezes and sunlight in, and keeps part of the spring in the house Lead：引导，引领。keep……inthe house：使停留在屋里不能外出。
让我们安坐了享受，无需再到外面去找
It allows one to sit and enjoy the spring in peace, and makes it unnecessary to go looking for it outside
原文是说“安坐”，而实际上“安”的意思也应当能涵盖“享受”，只是从词的节奏上感觉“安坐”和“享受”都是两个字的词，似乎是并列的。译文里译成了sit……in peace，等于将状语移了一个位。注意这句中几个it的含义，第一个it指代window，第二个it是形式宾语，引出后面的to go……，第三个it是指代the spring.
二全篇通览：
窗
Random Thoughts on the Window
又是春天，窗子可以常开了。春天从窗外进来，人在屋子里坐不住，就从门里出去。不过屋子外的春天太贱了！到处是阳光，不像射破屋里阴深的那样明亮；到处是给太阳晒得懒洋洋的风，不像搅动屋里沉闷的那样有生气。就是鸟语，也似乎琐碎而单薄，需要屋里的寂静来做衬托。我们因此明白，春天是该镶嵌在窗子里看的，好比画配了框子。
It is spring again and the window can be left open as often as one would like. As spring comes in through the windows, so people——unable to bear staying inside any longer——go outdoors. The spring outside, however, is much too cheap, for the sun shines on everything, and so does not seem as bright as that which shoots into the darkness of the house. Outside the sun-slothed breeze blows everywhere, but it is not so lively as that which stirs the gloominess inside the house. Even the chirping of the birds sounds so thin and broken that the quietness of the house is needed to set it off. It seems that spring was always meant to be put behind a windowpane for show, just like a picture in a frame.
同时，我们悟到，门和窗有不同的意义。当然，门是造了让人出进的。但是，窗子有时也可作为进出口用，譬如小偷或小说里私约的情人就喜欢爬窗子。所以窗子和门的根本分别，
决不仅是有没有人进来出去。若据赏春一事来看，我们不妨这样说：有了门，我们可以出去；有了窗，我们可以不必出去。窗子打通了大自然和人的隔膜，把风和太阳逗引进来，使屋子里也关着一部分春天，让我们安坐了享受，无需再到外面去找。
At the same time it also becomes clear that the door has a different significance from the window. Of course, doors were made for people to pass through; but a window can also sometimes serve as an entrance or as an exit, and is used as such by thieves and by lovers in novels. In fact the fundamental difference between a door and a window has nothing to do with them being either entrances or exits. When it comes to the admiration of spring, it could be put this way: a door makes it possible for one to go out, whereas a window makes it possible for one not to have to. A window helps to pull down the partition between man and nature. It leads breezes and sunlight in, and keeps part of the spring in the house. It allows one to sit and enjoy the spring in peace, and makes it unnecessary to go looking for it outside.
翻译笔记
【翻译笔记】《围城》英译选句—“大材小用 原文：赵辛媚鉴赏着口里吐出来的烟圈道：―大材小用，可惜可惜！方先生在外国学的是什么呀？‖（钱钟书- 围城） 翻译关键词：赞赏，烟（圈），大材小用 译文：Admiring the smoke ring he had blown, Chao Hsin-mei said, ―A great talent gone to waste. Such a pity! Such a pity! What did you study abroad, Mr. Fang?‖(美Jeanne Kelly, Nathan K.Mao <译> –Fortress Besieged) 翻译笔记： 赞赏 虽然我们更常用admire来表示―钦佩；赞赏；仰慕‖，但这里的admire相当于―欣赏‖，即appreciate，其实这个用法也不见得新鲜，之所以拿出来讲，其实是想着重说说admire 的用法。话说偶常常发现有些童鞋很喜欢用admire接that引导从句，其实这样是错误的，admire后面接名词，但是不接that引导从句。比如我们可以说I admire your enthusiasm，却不可以说I admire that you are enthusiastic。 烟（圈） ―烟圈‖译为smoke ring，smoke单独用时通常统指―烟‖，不指―一缕烟‖。―一缕烟‖应该说成a cloud of smoke，不能说a smoke，因为a smoke指―一次吸烟‖或―用来驱虫的一次熏烟‖。如： Clouds of thick black smoke billowed from the car's exhaust. 从汽车排气管冒出一股股黑色浓烟。 Are you coming outside for a smoke? 你是不是出来抽支烟？ They are making a smoke to drive away mosquitos.
钱钟书翻译经典翻译
1．If all the sky were parchment and all the sea were ink 按“青天做纸张”之语，西方各国诗人皆有之，常以“碧海化墨水”为对。P.19 2．New forms are simply canonization of inferior genres. 百凡新体，只是向来卑不足道之体忽然列品入流。P.35 3．behind its attributes 须在未具性德以前，推其本质。P.37 4．“Not of the letter, but of the spirit; for the letter killeth, but the spirit giveth life.” 意在言外，得意忘言，不以词害意。P.43 5．To hold, as’t were, the mirror up to nature. 持镜照自然。P.60 6．selective imitation 取舍之工。P.60 7．This is an art / Which does mend nature, change it rather, but/ That art itself is Nature (The Winter’s Tale, IV, iv. Polixenes) 莎士比亚尝曰：“人艺足补天工，然而人艺即天工也。”p.61 8．In shape the perfection of the berry, in light the radiance of the dewdrop. (Lord Tennyson; A Memoir, by his son, Vol. I, P.211) 体完如樱桃，光灿若露珠。P.114 9．“A poem round and perfect as a star. ”（Alexander Smith: A Life Drama）“诗好比星圆。”P.114 10．“It used to be said of a famous cricketeer that he bowled or batted with his head. ”（S. Alexander: Beauty and Other Forms of Value, p.25） 画以心而不以手。P.211 11．A direct sensuous apprehension of thought. 能以官感领会义理。P.232 12．Be thou thine own home, and in thy selfe dwell;/Inn any where, continuance maketh hell./ And seeing the snaile, which every where doth rome, /Carrying his owne house still, still is at home.(Complete Poetry and Selected Prose, ed. J. Hayward, pp.153-4) 万物皆备于身，方之蜗牛戴壳，随遇自足，著处为家。——约翰唐（John Donne）名篇: （To Sir Henry Wotton）P.232
钱钟书 翻译 例句
钱钟书，一座文化昆仑，一代博学鸿儒。他博学多能，兼通数国外语，学贯中西，在文学创作和学术研究、翻译三方面均做出了卓越成绩。 钱钟书的翻译恣肆传神信属鬼工。他译英国诗人拜伦写给情人的一封信，走笔典雅，一不留神，竟超过了原文，成了倾诉离别之苦的绝唱；也完美地实践了他提出的翻译的“化境”（既能不因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原有的风味）之说。拜论原文：Everything is the same, but you are not here, and I still am. In separation theone who goes away suffere less than the one who stays behind.钱钟书译文：此间百凡如故,我仍留而君已去耳。行行生别离,去者不如留者神伤之甚。 译文用典浑然天成，丝毫不露翻译之痕；令人玩味再三，拍案叫绝。 从1950年到1956年，钱先生几乎没有文章发表。这六七年时间，一个大学问家怎能无论著问世？一直让学界感到不可思议。 原来在这段时间里，钱钟书先生担任《毛泽东选集》英译委员会主任委员。刘继兴考证，钱钟书先生曾在1955年填写的《中国作家协会会员表》中说：“自1950年7月起至去年（1954）2月皆全部从事《毛泽东选集》英译工作，故无暇顾及其他活动”。 《毛泽东选集》是毛泽东思想的集中体现。把“毛选”四卷准确地译成英文，是极为严肃的政治任务。谁能领衔担此重任，学贯中西的钱钟书先生自然是最合适的人选了。 钱钟书当年从清华考取牛津大学留学生时，其考试成绩名列榜首。他在牛津大学爱克赛特学院潜心攻读英国文学，其时牛津大学出版一套“东方哲学、宗教、艺术丛书”，聘请钱钟书担任特约编辑，他是编辑组中惟一的一个中国学生，其英文水平可见一斑。钱钟书的学术代表作《管锥编》中征引西方学者和作家达千余
钱钟书经典美文《窗》翻译详解
钱钟书经典美文《窗》翻译详解 钱钟书先生的这篇散文说的是窗子，但是其用意绝不仅仅是说说窗子而已，而是要以窗子来比喻生活、比喻人生。从语言上看，《窗》延续了一贯的钱派手法，用词平实、普通，没有长句，没有什么复杂结构，非常从容地叙述、说理，却又紧紧地扣住了主题。这样的特点对翻译构成的难度不言而喻，翻译中应当时时充分考虑上述特点，尽量在译文中体现出来。下面我们就以《窗》这篇散文的前两段为例，来谈谈汉译英中可能遇到的问题。 汉译英翻译： 窗 Random Thoughts on the Window 又是春天，窗子可以常开了。春天从窗外进来，人在屋子里坐不住，就从门里出去。不过屋子外的春天太贱了！到处是阳光，不像射破屋里阴深的那样明亮；到处是给太阳晒得懒洋洋的风，不像搅动屋里沉闷的那样有生气。就是鸟语，也似乎琐碎而单薄，需要屋里的寂静来做衬托。我们因此明白，春天是该镶嵌在窗子里看的，好比画配了框子。 It is spring again and the window can be left open as often as one would like. As spring comes in through the windows, so people——unable to bear staying inside any longer——go outdoors. The spring outside, however, is much too cheap, for the sun shines on everything, and so does not seem as bright as that which shoots into the darkness of the house. Outside the sun-slothed breeze blows everywhere, but it is not so lively as that which stirs the gloominess inside the house. Even the chirping of the birds sounds so thin and broken that the quietness of the house is needed
钱锺书论翻译-2 versions
原文： 把作品从一国文字转变成另一国文字，既能不因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原有的风味，那就算得入于“化境”。十七世纪有人赞美这种造诣的翻译，比为原作的“投胎转世”，躯壳换了一个，而精神姿致依然故我。但是，一国文字和另一国文字之间必然有距离，而且译者的体会和他自己的表达能力之间还时常有距离。因此，译文总有失真和走样的地方，在意义或口吻上违背或不尽贴合原文。那就是“讹”，西洋谚语所谓“翻译者即反逆者”。中国古人也说翻译的“翻”等于把绣花纺织品的正面翻过去的“翻”，展开了它的反面。 译文1 蔡力坚?s version Sublimation is reached when a discourse is transformed from one language into another without a trace of awkwardness typically resulting from the tension in reconciling the differences between the languages, while whatever is present in the source text is still there in the target text, and hence what is called …the transmigration of souls?, to quote a seventeenth century scholar, is flawlessly engineered. As a result, the spirit and stylistic flavor of the original remain intact despite the change of their container, i.e. the coding system. There is, however, an unbridgeable divide between languages and between the translator?s appreciation of the original and his ability to present what?s in his mind to the target reader. Some losses and d amages are inevitable along the way. One should not be surprised when deviations from the original do occur whether in meaning or tone, leading to such accusations as …traduttore, traditore? (Translator, you?re a traitor) in the West and …Translating is like turning over an embroidered picture and showing its back? in ancient China. 译文2 （adapted version based on Cai?s ）： Huajing, or the acme of perfection, is attained when a literary work is translated from one language into another with whatever style in the original retained but no trace of awkwardness in the translation typically resulting from the differences in language use. Such a brilliantly crafted translation was acclaimed by a seventeenth century scholar as the transmigration of souls: the spirit and stylistic flavor of the original remain intact despite a changed body. There exists, however, an inevitable gap between the two languages involved and, what?s more, the frequent discrepancy between the translator?s appreciation of the original and his ability to present it in the target language. Hence instances of distortion and misrepresentation can always be found in the translation, departing to a greater or lesser degree from the original either in meaning or tone. Such is what has been called "deviation", as is reflected also in the proverbial criticism “Traduttore, traditore” (Translator is traitor) in the West and the lament in ancient China that translating amounts to turning over a piece of embroidery, only to find its wrong side to be seen.
译文赏析作业
钱钟书译文赏析 钱钟书（1910-1998），江苏无锡人，因他周岁“抓周”时抓得一本书，故取名“钟书”，字默存，号槐聚，曾用笔名中书君，中国现代作家、文学研究家。他哓畅多种外文，包括英、法、德语，亦懂拉丁文、意大利文、希腊文、西班牙文等。 中学时代，在语文课本上第一次接触到了钱钟书老先生。那时候只知道钱老先生是一位作家，只知道他写的文章很好，很受欢迎。后来才知道，原来钱老还是一个著名的翻译家。 下面是钱钟书先生翻译的经典作品： 1.拜伦致情人语：Everything is the same, but you are not here, and I still am. In separation the one who goes away suffer less than the one who stays behind. 钱译：此间百凡如故，我仍留而君已去耳。行行生离别，去 者不如留者神伤之甚。 评析：钱钟书的这一翻译肆意传神，走笔典雅，令人玩味再 三，拍案叫绝。一不留神，竟超过了原文，成了倾诉离别之 苦的绝唱；也完美地实践了他提出的翻译的“化境”Focus on the translator’s smooth and idiomatic Chinese version for the sake of the Chinese reader （既不能因语文习惯的差异而 露出生硬牵强的痕迹，又能完全保存原有的风味）之说。2.Happy the people whose annals are tiresome. 钱译：国史沉闷，国民幸运。
评析：译句之美，美在工整、对仗，况且“闷”和“运”韵母相似，读起来也很上口，钱钟书先生还有一译，与此译有异曲同工之妙：Happy the people whose annals are vacant.国史无录，国民有福。 3.《管锥编》：One man was maimed in his legs, while another has lost his eyesight. The blind man, taking the lame man on his shoulders, kept a straight course by listening to the other’s orders. It was bitter, all-daring necessity which taught them how, by dividing their imperfection between them, to make a perfect whole. 钱译：一跛一盲，此负彼相，因难见巧，何缺成全。 评析：这一段翻译以极简的语言说明一位盲人与一位跛脚不利落的跛者相互扶持、取长补短、彼此协作的情况。译文形式整齐，格律铿锵，琅琅上口，对原文意思的表达基本没有增减，与读原文获得的感受没有什么差异，可谓翻译得非常巧妙。在另一场合，钱钟书又提及蹩、盲二人的两句经典对白，十分富有机趣。该例译是钱钟书津津乐道并身体力行的翻译“化境”的一个具体体现。 4.William Shakespeare: Whom every thing becomes, to chide, to laugh, to weep; whose every passion fully strives to make itself, in thee, fair and admired. 钱译：嗔骂，嬉笑，啼泣，各态咸宜，七情能生百媚。
让人惊艳的翻译
让人惊艳的翻译 1. 曾经沧海难为水，除却巫山不是云See the best, blind to the rest. 2. 吃一堑，长一智A fall into the pit，a gain in your wit. （钱钟书译） 3. 中华儿女多奇志，不爱红妆爱武装Chinese people prefer to face the powder rather than powder the face. （许渊冲译） 4. 千山鸟飞绝，万径人踪灭。From hill to hill no bird in flight, from path to path no men in sight.（许渊冲译） 5. 亦余心之所善兮，虽九死其犹未悔.For this it is that my heart takes most delight in,And though I died nine times, I should not regret it.（张璐译） 6. 何以解忧，唯有杜康。Wine, but wine. 7. 先谋生而后修身Get a livelihood and then practice virtue.（钱钟书译） 8. 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。So dim, so dark, So dense, so dull, So damp, so dank, So dead! (林语堂译) 9. In me the tiger sniffs the rose.心有猛虎，细嗅蔷薇。（余光中译）10.Some of us get dipped in flat,Some in satin,Some in gloss.But every once in a while you find someone who's iridescent,and when you do,nothing will ever compare.有人住高楼，有人在深沟。有人光万丈，有人一身锈。世人万千种，浮云莫去求。斯人若彩虹，遇上方知有。（电影《怦然心动》台词）
钱锺书的《围城》英译版
钱锺书的《围城》英译版 《围城》是钱钟书所著的长篇小说。通过主人公方鸿渐在欧洲留学回国后的人生经历，小说道出了围在城里的人想逃出来，城外的人想冲进去。对婚姻也罢，职业也罢，人生的愿望大都如此这一内涵。接下来，小编给大家准备了钱锺书的《围城》英译版,欢迎大家参考与借鉴。 钱锺书的《围城》英译版 1990年，由黄蜀芹执导，由陈道明、英达、吕丽萍、葛优主演的电视剧《围城》播出，堪称中国自改革开放以来不可多得的电视剧佳作之一。我们一起看一看书中的人物鲍小姐。 可是苏小姐觉得鲍小姐赤身，伤害及中国国体。 Miss Su felt that Miss Paos exposed body constituted an insult to the body politic of the Chinese nation. 赏析： 译者明晓作者的幽默语气，并通过选词把这一幽默坚持到底。译文的constitute 极妙，是一个正式的、会与制度相关的词语。既和国体同属一个语域，也以这种正式的用语增加了戏谑的程度。而两个体也以body的形式很好保留在译文里。 那些男学生看得心头起火，口角流水，背着鲍小姐说笑个不了。 When men students saw Miss Pao, they burned with lewd desire, and found some relief by endlessly cracking jokes
behind her neck. 赏析： 钱钟书先生以一组对仗的四字词语心头起火和口角流水，营造了极强的画面感。译本采用意译的方式，译出了大意。 有人叫她熟食铺子(Charcuterie)，因为只有熟食店会把那许多颜色暖热的肉公开陈列; 又有人叫她真理，因为据说真理是赤裸裸的。 Some called her a charcuterie- a shop selling cooked meats- because only such a shop would have so much warm-colored flesh on public display. Others called her Truth, since it is said that the truth is naked. 赏析： 译文替换原文的括号，采用破折号对词语进行解释。 据说这句的翻译很典型，是没有主语的中文翻译，这里采用it is said that的句式填补形式主语。It... that中it这一主语的使用，减轻了主体性，即个人观念，从而重点转移在紧连在that之后的话。 鲍小姐并未一丝不挂，所以他们修正为局部的真理。 But Miss Pao wasnt exactly without a stitch on, so they revised her name to Partial Truth. 赏析： 译者根据逻辑关系，添加了转折关系的连接词but。这也表明，中文偏向于语义连接型，即意合; 而英文则偏向语形连接型，即形
钱钟书 窗 英汉互译
汉译英翻译： 窗Random Thoughts on the Window 又是春天，窗子可以常开了。春天从窗外进来，人在屋子里坐不住，就从门里出去。不过屋子外的春天太贱了！到处是阳光，不像射破屋里阴深的那样明亮；到处是给太阳晒得懒洋洋的风，不像搅动屋里沉闷的那样有生气。就是鸟语，也似乎琐碎而单薄，需要屋里的寂静来做衬托。我们因此明白，春天是该镶嵌在窗子里看的，好比画配了框子。 It is spring again and the window can be left open as often as one would like. As spring comes in through the windows, so people——unable to bear staying inside any longer——go outdoors. The spring outside, however, is much too cheap, for the sun shines on everything, and so does not seem as bright as that which shoots into the darkness of the house. Outside the sun-slothed breeze blows everywhere, but it is not so lively as that which stirs the gloominess inside the house. Even the chirping of the birds sounds so thin and broken that the quietness of the house is needed to set it off. It seems that spring was always meant to be put behind a windowpane for show, just like a picture in a frame. 同时，我们悟到，门和窗有不同的意义。当然，门是造了让人出进的。但是，窗子有时也可作为进出口用，譬如小偷或小说里私约的情人就喜欢爬窗子。所以窗子和门的根本分别，决不仅是有没有人进来出去。若据赏春一事来看，我们不妨这样说：有了门，我们可以出去；有了窗，我们可以不必出去。窗子打通了大自然和人的隔膜，把风和太阳逗引进来，使屋子里也关着一部分春天，让我们安坐了享受，无需再到外面去找。 At the same time it also becomes clear that the door has a different significance from the window. Of course, doors were made for people to pass through; but a window can also sometimes serve as an entrance or as an exit, and is used as such by thieves and by
SH37翻译谈中国诗钱钟书
SH37翻译：谈中国诗(钱钟书) Translation: Discussion on Chinese Poetry (Qian Zhongshu) (translated by: alexcwlin; edited by: Adam Lam) 什么是中国诗的一般印象呢？ What’s the general impression on Chinese poetry? 发这个问题的人一定是位外国读者，或者是位能欣赏外国诗的中国读者。 The person who raises this question must either be an ordinary foreign reader or a Chinese reader who can appreciate foreign poetry. 一个只读中国诗的人决不会发生这个问题。 This question definitely does not pop up in the mind of a person who reads Chinese poetry exclusively. 他能辨别，他不能这样笼统地概括。 He can make a distinction and does not make a sweeping encapsulation like that. 他要把每个诗人的特殊、个独的美一一分辨出来。 He will differentiate one by one the special and unique virtues of each poet. 具有文学良心和鉴别力的人像严正的科学家一样，避免泛论、概论这类高帽子、空头大话。 A person who has literal conscience and discerning ability is like a serious scientist who would avoid snow job or empty words throughmaking sweeping statements or generalization. 他会牢记诗人勃莱克的快语：“作概论就是傻瓜。” He will never forget Poet Blake’s quip: “Making generalization is an idiot.” 假如一位只会欣赏本国诗的人要作概论，他至多就本国诗本身分成宗派或时期而说明彼此的特点。If a person who only appreciates poems in his own country wants to make a generalization, at most he could do is to categorize poems in his country into different schools or periods and expound on their respective features. 他不能对整个本国诗尽职，因为也没法“超以象外，得其环中”，有居高临远的观点。 He should not comment on his country’s poetry as a whole, because it is impossible to comprehend the essence of something by not being part of it and taking a bird’s eye view. 因此，说起中国诗的一般印象，意中就有外国人和外国诗在。 Therefore in talking about the general impression of Chinese poetry, there is an insinuation that foreigners and foreign poetry are involved. 这立场是比较文学的。 This point of view is more literal. --------------------------------------------------------------------------------------------- 据有几个文学史家的意见，诗的发展是先有史诗，次有戏剧诗，最后有抒情诗。 According to the opinions of several literature historians, the development of poetry started with epics, next drama poemscame, and finally lyricsemerged. 中国诗可不然。 That was not the case with Chinese poetry. 中国投有史诗， There were no epics in China. 中国人缺乏伏尔所谓“史诗头脑”，
【精品】钱钟书论林纾的翻译
钱钟书论林纾的翻译 汉代文字学者许慎有一节关于翻译的训诂，义蕴颇为丰富。《说文解字》卷六《口》部第二十六字：“囮，译也。从‘口’，‘化’声。率鸟者系生鸟以来之，名曰‘囮’，读若‘譌’。”南唐以来，“小学”家都申说“译’’就是“传四夷及鸟兽之语”，好比“鸟媒”对“禽鸟”所施的引“诱”，“譌”、“讹”、“化”和“囮”’是同一个字[1]。“译”、“诱”、“媒”、“讹”、“化”这些一脉通连、彼此呼应的意义，组成了研究诗歌语言的人，所谓“虚涵数意”(manifold meaning)，把翻译能起的作用、难于避免的毛病、所向往的最高境界，仿佛一一透示出来了。文学翻译的最高标准是“化”。把作品从一国文字转变成另一国文字，既能不因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原有的风味，那就算得入于“化境”。十七世纪有人赞美这种造诣的翻译，比为原作的“投胎转世”(the transmigration of souls)，躯壳换了一个，而精神姿致依然故我[2]。换句话说，译本对原作应该忠实得以至于读起来不象译本，因为作品在原文里决不会读起来象经过翻译似的[3]。但是，一国文字和另一国文字之间必然有距离，译者的理解和文风跟原作品的内容和形式之间也不会没有距离，而且译者的体会和他自己的表达能力之间还时常有距离。从一种文字出发，积寸累尺地度越那许多距离，安稳到达另一种文字里[4]，这是很艰辛的历程。一路上颠顿风尘，遭遇风险，不免有所遗失或受些损伤。因此，译文总有失真和走样的地方，在意义或口吻上违背或不尽贴合原文。那就是“讹”，西洋谚语所谓“翻译者即反逆者”(Traduttore tradito re)。中国古人也说翻译的“翻”等于把绣花纺织品的正面翻过去的“翻”，展开了它的反面。释赞宁《高僧传三集》卷三《译经篇·论》：“翻也者，如翻锦绮，背面俱花’但其花有左右不同耳”，这个比喻使我们想起堂·吉诃德说阅读译本就象从反面来看花毯(es como quien mira los tapices flamencos por el reves)[5]。“媒”和“诱”当然说明了翻译在文化交流里所起的作用。它是个居间者或联络员，介绍大家去认识外国作品，引诱大家去爱好外国作品，仿佛做媒似的，使国与国之间缔结了“文学因缘”[6]。 彻底和全部的“化”是不可实现的理想，某些方面、某种程度的“讹”又是不能避免的毛病，于是“媒”或“诱”产生了新的意义。翻译本来是要省人家的事，免得他们去学外文、读原作的，却一变而为导诱一些人去学外文、读原作。它挑动了有些人的好奇心，惹得他们对原作无限向往，仿佛让他们尝到一点儿味道，引起了胃口，可是没有解馋过瘾。他们总觉得读翻译象隔雾赏花，不比读原作那么情景真切。歌德就有过这种看法，他很不礼貌地比翻译家为下流的职业媒人(Uebelsetzer sind als geschaftige Kuppler anzusehen)——中国旧名“牵马”，因为他们把原作半露半遮，使读者想象它不知多少美丽，抬高了它的声价[7]。要证实那个想象，要揭去那层遮遮掩掩的面纱，以求看得仔细、看个着实，就得设法去读原作。这样说来，好译本的作用是消灭自己；它把我们向原作过渡，而我们读到了原作，马上掷开了译本。勇于自信的翻译家也许认为读了他的译本就无需再读原作，但是一般人能够欣赏货真价实的原作以后，常常薄情地抛弃了翻译家辛勤制造的代用品。倒是坏翻译会发生一种消灭原作的效力。拙劣晦涩的译文无形中替作品拒绝读者；他对译本看不下去，就连原作也不想看了。这类翻译不是居间，而是离间，摧灭了读者进一步和原作直接联系的可能性，扫尽读者的兴趣，同时也破坏原作的名誉。法国十七世纪德·马露尔神父(Abbe de Marolles)的翻译就是一个经典的例证，他所译古罗马诗人《马夏尔的讽刺小诗集》
钱钟书《窗》英语翻译
钱钟书《窗》英语翻译 钱钟书《窗》英语翻译 钱钟书先生的这篇散文说的是窗子，但是其用意绝不仅仅是说说窗子而已，而是要以窗子来比喻生活、比喻人生。从语言上看，《窗》延续了一贯的钱派手法，用词平实、普通，没有长句，没有什么复杂结构，非常从容地叙述、说理，却又紧紧地扣住了主题。这样的特点对翻译构成的难度不言而喻，翻译中应当时时充分考虑上述特点，尽量在译文中体现出来。下面我们就以《窗》这篇散文的前两段为例，来谈谈汉译英中可能遇到的问题。 汉译英翻译： 窗 Random Thoughts on the Window 又是春天，窗子可以常开了。春天从窗外进来，人在屋子里坐不住，就从门里出去。不过屋子外的春天太贱了！到处是阳光，不像射破屋里阴深的那样明亮；到处是给太阳晒得懒洋洋的风，不像搅动屋里沉闷的那样有生气。就是鸟语，也似乎琐碎而单薄，需要屋里的寂静来做衬托。我们因此明白，春天是该镶嵌在窗子里看的，好比画配了框子。 It is spring again and the window can be left open as often as one would like. As spring comes in through the windows, so people——unable to bear staying inside any longer——go outdoors. The spring outside, however, is much too cheap, for the sun shines on everything, and so does not seem as bright as that which shoots into the darkness of the house. Outside the sun-slothed breeze blows everywhere, but it is not so lively as that which stirs the gloominess inside the house. Even the chirping of the birds sounds so thin and broken that the quietness of the house is needed to set it off. It seems that spring was always meant to be put behind a windowpane for show, just like a picture in a frame.