1-翻译的风格(学)

Lecture 1 Translation Style

I. What is style?

1.风格即人。——布封《风格论》

2.风格是生命，是思想的血液。——福楼拜

3.风格是作家、艺术家在创作中所表现出来的艺术特色和创造个性。——《辞海》

4.风格分为两个重要组成部分：内容和形式。

II. Style is translatable or untranslatable?

1.风格能译

2.依据：风格具有客观可感性

语言的可译性

3.在茅盾看来，风格翻译要做到内容与形式的统一。读者读译作时能像读原作一样得到启发、感动和美的感受。

翻译的标准------茅盾的“神韵”说：文学翻译“不是单纯技术性的语言外形的变易。”而是要“通过原作的语言外形，深刻地体会了原作者的艺术创造的过程，把握住原作的精神，在自己的思想、感情、生活体验中找到最合适的印证，然后运用适合于原作风格的文学语言，把原作的内容与形式正确无遗地再现出来。……这样的翻译既需要译者发挥工作上的创造性，而又要完全忠实于原作的意图。”

4.翻译的任务在于追求源语和译语在信息转换上的最贴切的自然等值。首先是意义等值，其次是风格等值。（奈达(Eugene A. Nida, 1914-2011 )Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.）

5.语言除传递某种意义外，还具有一定的风格特征，或简或繁，或雅或俗，或庄或谐，或平铺直叙，或委婉曲折。因风格不同，给读者带来的感受就不同。

6.翻译追求译文读者与原文读者有相同或相似的感受，所以译者应以庄译庄，以谐译谐，应在译文中再现原文的语言风格。

III. Translation Thought——Translation Strategy——Translation Style

3.1朱生豪（1912－1944）的翻译思想：朱生豪在译莎士比亚时曾言“第一在求于最大可能之范围内，保持原作之神韵，必不得已而求其次，亦必以明白晓畅之字句，忠实传达原文之意趣；而于逐字逐句对照式之硬译，则未敢赞同。”

3.2朱生豪翻译策略：“凡遇原文与中国语法不合之处，往往再三咀嚼，不惜全部更易原文之结构，务使作者之命意豁然呈露，不为晦涩之字句所掩蔽。”

3.3朱生豪的翻译风格：充分利用了汉语表达的优势，不拘泥于原文的语言细节，将原文的词序、句子结构、句型等加以熔化、分解、重新组合，再创造，产生出自然、通畅的译文。其译笔浑厚畅达、气势磅礴，如“行云流水”，“晦涩处也无滞重之笔”，他在“用散文体再现莎氏无韵诗的过程中，特别注意汉语言文字的音乐美，讲究平仄、押韵、节奏等声韵上的和谐。”

3.4朱生豪的译文举例：

莎士比亚的《罗密欧与朱丽叶》的最后两句

For never was a story of more woe

Than this of Juliet and her Romeo

曹译：人间的故事，不能比这个更悲惨。

像幽丽叶和她的柔密欧所受的灾难。（既信且达，但沒有雅，不够感人）

朱译：古往今来多少离合悲欢，谁曾见这样的哀怨辛酸！（信、达，雅兼备，感人）

寻寻觅觅，

冷冷清清，

凄凄惨惨戚戚。

I look for what I miss，

I know not what it is：

I feel so sad, and so drear,

So lonely, without cheer. (许渊冲)

《声声慢》

寻寻觅觅，

冷冷清清，

凄凄惨惨戚戚。

乍暖还寒时候，

最难将息。

三杯两盏淡酒，

怎敌他晓来风急?

Slow slow tune

So dim, So dark,

So dense, So dull,

So damp, So dank, So dead．

The weather, now warm, now cold,

Makes it harder than ever to forget!

How can thin wine and bread

Serve as protection

Against the piercing wind of sunset! (林语堂)

IV. The Requirements of Translation Style

4.1 V ocabulary词汇

Studies serve for delight, for ornament, and for ability.

高健：学之为用有三：充娱乐、供装饰、长才干也。

王佐良：读书足以怡情，足以博彩，足以长才。

使用有活力的文言词语能有效地表现文体色彩，是书面文体有别于口语文体，而具有庄重、简练、庄严、优雅等特色。

从“Of Studies”看王佐良先生的翻译风格：

1.鉴于原文的文体具有正式、古典的特点，王佐良在其译文中使用大量的文言词和文言结构。

2.王佐良运用四字格词语来再现原文的文体风格。

3.王佐良译文修辞富有平衡美。

4.王佐良的译文注重风格的一致性。

英国作家Salamn Rushdi的小说《撒旦诗篇》（The Satanic Verse)中一位名叫S.S.Sisodia的印度人说过一句精彩的话：The trouble with the Engenglish is that their hiss hiss history happened overseas, so they dodo don’t know what it means.英…英国人的麻烦是，他们的历…历…历史发生在海外，所以他们不…不…不明白这历史的含…含意。

英…阴国人的麻烦是，他们的历…历…逆史发生在海外，所以他们不…不…薄明白这历…逆史的含…还意。

A thin man in a thin overcoat watched them out of thin, emotionless eyes.

一个骨瘦如柴、衣服单薄、双目失神的男子注视着他们。灵活利用汉语中的成语或四字格结构！

1. 正确理解原文，忠实传达风格

2. 力争形神皆似，追求风格对等

3. 作者风格和译者风格：王佐良：一切照原作，雅俗如之，深浅如之，口气如之，文体如之。

1）She hysterically screamed, ―I'll kill you!‖

2) Three men were killed in the accident.

3) The driver killed the engine before he left the car.

4) Your joke nearly killed me.

5) I often read some novel to kill time when I am alone at home.

4.2 Syntax句法

在英文原文中，不论是简单句、并列句还是复合句，或者是作者为了取得某种效果而刻意创造的某种特别的句式，如果在译文中能恰当地采用过来，而又不违背汉语的基本规律，那就应该采用，以增强语言的表达效果。

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. From Pride and Prejudice

1. 王科一译：凡是有钱的单身汉，总想娶位太太，这已经成了一条举世公认的真理。佳译

2. 张玲、张扬译：饶有家资的单身男子必定想要娶妻室，这是举世公认的真情真理。文雅

3. 义海译：举世公认，一个拥有一大笔财产的单身男人，必定想娶一个女人做太太。这已成为一条真理。罗嗦

4. 张经浩译：有钱的单身汉必定想娶亲，这条真理无人不晓。简洁

5. 张小余译：谁都知道，单身汉有了钱，第一件事儿就是要娶个媳妇。俏皮儿

Translation Practice:

1. On and on Byron talked.

2. The young man was very miserable. He had no money about him. All his savings had been stolen.

3. She is very busy at home. She has to take care of the children and do the kitchen work.

4. She went back home to take care of her husband. He was seriously ill.

5. I tried vainly to put the pieces together. (Helen Keller: The Story of My Life)

4.3 Figures of Speech修辞：

4.3.1音韵修辞格(phonological rhetorical devices) 就是利用词语的语音特点创造出来的修辞手法。

主要包括onomatopoeia（拟声）, alliteration（头韵）和assonance（谐音）等。

马克?吐温的名句：

It was a splendid population—for all the slow, sleepy, sluggish-brained sloths stayed at home.

这是一批卓越能干的人民－－因为所有那些行动迟缓、瞌睡稀稀、呆如树懒的人都留在家乡了。

这是一批卓越能干的人民――因为所有那些行动迟缓、头脑愚钝、睡眼惺松、呆如树懒的人都呆在了家乡了。

那是一批卓越的人――因为那些慢慢吞吞、昏昏沉沉、反应迟钝、形如树懒的人留在了家乡。

合格译文的条件：

一要符合马克?吐温的风格和口吻；

二要读起来像“名句”；

三要在音韵字形方面再现原文鲜明的修辞特征。

It was a splendid population –for all the slow, sleepy, sluggish-brained sloths stayed at home.

出来的这批移民各个出类拔萃，因为凡是呆板呆滞呆头呆脑的呆子都呆在家乡。

Translation Practice:

1. Presently there came the click of high-heeled shoes.

2. He is all fire and fight.

3. Be not made a beggar by banqueting upon borrowing.

4. 狗咬吕洞宾，不识好人心。

4.3.2词义修辞格(semantic rhetorical devices) 指主要借助语义的联想和语言的变化等特点创造出来的修辞手法。主要包括simile（明喻）, metaphor（隐喻）, allusion（暗引或典故）, metonymy（换喻）, synecdoche（提喻）, antonomasia （转喻）,transferred epithet（转移修饰）, personification（拟人）, hyperbole（夸张）, irony（反语）, euphemism（委婉语）, pun（双关）, oxymoron（矛盾修辞法）, zeugma（轭式搭配法）, contrast （对照）等。

1. Experience is the mother of wisdom.

2. I can’t earn enough to keep my body and soul together.

3. I lived a year in a minute.(hyperbole)

4. I have told you forty times that if you touched that jam I'd skin you.

5. We must work to live, and they give us such mean wages that we die.

矛盾修饰(oxymoron)

把相互矛盾的两个词用在一起的修辞方法。它利用词义表面的相互矛盾使表层的不和谐统一在思想内容的深层，从而揭示事物对立统一的本质特征，达到加深印象的目的。

其他还有sweet pain; thunderous silence; luxurious poverty; heavy lightness; living death; impossible hope 等等。

1. She read the long-awaited letter with a tearful smile.

2. During his useful life he often felt he was useless.

4.3.3结构修辞：

句法修辞格(syntactical rhetorical devices) 是指通过句子结构的布局或变化来达到一定的修辞效果。主要包括：对偶antithesis、排比parallelism、反复repetition、联珠catchword repetition、回文chiasmus、设问rhetoric question、倒装anastrophe、描述性引语represented speech、层递climax、跳脱aposiopesis

I have written in bed and written out of it, written day and night.(repetition)

It was the best of times, it was the worst of times; it was the age of wisdom, it was the age of foolishness; it was the epoch of belief, it was the epoch of incredulity; it was the season of Light, it was the season of Darkness; it was the spring of hope, it was the winter of despair; we had everything before us, we had nothing before us; we were all going direct to heaven, we were all going direct the other way. (A Tale of Two Cities)

这是一个最好的历史时期，这又是一个最坏的历史时期；这是一个充满智慧的年代，这又是一个不乏愚蠢的年代；这是一个富有信仰的时代，这又是一个轻易怀疑的时代；这是一个光明普照的季节，这又是一个黑暗笼罩的季节；这是一个昭示希望的春天，这又是一个导致绝望的冬天；我们的面前无所不有，我们的面前又一无所有；我们

都将直上天堂，我们又都将直下地狱。（增词法）

V. Translation Appreciation

1.人曾为僧，人弗可以成佛

女卑是婢，女又何妨称奴

A Buddhist cannot bud into a Buddha;

A maiden may be made a house maid

2. Men are April when they woo, December when they wed, maids are May when they maids, but the sky changes when they are wives. (Shakespeare)

男人求爱时如和煦的4月，婚后却像寒冬腊月；闺中少女则宛若温暖的5月，而为人妇后却像易变的天气阴晴莫测。VI. Assignments

1. The boy was creeping like snail unwillingly to school.

2. The fury of the crowd erupted like a volcano.

3. He jumped back as if he had been stung, and the blood rushed into his wrinkled face.

4. All the world is a stage, and all the men and women merely players. (William Shakespeare)

5. What is learned in the cradle is carried to the grave.

6. The years have obscured the name of this professor, but not the lesson he taught.

7. Some books are to be tasted, others swallowed, and some few to be chewed and digested. (Francis Bacon)

8. Crime burst in like a flood; modesty, truth, and honor fled.

9. Mary's two daughters are different in their personalities in a thousand and one ways.

10. From there I could see the whole valley below, the fields, the river, and the village. It is all very beautiful, and the sight of it filled me with longing. (N.S. Momaday: The End of My Childhood)