第十六章 段落与短文翻译
第十六章段落与短文翻译
教学目标：了解英汉语段落和篇章的特点；掌握段落与短文翻译的方法
教学安排：2课时
教学要点：例句分析与译文比较：翻译时要仔细分析英语段落中的句际关系和逻辑关系，以此为基础根据汉语的表达习惯对原文结构进行转换，增删和调整须根据译文的表
达习惯，不能照搬原文结构
教学方法：交际教学法；语法翻译法
教学步骤：技巧讲解；现场翻译；小组讨论；教师点评
教学内容：附后
一、段落(paragraph)
一般而言，实际的翻译操作大多以句子为基本翻译单位，但句子只是段落、篇章及整部作品的基本意义单位，段落才是篇章的基本结构单位。
段落亦称句群或句子组合，是大于句子的语言片段。它是由两个或两个以上的句子构成的语义整体。构成语段的各个句子，结构上密切联系，意义上有向心性。它们以一定的语言手段（包括逻辑承接词、词汇的回指、语义连接等）组合起来，使语段之间既相互关联，又相对独立。
段落是具有明确的始末标记的、语义相对完整、交际功能相对独立的语篇单位。
二、段落翻译的要旨
结构在先，操作在后，才能做到胸有成竹。以段落为单位对原语进行分析，较之以句子为单位的分析更有利于译者对原文作者意向及原文逻辑关联的把握。
具体说来，翻译先以段落为结构单位（必要时上及篇章），对句间逻辑关系、词义、句义以及语段结构有充分性认识，把原语结构转换成目的语结构；根据目的语结构需要，运用词性转换、词句调整、增减词语（主要是连接词语）等手段使目的语语段浑然一体。
三、英汉段落比较
英语段落的构成大致可分为两类：一类是典型的“主题句——阐述句——总结构”结构，另一类则以某一中心思想统领的形散神聚结构，
典型英语段落的主题句标明段落的主题思想。主题句一般都放在句首，接下来的句子必须在语义上与这一主题有直接关系，在逻辑上演绎严谨。
汉语段落通常都围绕一个较为含蓄的中心思想，其表述方式多为迂回式的，流散式的，句际之间的意义关联可以是隐约的，似断非断的。
大多数汉语段落都是形分意合的，英语中常见的那些形形色色的连接词常被省去。
此外，在一个语段中，汉语句子一般按时间顺序排列，英语则不一定，句子成分或从句都可以插前补后，只要逻辑关系清楚；
汉语句群可先总论或分说，也可先分说后总论，加上“总之”等词语。
比较英汉语段落构成同中有异，异中有同，异略大于同。翻译中译者进行必要的调整变通，使译文段落逻辑关系明了，语序更加合理，脉络更加清晰。
例：Gold, a precious metal, is prized for two important characteristics. First of all, gold has a lustrous beauty that is resistant to corrosion. Therefore, it is suitable for jewelry, coins and ornamental purposes. Gold never needs to be polished and will remain beautiful forever. For example, a Macedonian coin remains as untarnished today as the day it was minted twenty-three centuries ago. Another important characteristic of gold is its usefulness to industry and science. For many years, it has been used in hundreds of industrial applications. The most recent use of
gold is in astronaut's suits. Astronauts wear gold-plated heat shields for protection outside the spaceship. In conclusion, gold is treasured not only for its beauty, but also for its utility.
这一例是典型的“主题句——阐述句——总结句”结构。阐述部分的句子一方面以语义与主题句的直接关联，另一方面以一些逻辑标识（logic markers）显现论述的逻辑序列和句际关系。
英语段落中的句际关系按语义大致可分为四类：
（一）平行式，包括并列关系、对立关系、比较关系、选择关系等；
（二）偏正式，包括因果、层进等关系；
（三）承接式，包括现实时空序列承接、心理时空序列承接等；
（四）总分式，包括总说分承和分述总括两类。在衔接上主要依靠关联词和词语重复、指代替换等手段。
英语中也有“主题隐含式”段落，即无主题句的段落，但其中心思想通过段落中的每个句子可以明白无误地反映出来。
四、段落翻译
It may be that I am a pessimist, for spring it is, not autumn, that makes me sad. Spring has always rightly been identified with youth, and the sorrows of youth are poignant and bitter. The daffodils which challenge so proudly and splendidly the boisterous March winds are soon shriveled and defeated, limply wrinkling to remind us of the inevitable ravages of time. The world is urgent with bursting life, with the wild exciting beauty of youth, but it is an impetuous beauty of scenes racing impatiently in to the florid and surfeited luxury of summer. Here is no comfort and fulfillment, only passionate creation of transitory delight.
我也许是一个悲观主义者，因为使我伤感的季节，是春天而非秋天。人们总是把青春比作春天，这自然无可厚非，但青春逝去的哀伤却是苦不堪言的。那笑傲三月狂风的水仙花，很快枯萎一片，花残叶败，紧锁的愁眉向人们诉说着天道的无情。蓬勃的生命和狂热激奋的青春美丽催动着春天万物，良辰美景来去匆匆，转眼又是俗艳奢华的夏天了。春天没有安然自得，没有任何结果，有的只是激情涌动和转瞬即逝的快乐。
五、逻辑关联
“逻辑”一词源于希腊文，原意指思想、言辞、理性、规律性等。我国翻译史上的一代宗师严复将logic译为“逻辑。
严复将逻辑看作“一切法之法，一切学之学”。经常会为“一名之立，旬月踟蹰”。
翻译过程中，大多不能照搬原文结构，须根据译文的表达习惯，对原文结构进行转换，增删和调整。在实际翻译操作中，逻辑思维对于翻译的理解、分析、表达及译文校正等翻译的各个环节都起着不可忽视的作用。
1) Phoebe Anna was thin and black, a very umbrella of a woman.
[原译] 安娜是一个又黑又瘦的女人，上身粗大，下身细长，简直像一把雨伞。
[分析]原译文首先肯定安娜这个女人“又黑又瘦”，却突然又言其“上身粗大”，既为“瘦”，又何来“粗”？这一命题显然前后矛盾，因为从逻辑上来说，“瘦”和“粗”是不相容的概念。
[改译] 安娜是一个又黑又瘦的女人，活像一把细长的雨伞。（马红军译）
2) The newspaper quoted the study as saying abortion may be responsible for as much as half
the over-all reduction in the U.S. crime rate that occurred from 1991 to 1997.
[原译] A. 报纸引述研究结果：从1991年到1997年间，堕胎在美国总的犯罪率的降次幅度中大约占了一半的比率。
B. 报界将这项研究引述为1991年至1997年间美国总体上犯罪率的下降半数是由
于犯罪计划胎死腹中而造成的。
[分析] 译文A似乎把“堕胎”当作“犯罪”了，而译文B却理解为美国的犯罪计划竟然有“半数”胎死腹中。仅此两点，就让我们感到译者的逻辑推理出现了问题。
[改译] 报纸引述这项研究说道，堕胎也许对于从1991年到1997年间美国的犯罪率的全面下降起到了一半的作用。(毛荣贵译)
3) Some parents simply cannot stand letting their baby cry until he or she learns to fall asleep
on their own, or when the baby awakens in the middle of the night. Most expert advice suggests this is shortsighted.
[原译] 有些父母亲，一刻也不愿意看到婴儿哭哭啼啼，除非婴儿自己睡着了或半夜里醒来。大多数专家的意见表明这是一种目光短浅的做法。
[分析] 英语句子非常欣赏逻辑性。一般说来，英语句子就表层结构而言，喜欢将句子内涵的逻辑“外化”，即用形形色色的连接词来明示其逻辑关系。比如该原文中until ….. night一句时间概念清晰，逻辑层次分明。译者当条分缕析，梳理得当，而不能只是简单的文字堆砌，译成“除非婴儿自己睡着了或半夜里醒来”，逻辑上似有前言不搭后语之嫌。
[改译] 有些家长根本无法忍受婴儿自己学会入睡之前的啼哭，或是半夜里婴儿醒来时的啼哭。大多数专家的意见表明这是一种短见。
4) Discipline means choices. Every time you say yes to a goal or objective, you say no to
many more. Every prize has its price. The prize is the yes; the price is the no.
[原译] 纪律就是说它有选择性，每当你肯定一个目标或对象的时候，你同时也否定了更多的目标。每种奖励都有它的代价，肯定的是奖励，否定的是代价。
[分析] 原文的逻辑是按照choice-yes-no的主线展开的。而译文由于选词欠斟酌，炼句工夫下得不够深，缺乏清楚的逻辑推进层次，造成意义上的模糊。
[改译] 自律意味着有取有舍。每当你选取了一个目标，也就同时舍弃了其他许多目标。每项收获都要付出代价，所选取的就是收获，所舍弃的就是代价。
（六）顺序调整
在英汉互译中，由于相应语段的信息安排不完全一致，根据语篇的需要，译者有时需要进行语序的调整。汉译时，要以语段为结构单位，理顺语义关系，合理安排信息。具体地说，原文句子（或分句）有的可能要超前译出，有的可能要滞后表达，从而使逻辑的安排更为紧凑和连贯，上下文衔接更加自然，达到信息重心安置得当，语段文气贯通。
1) In Dubai, it is unusual to find a family that keeps animals, whereas back home we never
thought twi ce before adopting a cat or dog. It’s not just that laws are strict here, but people in general appear to have little time and inclination towards pets-keeping. I cannot imagine how a child can grow without knowing the joy of having a dog to cuddle.
[分析] 我们通过调整语序，将现象和引起这种现象的原因放在一起，从中文的角度来讲，这种语序安排使逻辑更加紧凑。
[译文] 我的国家，人们总是毫不犹豫地收养无家可归的猫狗们。可是在迪拜，你却很难发现养宠物的家庭。原因不仅仅是相关法律较为严格，更重要的是，这里的人对养宠物既没有时间也没有兴趣。我很难想象在孩子的成长过程中，怎么能缺少和小狗一起嬉戏的乐趣。
2) Before long, plastic may transform its image from eco-villain to environment hero, thanks
to “smart” plastics now in development. These could allow vehicles to eliminate ozone-d epending emissions and help windows store and make use of the sun’s heat.
Perhaps by then, the name itself will morph from a pejorative jab into a genuine
complement. (The Molding of the World Time)
[分析] 从语篇的角度来看,这个段落构成的逻辑是一种逻辑关系：因为“智能”塑料的开发，塑料的形象将从反面转向正面。按照汉语先因后果的思维习惯，在翻译时可以对语序进行适当的调整，使这种因果关系更加清晰。
[译文]目前，“智能”塑料正在开发之中，这种材料不仅能消除汽车排放的破坏臭氧的废气，还可以让窗户储存和利用太阳的热量。不久的将来，塑料的形象将从生态魔鬼摇身一变为环保英雄。也许到那时，塑料一词的含义将从恶意的挖苦转成真正的赞美。
(3) When Sharon Stone won the Golden Globe award for best actress for her role in Casino,
she may have silenced the critics who derided her for her panty-less scene in Basic Instinct.
The public validation that she’s received lately helps her get past shaky private moments, such as when she realized she was approaching 40---a dangerous age for female Hollywood stars. Is she worried?
“If I have to diet, I’ll diet,” Stone says, “If I have to work out, I’ll work out. If I have to sleep upside down like a bat so I don’t look like a basset hound, that’s what I’m going to do. Because I’m not leaving.”(Reader’s Digest)
由于在影片《赌场》中的出色表演，莎朗·斯通获得了金球奖最佳女演员的殊荣。过去几年以来，因为影片《本能》中一个没穿内裤的镜头，莎朗一直备受评论界的嘲笑。
现在她终于可以让这些评论家无话可说了。最近她的表演也赢得了观众的认可，这些成绩无疑有助于她度过私底下一些忐忑不安的时刻。比如说，有时她会想到自己已年近40——对好莱坞的女演员来说，40岁显然是一个危险的年龄。她对此是否感到担心呢？
“需要我节食我就节食，”斯通说，“需要我健身我就健身，如果我必须像蝙蝠一样倒挂着睡觉，才不至于变成皱巴巴的沙皮狗，我会毫不犹豫地这么去做，因为我不会离开影坛。”
句子在集结成群的过程中，往往是某些关系密切的句子朝着一个方向先集结在一起，而和另一些关系疏远的句子分开。在语段中，句与句的集结包含着不同的逻辑关系。表达时，只有有条不紊的显现这种关系，才能清晰的传达原文的思想。优秀的译文必须经得起推敲，真正负责的译者不会随便放过任何一个细微的疏漏。翻译中，我们不妨多一点“为人性僻耽佳句，语不惊人死不休”的精神，而不要做胡适先生笔下的“差不多”先生，对待译文切不可马马虎虎。
（七）篇章翻译
篇章指整段或整篇文章。英汉篇章生成的共同点：开篇、承接、过渡、收尾。叙述方法：演绎或归纳。
问题：语言结构，文化内容、文体格调。
步骤：（1）细读原文；（2）弄清文化；（3）理清文体（政论体——重叙述，强调逻辑；科技体——重叙述，层次要分明；文学体——重描写，强调文字形象、生动、活泼）；（4）篇章的衔接和聚合。
下面的原文是《飘》中的一段。请仅对划线的部分进行改进，并说出理由，也可以对该篇译文作一个较为详细的分析。
Gone With the Wind By Margaret Mitchell
(An excerpt from Chapter 15)
The army, driven back in Virginia, went into winter quarters on the Rapidan –a tired, depleted army since the defeat at Gattysburg – and as the Christmas season approached, Ashley
came home on furlough. Scarlett, seeing him for the first time in more than two years, was frightened by the violence of her feelings. When she had stood in the parlour at Twelve Oaks and seen him married to Melanie, she had thought she could never love him with a more heartbreaking intensity than she did at that moment. But now she knew her feelings of that long-past night were those of a spoiled child thwarted of a toy.
Now, her emotions were sharpened by her long (1) dreams of him, (2) heightened by the repression she had been forced to put on her (3) tongue .
This Ashley Wilkes in his faded, patched uniform, his blond hair bleached tow by summer suns, was a different man from the (4) easy-going, drowsy-eyed boy she had loved to desperation before the war. (5) And he was a thousand times more thrilling. He was bronzed and lean now, where he had once fair and slender, and the long golden moustache drooping about his mouth, cavalry style, was the last touch needed to make him the perfect picture of a (6) soldier.
He stood with military straightness in his old uniform, his pistol in its worn holster, his battered scabbard smartly slapping his high boots, his tarnished spurs dully gleaming –Major Ashley Wilkes, U.S.A. The habit of command sat upon him now, a quiet air of self-reliance and authority, and (7) grim lines were beginning to emerge about his mouth. There was something new and strange about the (8) square set of his shoulders and the cool bright gleam of his eyes. Where he had once been lounging and indolent, he was now as alert as a prowling (9) cat, with the tense alertness of one whose nerves are perpetually drawn as tight as the strings of a violin. In his eyes, there was a fagged, haunted look, and the sunburned skin was tight across the (10) fine bones of his face –- her same handsome Ashley, yet so very different.
[译文]联盟军既被打回维吉尼亚，便都归到刺匹丹河上的冬令营来了。他们自从葛的斯堡吃了那么一个打败仗，元气业已大亏，并且疲倦得不能不休息了。因此将近圣诞节的时候，希礼便也请假回来。思嘉跟他一别两年多，现在重新见面，感情激动得非常厉害，连她自己也觉得吃惊。当初她站在十二根橡树的客厅里，眼看着他跟媚兰结了婚，总以为自己以后即使还爱他，也绝不会跟那一刻的情感一样那么强烈。现在她方才明白，自己那天晚上所经验的情感，实在还不过是一个纵容惯了的孩子得不到玩具时的情感罢了。
现在经过了这两年多的离别，她的情绪因对他的长久的（1）梦想而越发（2）尖锐化了，因一直闷在（3）肚里不能说出口而越发高涨了。
希礼回家时，身上穿着褪色补缀的军服，头发已被烈日灼晒成了漂过的麻屑一般，跟战前她所痴恋的那个（4）潇洒风流的男子完全不同了。（5）从前他是风度翩翩的，现在变成红铜色了，瘦了。两撇金黄的长髭须挂在口角，竟是一个道地的（6）兵大爷了。
他穿着那间破军服笔挺地站着，破枪袋里装着手枪，破指挥刀在长帮鞋边荡着，上锈的马刺早已失去了光芒——这就是现任联盟军陆军少校的卫希礼。他现在已经养成了命令人的习惯了，颇有一种自信自尊的威严气度，嘴角边上也渐渐长出（7）狰狞的纹路了。他的肩膀本来是（8）方的，他的眼光本来是清澈的，现在都觉有些异样了。从前他一直是那么懒洋洋，不振作，现在他机警得像一头（9）野猫，仿佛他的神经一直都像小提琴的弦线那么紧张着。他的眼睛里含着忧烦憔悴的神情，他的面皮紧紧绷在两个（10）配置均匀的颊骨上——她所朝思暮想的希礼而今依旧是个美男子，然而与前大不相同了。
名家谈翻译
老舍：谈翻译（节选）
说老实话，我并不太喜欢阅读译文。古代的佛经，我念不懂。只好不读。近年的白话译笔又往往犯两个毛病，一个是语言累赘，读起来颇为费力；一个是文学作品的译文往往缺乏
风格。因此，阅读译文，即使是文学作品，也使我得到的不都是欢快；所以，非到不读不行的时候我才皱上眉头，拿起书来。
这样挑剔，并非轻视翻译工作者。翻译是极其重要，又极其艰苦的工作。搞创作的精通一种语言即能尽职，搞翻译的却须至少精通两种语言。搞创作的有遣字选词的自由，搞翻译的却没有；翻译工作者须随着原文走，不能望文生意，随便添减。翻译工作实在不容易做好，我虽然挑剔别人的毛病，可是若叫我去做呀，准保更糟！
翻译工作既然既重要又艰苦，就理应加以鼓励。我建议，文化机关既奖励了剧本和电影剧本什么的，就也该奖励翻译。要知道，一本外国杰作，若译得好，也就成为我们自己的珍宝，世世代代相继享受，为什么不该得奖呢？
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