08第五讲 建国以后的翻译 王佐良

Lecture 5 Translation since the 1949建国以后的翻译Since the founding of the People’s Republic of China, translation in China has entered a period of prosperity. Of the numerous undertakings awaiting to be revived, translation was one of the top priorities. The construction of translation theories was soon placed in the agenda. And the person who delivered the most papers and aired the most profound views on translation was Dong Qiusi (董秋斯). 新中国成立以后百业待兴，翻译工作自然是其中之一。

有关翻译理论的建设工作，很快被提上议事日程，而最初在这方面发表议论较多、较深刻的，当推董秋斯。

董秋斯（1899-1969）, a writer and translator. The most outstanding contribution he has ever made is his proposition in unequivocal terms on the building of translation theories and his vigorous advocacy of translation criticism. 董秋斯在50年代译学界的突出贡献，是最早明确地强调了翻译理论的建设问题，并大力提倡开展翻译批评。

He issued a series of treatises, pointing out the problems existing in the previous translation and the unhealthy phenomenon in translation criticism. He called for healthy translation criticism and the building of a complete system of translation theories basing on the collecting, editing, and developing of the views of translation by predecessors. 他发表一系列的文章，指出以往翻译中存在的缺点，翻译批评中的不良现象等，提倡健康的翻译批评，指出必须在收集、整理、发展前辈翻译言论的基础上，建立完备的翻译理论体系。

In 1951, Dong Qiusi delivere d a paper in Translators’ Journal entitled “On building our translation theories”, discussing his ideas that “translation is a science” and putting forward firmly his proposition that the science of translation shall be established. 董秋斯在《翻译通报》上发表《论翻译的理论建设》一文。

文中明确论述了“翻译是一种科学”的观点，明确提出建立翻译学的主张。

The central views of his papers are:1. Translation is a science governed by objective laws rather than something depending entirely on genius and inspirations.（1）翻译是一种科学，有一定的客观规律可循，并不完全依靠所谓天才和灵感。

2. The science of translation shall be constructed as a system of theories;（2）强调把翻译科学作为一个理论体系来加以建设；3. It is of great significance to formulate translation theories;（3）阐述了建构翻译理论的意义；4. Two major books shall be wrote——A Chinese History of Translation and A ChineseScience of Translation—— to realize the proposition that translation is a science.（4）提出要首先完成《中国翻译史》和《中国翻译学》两部大书，来实现翻译是一种科学的命题。

These views were original and epoch-making both at home and abroad at that time. But as translation theories had been attached little importance by the Chinese translation circle throughout the history, they did not receive due attention. 这些观点在当时国内外均属创新，具有划时代意义。

然而由于中国翻译界长期忽视理论的指导作用，并没有引起译界的足够重视。

Mao Dun 茅盾（1896-1981）A writer, translator and a precursor in Neo-Literature Movement. 文学家、翻译家、新文学运动的先驱He translated a large number of literary works by more than 40 writers from 23 countries.Some of the writers he translated are: Anton Chekhov; Gorky; Maupassant; Ibsen, etc. 契诃夫；高尔基；莫泊桑等Masterworks of translations:《在家里》《他的仆》、《日落》、《万卡》、《情人》、《一段弦线》、《社会柱石》等。

Translation theories of Mao Dun:1. The theory of “subtle spirit in literary translation”一. 神韵说As early as the 1920s, Mao Dun proposed the theory of “subtle spirit” , being the first in the modern Chinese translation history. 上世纪二十年代初在中国近代翻译史上第一个提出“神韵”理论的人。

The relations between morphology and the subtle spirit of a literary work:形貌与神韵的关系：在神韵与形貌未能两全的时候……觉得与其失神韵而留形貌，还不如形貌上有些差异而保留神韵。

……文学的功用在感人，而感人的力量恐怕还是寓于神韵的多而寄在形貌的少；译本如不能保留原本的神韵难免要失了许多的感人力量。

（王秉钦，2005：219）2. The theory of artistically creative translation (proposed after the founding of PRC)二. 艺术创造性翻译（意境论）：建国以后“文学翻译是用另一种语言，把原作的艺术意境传达出来，使读者在读译文的时候能够像读原作一样得到启发、感动和美的感受。

”（王秉钦，2005：221）“好的翻译者一方面阅读外国文字，一方面却以本国的语言进行思索和想象；只有这样才能使自己的译文摆脱原文的语法和语汇特殊性的拘束，使译文即是纯粹的祖国语言，而又忠实地传达了原作的内容和风格。

”（陈福康, 2005：377）While reading the foreign language in the ST, a good translate think and imagine in his own language; only in this way can he free himself from the restraints of the SL grammar and unique expressions, i.e. his translation is not only in the pure language of his own country but faithful to the both the content and the style of the ST.3. Translation and creative writing are equally important三. 翻译与创作并重“翻译的困难，实在不下于创作。

第一，要翻译一部作品，先须明了作者的思想；还不够，更须真能领会到原作上的美妙；还不够，自己走入原作中，和书中人物一同哭，一同笑。

已经这样彻底咀嚼了原作了，于是第二，尚须译者自己具有表达原作风格的一副笔墨。

”(ibid)“Translation is by no means less challenging than creative writing; perhaps it is much more so. In the first place, to translate a work, one must grasp the writer’s ideas before he does anything else. But this is not enough; one must also be fully capable of appreciating the artistic beauty of the original.… Yet, even this is not enough; one must also enter the work in person, as it were, to weep and laugh with its characters.Only after the original has been thoroughly chewed over in this way, can one talk about the second requirement: the translation must have the language to get the style of the original across”.Fu Lei 傅雷（1908—1966）Translator, writer, artist, and educator.He introduced the masterpieces of Roman Rolland, Balzac, V oltair, and Prosper Mérimée, the great masters in the French world of letters, to the Chinese readers. He was also an authority intranslating French literature, Balzac in particular. 法国文坛巨匠罗曼•罗兰、巴尔扎克、伏尔泰、梅里美.Famous translations:《高老头》、《欧也妮•葛朗台》（巴尔扎克），《约翰克里斯朵夫》（罗曼罗兰），《幸福之路》（罗素）Fu Lei’s translation ideas:1. Emphasizing thorough understanding of the ST“事先阅读原著，不厌求详，尤为要著。