杨宪益的翻译思想研究
杨宪益英译本《红楼梦》的翻译亮点
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亮点之一 ：按照“信 ”的原则 ，注重忠实于原文进行翻译 在 杨 宪 益 的英 译 作 品 中 ，非 常 注 重 “信 ”的 原则 。他 反 复 强 调 ：我 们 必 须 非 常忠实于原文 。在翻译 中国古典文学时 ，他首先 主张力求 “直译 ”，尽可 能忠实地传达原文的意思 。在英译本《红楼 梦》中 ，他把“信 ”字作为 了翻译 的第一原则 ，并且注重在两个 方面充分运用 了这一原则。其一 ，在翻译故
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鲁迅祝福翻译杨宪益译文
鲁迅祝福翻译杨宪益译文鲁迅是中国现代作家、思想家，他的影响深远，作品广泛翻译为各国文字。
本文将以鲁迅祝福翻译杨宪益译文为主题，探讨鲁迅与翻译的关系，并分析杨宪益译文的特点与价值。
鲁迅与翻译鲁迅被誉为中国现代文学的奠基人和中国现代文化的重要推动者。
他在文学作品中探索了人性的悲剧，揭示了社会的黑暗，以犀利的笔触和真实的视角深刻触动了读者的心灵。
他的作品不仅仅在中国广为流传，也被翻译成各国文字，传播到世界各地。
鲁迅深刻理解了翻译的重要性。
他曾说过：“文明的高低，不仅仅在于能产生什么，而且在于能传达给什么人。
”鲁迅的作品经过翻译，不仅让外国读者了解了中国的文化与社会现实，也为中国提升了国际声誉。
鲁迅把文化交流作为一种重要途径，通过翻译，促进了中外文化的相互理解与交流。
杨宪益译文的特点与价值杨宪益是一位著名的翻译家，他将鲁迅的作品翻译成英文，为西方读者展示了鲁迅独特的艺术魅力。
杨宪益的翻译具有以下几个特点：1. 忠诚原文杨宪益翻译鲁迅的作品时，一直以忠诚于原文为原则。
他努力保持原作的风格、意境和语言特点，力求传达出鲁迅作品的真实感与独特之处。
这种忠诚于原作的翻译方式使得西方读者能够更好地理解和感受鲁迅作品的内涵。
2. 翻译技巧杨宪益善于运用翻译技巧，使得翻译的文本更具英文的流畅性和自然性。
他在翻译过程中注重词汇的准确选择和句子的结构转换，使得鲁迅的思想和情感能够得到充分传达。
他对英语及中文的语法和表达方式的熟悉，在翻译过程中做到准确无误、通顺自然。
3. 传播中国文化杨宪益的翻译工作有力地传播了中国文化和鲁迅的思想。
他的翻译作品让西方读者对中国的社会现实、文化传统和思想倾向有了更深入的了解。
通过翻译，鲁迅的作品成为中外文化交流的桥梁，促进了中外文化的相互交流与理解。
杨宪益译文的价值主要体现在以下几个方面：1. 文学价值杨宪益的翻译使鲁迅的作品在西方世界得到广泛阅读和研究，让西方读者欣赏到了鲁迅作品的独特魅力和内涵。
浅析杨宪益及戴乃迭翻译风格 ——以名著节选为例
理论广角幸福生活指南224幸福生活指南浅析杨宪益及戴乃迭翻译风格——以名著节选为例胡晶晶 康春颖南京工程学院摘 要：说起中国著名的译者，翻译家，不得不提的就是神仙眷侣——杨宪益、戴乃迭夫妇。
作为译者和文化传播者，杨宪益、戴乃迭夫妇专心译事、笔耕不辍，共同翻译了百余种中国文化典籍和文学作品，译文准确、生动、典雅，成为“所有研究中国文化的西方学者眼中的经典”。
杨宪益是饱读四书五经,受到良好中国传统教育的儒学大家，戴乃迭是在中国出生,在英国教育的滋养下成长起来的优秀的汉学家。
夫妻俩中西合璧，珠联璧合,倾尽毕生心血于中国传统经典文化的翻译与传播，从先秦诸子散文到古典名著，从唐宋诗词到现代散文诗歌，译著达数百部，为中西方搭建了一座宝贵的文化桥梁。
本文就杨宪益、戴乃迭夫妇翻译过的著作为例与其他著作进行初步对比，并浅析其翻译风格及特点，以及他们的成就给中国翻译界带来的影响。
关键字：杨宪益；戴乃迭；翻译风格；对比；影响一、“生硬”的忠实风格作为学贯中西的文化传播者，杨、戴二人在中国文化对外传播的过程中，具有超前的文化翻译观，尽力向世界展示中国文化的本来面目。
杨宪益所处的时代，西方世界对中国文化误解、曲解较多，也常会出现强势文化对于东方文化的故意误读，但他们在翻译过程中并没有故意迎合西方读者的审美趣味，而是采用相对“生硬”的忠实译法。
例1 “癞皮狗，你骂谁？”王胡轻蔑地抬起眼来说。
“Mangy dog, who are you calling names?” Whisker Wang looked up contemptuously.(杨、戴)“Mangy-hided dog, whom are you cursing?” sneered Wang-hu, lifting his eyes disdainfully. (港版)此处清晰可见杨戴的忠实翻译风格，从整个句式到用词都非常的忠实原文，尤其是“王胡轻蔑地抬起眼来说”，并没有像港版翻译中先用sneer 表示动作及态度，而是一气呵成。
杨宪益翻译作品中的无灵主语翻译法探析——以《呐喊》为例
MING RI FENG SHANG269文 艺 评 论文|孙 敏杨宪益翻译作品中的无灵主语翻译法探析——以《呐喊》为例摘要：英语无灵主语句是英语中独特的语言现象, 它从一个侧面反映了东西方在思维方式方面存在的差异。
本文通过分析杨宪益夫妇对鲁迅作品《呐喊》中英汉有灵与无灵主句的处理手法，进一步阐释英汉思维模式中主客体思维差异，以期对汉籍英译有所启示。
关键字：思维差异；无灵主语；主体思维；客体思维一、引言每个民族都有自己的思维模式。
思维模式决定语言的组织模式、读者的理解模式。
无灵句、有灵句分别作为英、汉语语言中的一种重要语言现象，二者具有紧密的相关性，也充分体现了英、汉语表达的思维差异，因此在将汉语作品翻译成英语译本时，需充分考虑到上述语言现象。
二、英汉思维差异—主体思维与客体思维汉语和英语分别是东西方文化的两种载体, 分属不同的语系, 有着不同的思维方式。
汉语则较注重主体思维，这种思维模式以“万物皆备于我”作主导，往往从自我出发来叙述客观事物，或倾向于描述人及其行为或状态，因而常用人称。
当人称可以不言自喻时，又常常隐含人称或省略人称。
英语较常用物称表达法，即不用人称来叙述，而让事物以客观的口气呈现出来。
这种表达法往往使叙述显得客观、公正、结构趋于严密、紧凑、语气较为委婉、间接。
三、无灵主语句英语这类句型采用“无灵主语”，表示抽象概念、心理感觉、事物名称或时间地点等，但谓语却常常使用“有灵动词”，表示人或社会团体的动作和行为。
除此之外，还用非人称代词“it”作主语。
我们对无灵主语句作如下分类:具体事物作主语；时间和地点名词作主语；表身心状态和情感的名词作主语；具有动词意味的名词作主语；用非人称代词“it”作形式主语。
四、无灵句在《呐喊》中的翻译分析《呐喊》是中国现代伟大的无产阶级文学家、思想家和革命家鲁迅先生的一部小说集。
《呐喊》的译者杨宪益夫妇很好体现了无灵主语句的翻译原则，并灵活运用各种技巧。
论《红楼梦》杨宪益英译英译本中诗歌的翻译补偿策略
论《红楼梦》杨宪益英译英译本中诗歌的翻译补偿策略摘要由于众多因素对翻译活动的影响, 损失在翻译过程中是不可避免的。
可以说, 翻译损失从翻译活动存在时就一直与翻译相伴。
但事实并非如此, 翻译补偿研究并没有得到应有的重视,还有很多领域有待探讨。
直到 20 世纪八十年代,译界才开始认真对待翻译补偿。
国内外的学者夏廷德, 尤金? 奈达, 乔治? 斯坦纳等提出了自己的翻译补偿理论,大多以翻译对等作为翻译宗旨,把补偿看做是一种翻译技巧。
由杨宪益和戴乃迭夫妇完成的《红楼梦》英译本得到了国内外诸多学者的广泛关注和肯定。
本文在国内外翻译补偿理论研究成果的基础上, 精选部分诗歌, 试探索了译者在诗歌翻译过程中在词汇、语篇和审美三个层面所采取的翻译补偿策略。
词汇层面主要采用了增益, 具体化, 概括化, 省略和加注的方法。
语篇层面上主要通过添加逻辑连接词和人称代词的方法来实现翻译的补偿。
审美层面上,本文主要从诗歌的押韵和其英译来分析。
关键词 :翻译补偿; 诗歌; 《红楼梦》iAbstractDue to various factors that imposed on translation activity, loss of translation isinevitable in translation process. Translation losses go with translation when the translationactivities exist. However, the fact is that translation compensation research doesn’t get itsdue attention and many areas of it remain to be carefully probed into. It is not until the1980s that translation compensation is regarded seriously. Scholars at home and abroadsuch as Xia Tingde, Eugene Nida, George Steiner and others elaborate on translationcompensationThe English version of A Dream of Red Mansions translated by Yang Xianyi and hiswife Gladys Yang is widely and greatly praised by numerous scholars both at home andabroad. The author selects the poems based on the known translation compensation theory;and endeavors to explore strategies of compensation adopted by the translator at lexical 、discourse and aesthetic levelsFive compensation strategies amplification, specification, generalization, omissionand annotation are used in lexical levelCompensation at discourse level is realized byadding logical conjunctives and person deixis. In aesthetic level, this thesis is mainlyanalyzed from the rhyme of poems and its translation textKey Words: translation compensation; poems; A Dream of Red Mansions ii广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略ContentsAbstract in ChineseiAbstract in English iiChapter 1 Introduction11.1 Significance of the Present Research11.2 Purpose of the Present Research.11.3 Framework of the Thesis2Chapter 2 Literature Review32.1 The Definition of Translation Compensation.32.2 Previous Studies on Translation Compensation32.2.1 Translation Compensation Studies Abroad42.2.2 Translation Compensation Studies in China..9Chapter 3 Theoretical Framework. 143.1 Classifications of Compensation143.2 Principles of Translation Compensation 15Chapter 4 Compensation Strategies Adopted in the Translation of Poems in ADream of Red Mansions. 184.1 Compensation at the Lexical Level. 184.1.1 Amplification. 184.1.2 Specification 204.1.3 Generalization. 204.1.4 Omission224.1.5 Annotation within Text 25广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略4.1.6 Annotation outside Text314.2 Compensation at the Discourse Level. 314.2.1 Logical Conjunction. 324.2.2 Person Deixis 334.3 Compensation at the Aesthetic Level 38Chapter 5 Conclusion. 41Bibliography 44Paper Published During the Study for M. A. Degree 47Acknowledgements48 广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Chapter 1 Introduction1.1 Significance of the Present ResearchA Dream of Red Mansions, written by Cao Xueqin, is a great work with high ideologythand artistry, and it is also one of the most famous classics in China in the middle of the 18century. It is an encyclopedia that reveals different aspects of ancient Chinese feudalsociety. There are about more than 230 various poems which covers 50% of the wholenovel. The distinctive feature of this work lies in these poems that adds artistic charm on,which becomes a big challenge to its translationMany translators have come under this novel’s spell and embarked on their translationof it. The English version A Dream of Red Mansions translated by Yang Xianyi and hiswife Gladys has aroused tremendous attention around the world. Moreand moreresearches have been made about translation compensation strategies and great numbers ofbooks, articles and theses about the study of poems in A Dream of Red Mansions have alsobeen published, but this thesis is one of the first studies in the analysis of compensationstrategies for the translation of poems in Yang Xianyi’s version of A Dream of RedMansions1.2 Purpose of the Present ResearchThis thesis is an attempt at analysis of compensation for the translation of Chinesepoems in A Dream of Red Mansions. To be more specific, the purpose of this study is toexplore how translation compensation is realized when the translator Yang Xianyi andGladys are confronted with poems in A Dream of Red Mansions. And the author tries tomake some contribution to the development and improvement of translation compensation1广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略theoryThis thesis aims to probe into translation compensation from three levels: the lexicallevel 、 discourse level and aesthetic level in terms of strategies of compensation. In addition,the principles of compensation should be followed during the process of employingcompensation1.3 Framework of the ThesisThis thesis is composed of five chapters. Chapter One, the author will make anintroduction, including purpose of the present research, significance of the present researchand preview of each chapter. Chapter Two will review the definition of translationcompensation and previous studies on translation compensation which will be detailedtalked from its development at home and abroad. Chapter Three is theoretical framework,classifications of compensation and principles of translation compensation will bediscussed respectively in this chapter. Compensation strategies adopted in translation ofpoems in A Dream of Red Mansions will be analyzed in Chapter Four; the author willdiscuss compensation strategies Yang Xianyi and Gladys adopted in translating the poemsfrom three levels: compensation at the lexical level 、 discourse level and aesthetic level, andcompensation at the lexical level and discourse level will be focused on. The last chapterserves as the conclusion, in which the author will summarize the whole thesis, includingmajor findings, implications and limitation of this thesis will also be presented 2广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Chapter 2 Literature Review2.1 The Definition of Translation CompensationTranslation losses live along with emergence of translation activities due to thelinguistic and cultural differences, from this we can see that translation compensation andcompensation theory should begin quite early, however, this is not the truth. Although wehave achieved great success in translation research, the significance of translationcompensation has not been paid attention to. Compared with other translation studies, it isa marginal area in translation theory research. The results of study conducted by KeithHarvey shows that throughout the 1960s and 1970s, compensation, compensatory andcompensate for were used loosely as semi-technical terms in the literature Baker, 1998:38. It is not until 1980s that translation compensation has been defined more rigorously byscholars. Different scholars have different definitions about translation compensationAccording to Newmark 2001b: 90, “This compensation is said to occur when lossof meaning, sound effect, metaphor or pragmatic effect in one part of a sentence ascompensated in another part, or in a contiguous sente nce.” For Harvey 1995: 66,“Compensation is a technique which involves making up for the loss of a source textaffected by recreating a similar effect in the target text through means that are specific tothe target language or the text.” While Baker 2000: 78 holds adifferent view that “thiscompensation means that one may omit or play down a feature such as idiomaticity at thepoint where it occurs in the source text and introduce it elsewhere in the target text.”Hatim and Masor 2001: 239 regard tran slation compensation as “In translating, themaking good of some communicative loss by substituting equivalent effects”2.2 Previous Studies on Translation Compensation 3广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略2.2.1 Translation Compensation Studies Abroad2.2.1.1 Nida ’s View of CompensationNida, as the vanguard of modern translation theory, seldom talked aboutcompensation in his early translation works. In his most representative book Toward theScience of Translating 1964, he mentioned compensation when illustrating features ofwriting style. However, he referred to the universal features and strategies of loss inwriting style which didn’t deal directly with translation compensationAs more studies on linguistics and disciplines related to translation,Nida’s attention inits concern has been aroused. In Language, Culture and Translating 1993, he illustratedcompensation from the perspective of function while discussing functional equivalence,and put forward functional compensation strategies based on isomorphism. Compensationfor a lack of isomorphism can be regarded as a means of accurately representing themeaning of source text. For example, because of lack of close correspondence in figurativeexpressions, it is necessary to translate some figurative phrases in the source language bynon-figurative ones in the target language. However, if too many such figurative phrasesbecome non-figurative ones, much of impact of a passage will be lost, which is particularcritical for poetry. In order to compensate for such loss, it is significant to translate somenon-figurative phrases by figurative strategies. In this way, the balance with the originaltext can be obtained in some extentTherefore, we can summarize Nida’s studies on translatio n compensation as thefollowing three aspects: Firstly, compensation should be based on functional equivalence,which is to obtain functional equivalence by means of compensation for isomorphismSecondly, the same strategies can be used to compensate in different locations. Thirdly,equivalence of the whole can be realized by local compensation “Functional equivalence” is the basis of Nida’s translation theory which is concluded4广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略from the Bible translation. Therefore, he attaches more importance to functionalequivalence. Although he makes the statement about compensation, Nada takes metaphorof the loss of surface structure as an example to elaborate the process of compensationActually compensation for the loss of isomorphism involves abstract aspects in his deepstructure as well2.2.1.2 George Steiner ’s View of Compensation George Steiner is one of the contemporary translation scholars who have the mostprofound elaboration on translation compensation. His elaborationabout compensation canbe found in After Babel, which published in 1975. In this classical work, he gives anincisive statement about translation compensation from the perspective of philosophyAccording to Steiner 2001, he takes translation as a hermeneutic process that concludedby four steps and compensation is the last one. The four steps are trust, aggression, importand compensation. “Trust” is the first step, which means that the translator should have aninitiative trust to the original. “Aggression” is the second s tep, which originates fromHeidegger, who regards understanding process as movement and the thing that is onlybeing translated can come into authentic being. The next step is import, Steiner 2001:312-316 points out that “the assimilation of meaning an d form is not made in or into avacuum. The native semantic field is already extant and crowded. There are innumerableshadings of simulation and placement of the newly-acquired, ranging from a completedomestication; the other permanent strangeness and marginality of an artifact. Butwhatever the degree of naturalization’, the act of importation potentially dislocates orrelocates of the native structure”. In order to reduce the loss and regain the balance, thetranslator has to compensate for the loss, which is the forth step of translation activity,should be adopted. Steiner defines compensation from two aspects: First, the translatorcompensates the loss in translation; second, the translated text compensates for loss of thesource language due to difference of time and space. Steiner’s compensation theory can be5广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略summarized in the following aspects: the translation loss occurs throughout the wholeprocess of translation; aesthetic activity is the primary cause of translation loss;compensation should not be judged by the addition or reduction of the words; theconnections between source language and target langue are dialecticalFrom the above discussion, we can see that Steiner’s research on compensationconcludes process, cause, feature and demerit, which gives us significant inspiration andguidance for putting further and thorough study on translation loss, compensationstrategies and improve translation quality. However, Steiner mainly blames too muchtranslation loss on aesthetic subject despite insuperable linguistic and cultural barriers ofthe esthetic subject, i.e. the source text2.2.1.3 Newmark ’s View of CompensationNewmark claimed that puns, rhyme, slang, metaphor, pregnant words-all these can becompensated, if it worthy of the efforts-though sometimes it isn’t. While Newmark paysmore attention to text-type and function. He puts forward communicative translation andsemantic translation. Actually his ideas about compensation are based on text function. Inhis opinion, the limit of transitivity attributes to translation loss, and “compensation issaid to occur when loss of meaning, sound effect, metaphor or pragmatic effect in one partof the sentence is compensated in another part, or in a contiguous sentence”Newmark,2001a: 31Newmark’s compensation theory mainly involves the following three points: Firstly,from a macroscopic point, employment of compensation is determined by text-type andfunction; while from a microscopic point, compensation is determined by the value ofpotential target to be compensated, i.e. to ensure the rationality of compensation judged bywhether the loss is important or not in the context. Secondly, for the expressive text, thewriter should be kept at the central point, and respect the surface form of the source text;while for the vocative text, the reader is taken as core. Thirdly, there are seldom equivalent6广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略words between source language and target language. Therefore, in our translation, weshould keep the balance between translation economy and compensationNewmark lays his compensation theory on text-type and function, which makes thetranslator have definite purpose in mind and avoid the blindness and irrationality duringthe process of compensation. What’s more, Newmar k puts forward the contradictionbetween compensation and economy and the style of translated text, which is indeed worthconsidering carefully. But the scope of compensation for expressive text is relativelylimited2.2.1.4 Baker ’s View of CompensationMona Baker’s view of compensation mainly can be found in her work In Other Words:A Courseboook on Translation 2000, in which he talks about compensation forequivalence of lexeme and hyper-lexeme level. The compensation techniques that Bakerproposed aim to obtain translation equivalenceIn lexeme level, Baker thinks that there is often no equivalent in the target languagefor a particular form in the source text. In such a condition, there are “two choices fortranslators: their subtle contribution to the overall meaning of the text is either lostaltogether or recovered elsewhere by means of compensatory techniques” Baker, 2000:24. As for the hyper-lexeme level, Baker takes idiomaticity as an example. She suggeststhat the translators either omit or play down a feature at the point where it occurs in thesource text and introduce it elsewhere in the target text. Baker 2000: 78 argues that “thisstrategy is not restricted to idiomaticity or fixed expressions and may be used to make upfor any loss of meaning, emotional force, or stylistic effect which may not be possible toreproduce directly at a given point in the target text”2.2.1.5 Wilss ’s View of Compensation7广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Wolfram Wilss is a well-known German translation scholar. Wilss 2001: 39-40thinks that the range of compensation strategies in any instance varies from one languagepair to another. What’s more, the question of relativetranslatability vs. untranslatabilityof the text has also played a significant role in the modern science of translationFor the untranslatability of culture, Wilss holds that can be resolved by compensationFor example, “adaption amounts to textual compensation for sociocultural differencesbetween the SL and the TL co mmunities” Wilss, 2001: 99. His compensation theory canbe summarized as the following three aspects: First, compensation should take both thesource text and target text into consideration to obtain communicative synchronizationSecondly, compensation range should be applied both microcontextually andmacrocontextually. Thirdly, the range of compensation strategies in any instance variesfrom one language pair to another. Fourthly, compensation is a reconstruction process ofdefinite semantic elements in the context at the sentence and discourse levelsIn all, Wilss puts more attention on communicativeness of text and doesn’t attachimportance to compensation for aesthetic elements andfunction2.2.1.6 Hatim and Mason ’s View of Compensation Hatim and Mason pay great attention to the communicative function of translation;Hatim and Mason 2001: 1 regard translation as “in creating a new act of communicationout of a previously existing one”, their central concern which can be found in Discourseand th e Translator: “tra。
传情达意 巧夺天工——试论杨宪益《红楼梦》译作中汉语习语翻译的原则和方法
传情达意巧夺天工——试论杨宪益《红楼梦》译作中汉语习语翻译的原则和方法杨宪益《红楼梦》译作中汉语习语翻译的原则和方法杨宪益，20世纪中国著名文学家、译著家，他的译作《红楼梦》是中国翻译史上的一部杰作，也是中国著名文学作品的一个经典译本。
他在翻译《红楼梦》时，采用了一些原则和方法，使得译作不失原著的精髓，而且能够更好地表达出作者的思想意图。
首先，杨宪益在翻译《红楼梦》时，采用了“精准翻译”的原则，即尽可能保留原文的意义，尽可能精准地表达原文的意思。
他把汉语习语的翻译作为一个重要的环节，他认为，汉语习语的翻译是文字翻译的核心，他在翻译汉语习语时，要求译文尽可能地表达出原文的意思，不能有任何偏差。
其次，杨宪益在翻译《红楼梦》时，采用了“创造性翻译”的原则，即在保留原文意义的前提下，尽可能地创造性地表达原文的意思。
他认为，翻译汉语习语时，不但要求译文尽可能地表达出原文的意思，而且要求译文能够更好地表达出原文的意思，以便更好地传达出作者的思想意图。
再次，杨宪益在翻译《红楼梦》时，采用了“比较翻译”的原则，即把汉语习语与英语习语进行比较，以便更好地理解汉语习语的翻译。
他把汉语习语和英语习语进行比较，以便更好地理解汉语习语的翻译，以便在翻译过程中更好地表达出原文的意思。
最后，杨宪益在翻译《红楼梦》时，采用了“灵活翻译”的原则，即在保留原文意义的前提下，尽可能灵活地表达原文的意思。
他认为，翻译汉语习语时，要求译文尽可能灵活地表达原文的意思，以便更好地传达出作者的思想意图。
总之，杨宪益在翻译《红楼梦》时，采用了“精准翻译”、“创造性翻译”、“比较翻译”和“灵活翻译”的原则，使得译作不失原著的精髓，而且能够更好地表达出作者的思想意图。
由此可见，杨宪益在翻译《红楼梦》时，采用了一些原则和方法，使得他的译作成为中国翻译史上的一部杰作，也是中国著名文学作品的一个经典译本。
Yang Xianyi's Principles and Methods of Chinese Idiom Translation in His Translation of Dream of the Red ChamberYang Xianyi, a famous Chinese writer and translator in the 20th century, is known for his masterpiece translation of Dream of the Red Chamber, a classic version of a famous Chinese literary work. In translating Dream of the Red Chamber, he adopted some principles and methods to make sure that the translation would not lose the essence of the original work and could better express the author's intention.First of all, Yang Xianyi adopted the principle of "accurate translation" in translating Dream of the Red Chamber, that is, to preserve the original meaning as much as possible and to express the original meaning as accurately as possible. He regarded the translation of Chinese idioms as an important link. He believed that the translation of Chinese idioms was the core of textual translation, and he required that the translation should be as close to the original as possible and there should be no deviation.Secondly, Yang Xianyi adopted the principle of "creative translation" in translating Dream of the Red Chamber, that is, to preserve the original meaning while expressing the original meaning as creatively as possible. He believed that when translating Chinese idioms, not only should the translation be as close to the original as possible, but also the translation should be able to better express the original meaning, so as to better convey the author's intention.Thirdly, Yang Xianyi adopted the principle of "comparative translation" in translating Dream of the Red Chamber, that is, to compare Chinese idioms with English idioms in order to better understand the translation of Chinese idioms. He compared Chinese idioms with English idioms in order to better understand the translation of Chinese idioms and to better express the original meaning in the translation process.Finally, Yang Xianyi adopted the principle of "flexible translation" in translating Dream of the Red Chamber, that is, to preserve the original meaning while expressing the original meaning as flexibly as possible. He believed that when translating Chinese idioms, the translation should be as flexible as possible to better convey the author's intention.In conclusion, Yang Xianyi adopted the principles of "accurate translation", "creative translation", "comparative translation" and "flexible translation" in translating Dream of the Red Chamber, making sure that the translation would not lose the essence of the original work and could better express the author's intention. It can be seen that Yang Xianyi adopted some principles and methods in translating Dream of the Red Chamber, making his translation a masterpiece in the history of Chinese translation and a classic version of a famous Chinese literary work.。
《窦娥冤》杨宪益英译本翻译策略研究
2522020年11期总第503期ENGLISH ON CAMPUS《窦娥冤》杨宪益英译本翻译策略研究文/陈康颖注中，杨宪益用几句话介绍了孟姜女，目标读者可以了解她的故事，这有助于他们对原文的理解。
2.灵活性。
在杨宪益译本中，为了迎合目的语读者或使译文更加流畅，译者也会做出一些修改，牺牲一些忠实性。
元杂剧的角色有许多专有名称，整个文本通常是以叙事的形式而不是对话的形式来展开的，而对话是西方戏剧的常用形式。
例3.(孛老卜儿付净同上)(卜云)你爷儿两个且在门首，等我先进去。
(净)：妳妳，你先进去，就说女婿在门首罢。
(卜见旦科)(旦云)妳妳回来了，你吃饭么？(卜哭科，云)孩儿也，你教怎生说波。
(旦唱)(Enter Mistress Cai and Old Zhang and Donkey.)MRS.CAI：Wait here at the door while I go in.DONKEY：All right, mother. Go in and tell her husband is at the door.(Mistress Cai sees Dou E.)DOU E：So you’re back, mother. Have you had a meal?MRS.CAI(crying)：Ah, Poor child! How am I going to break this to you?杨宪益对原文进行了一定的改编。
他省略了“不”“经”“旦”等角色的专有名称，在戏剧中用真实姓名代替角色的姓名，演唱部分用斜体字书写，没有翻译具体曲目名称。
从整体上看，英文文本通过将叙述形式转化为角色之间的对话，更像戏剧剧本，这种安排更适合目的语读者的阅读习惯。
四、结语杨宪益英译《关汉卿全集》在西方汉学界享有较高的声誉，已有大量前人进行研究。
本文研究发现，无论是从宏观还是从微观的角度，杨宪益不仅努力思考和重构读者的期待视野，而且努力维持某些意义空白。
杨宪益翻译思想及语言运用评价
杨宪益翻译思想及语言运用评价杨宪益，文学家与翻译家。
该文通过对杨宪益翻译作品所体现出的翻译思想进行分析与评价，指出虽然杨译的作品确实存在些许问题与不足之处，但是从整体上的翻译效果以及其对中国的翻译事业与文化传播作出的贡献来说，杨宪益确是中国难得的翻译家与学者。
一、杨宪益的翻译思想评价杨宪益一生从事翻译工作，在他演讲与出书序言中谈过自己对翻译的一些看法，即翻译要坚守严复的“信达雅”三准则，做到忠实与通顺；翻译的可译性。
后人又在其翻译的作品中总结了另外两个翻译思想：归化与异化结合，异化为主；直译与意译结合，直译为主。
下面我就将对这四个翻译思想逐一进行举例说明评价。
（一）、坚守严复“信达雅”三原则，重忠实与通顺“信”“达”“雅”是由思想家严复提出的。
杨宪益认为，翻译的原则，是“信达雅”三个字。
总的原则是对原作的内容，不许增加和减少。
既要忠实于原文，又要表达原作的神韵。
译者要忠实于原作者的思想感情，尊重原作者的创造性工作。
针对杨宪益的忠实与通顺，下面以《卖花女》中杨宪益译本来分析：The bystander：You be careful：give him a flower for it. There’s a bloke here behind taking down very blessed word you’re saying.The flower girl：I aint done nothing wrong by speaking to the gentleman. I’ve a right to sell flowers if I keep off the kerb.—杨译如下：旁边的人：你留点神：给他一支花。
后面有个人可把你说的话全给记下来了。
卖花女：咱跟那位先生说句话不能算是作坏事呀。
咱卖花也不犯法，又没在人行道上。
—《卖花女》讲的是语言学家希金斯与友人打赌，说可以将来自下层社会的语言极其不标准的卖花女伊莉莎训练成贵妇的故事。
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杨宪益的翻译思想研究
A Study on Yang Xianyi’s Translation Ideas
摘要
杨宪益是中国当代成就卓越的文学翻译家。
在五十年的翻译生涯中，他与夫人戴乃迭笔耕不缀，精诚合作，将数以千万字的中国优秀古典、现代和当代文学作品译介给了西方读者，同时杨宪益独自将许多优秀的世界文学作品翻译介绍给了中国读者，为中国翻译事业的发展做出了重大贡献。
Abstract
Yang Xianyi is one of outstangding literary translator in Chinese translation history.Throughout his life,he,teeming up with his wife Gladys Yang,who was also a noted translator,has translated and introduced numerous Chinese classical,modern and contemporary literary works to western readers as well as some masterpieces from other languages to Chinese readers on his own.thus making great contribution to the progress of China’s translation cause.
一、杨宪益简介
中国翻译家，外国文学研究家。
安徽泗县人。
生于1915年1月10日。
早年赴英国牛津大学攻读古希腊罗马文学、中古法国文学和英国文学。
1940年回国，曾先后执教于重庆、贵阳、成都各大学，在重庆和南京任国立编译馆编纂。
1953年奉调到北京，长期担任外文出版社外文版《中国文学》主编，1979年起兼任中国社会科学院外国文学研究所研究员。
几十年来，杨宪益在文学翻译园地上辛勤耕耘，成绩卓著。
他一方面与夫人戴乃迭合作，把《红楼梦》、《楚辞》、《史记选》、《魏晋南北朝小说选》、《唐代传奇选》、《宋明平话小说集》、《关汉卿杂剧》、《老残游记》、《鲁迅选集》（4卷）等大量中国古今文学名著译成英文出版，同时把阿里斯托芬的《鸟》和《和平》、荷马的《奥德修纪》、维吉尔的《牧歌》、法国中古史诗《罗兰之歌》、萧伯纳的《凯撒与克丽奥帕脱拉》和《卖花女》等欧洲古今文学名著译成中文出版。
此外，他还撰有《译余偶拾》、《零墨新笺》、《零墨续笺》等学术著作多种。
二、翻译思想
翻译思想，是译者对翻译工作的总体认识，是译者在自己的知识和翻译经验基础上形成的对于翻译行为各个层面所涉及的问题的主观观念。
1、杨宪益翻译非常注重准确性，其次还注重译、介结合。
“译、介结合，是先生的治学态度所致。
杨先生对历史研究感兴趣，也写过一些历史考证的文章。
他在介绍作品的同时，总是会做一些文学研究的工作，对作家本身以及创作背景做相应的介绍，以让外国读者更好地走进作品。
这对翻译工作者而言，的确是非常珍贵的学术习惯。
此外，杨宪益还特别注重译介的系统性，各个历史时期的代表性作品都有涉猎。
2、杨宪益译本的文化策略
杨宪益和戴乃迭最著名的译本，就是《红楼梦》了。
《红楼梦》英文全译本，除了杨戴本外，还有一种译本是英国的霍克斯在1973年的译本，由美国企鹅出版社出版，该版本译为《石头记》。
在对一些容易引起理解歧意的地方，霍氏译本采用更多的方法是意译，所以他的译本非常符合英语读者的阅读习惯，在英美世界影响力很大。
杨戴译本更多地采用的是直译，一般人多以此认为他们的译本只适合中国人来读。
其实，这正是杨宪益的高明之处。
今天的译者，多把翻译只看作两种语言间的转化，其实远非如此，它更多是两
种文化间的互转。
是把一种文化所特有的生活风俗、价值观和宗教信仰等，用比较直接的方式翻译出来，引起另一种文化的惊异，并因此影响另一种文化，还是转化为另一种文化方便接受的语言与表达样式，使其成为那种文化的一部分？这是杨宪益和霍克斯在文化策略选择的不同。
杨宪益考虑的是，如何把自己民族的文化完整地呈现给一个英语世界，并因此来影响英语世界的文化样式。
而霍克斯的策略则为，如何最小程度地惊动本民族和读者的文化感受，把《红楼梦》转化成自身文化的一部分。
由于近百年来，英语世界成为一种世界性的价值和文化标准，所以在中国翻译中，直译成为一种主导力量。
翻译者根本不考虑中国读者的语言和文化习惯，一味突出的是文化差异，这使得中国文化即使在当下的汉语环境中，也成为一种弱势文化。
可以说当下流行的翻译策略，在某种程度上显露的正是文化被殖民的迹象。
而英美国家的主流翻译观，更倾向于意译，对原文多采用了非常保守的同化手段，使译文符合本土的习惯和政治需求。
不同文化间的差异在这些译文中被掩盖，文化的陌生感在其中被淡化处理，这其实也是一种文化霸权意识。
在这个问题上，杨宪益等一些老一代翻译家是有清醒认知的。
所以杨宪益在翻译《奥德修纪》和《牧歌》时多采用意译，译文有很强的中国味，另一种文化的陌生感被减至了最弱，而在翻译《红楼梦》时，采用的却多为直译手法。
在这点上，杨宪益先生显示了极高的文化智慧。
三、评价
1953年，杨宪益受到毛主席接见。
周恩来当时特别向毛主席介绍：这是一位翻译家，已经把《离骚》译成了英文。
杨宪益先生学贯中西，在中国语言文化和西方语言文化方面具有深厚造诣。
他毕其一生精力，为中外文化交流尤其是中国文学走向世界作出了卓越贡献。
中国翻译协会授予杨宪益翻译文化终身成就奖，杨宪益是继季羡林后，第二位获奖翻译家。
“杨先生在我们心里是位高山仰止的学者。