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1、Appreciation of Translation From E to C,林语堂论翻译(1933),林语堂论翻译:忠顺美 翻译是一种艺术。凡艺术的成功，必赖个人相当之艺才，及其对于该艺术有相当之训练。翻译的艺术所依赖的是：第一是译者对于原文文字上及内容上透彻的了；第二是译者有相当的国文程度，能写清顺畅达的中文；第三是译事上的训练，译者对于翻译标准及技术的问题有正当的见解。翻译标准包括三方面。第一是忠实标准；第二是通顺标准；第三是美的标准。忠实就是“信”，通顺就是“达”，至于翻译与艺术文（诗文戏剧）的关系，当然不是“雅”所能包括的。,这三个标准就是：第一，译者对于原文方面的问题，也就是译者
2、对原著者的责任。第二，译者对中文方面的问题，也就是译者对中国读者的责任。第三是译者与艺术的问题，也就是译者对艺术的责任。一、忠实，一要达意，二要传神，三是比较忠实，而不是绝对忠实。凡文字有声音之美，有意义之美，有传神之美，有文气、文体、形式之美。译者或顾其义而忘其神，或得其神而忘其体。决不能把文义、文神、文气、文体及声音之美完全同时译出。一字有一字的个性，在他国语言觅一比较最近之字则有，欲觅一意义、色彩、个性完全相同的字则没有。例如中文极平常之“高明”、“不通”、“敷衍”、“对付”、“切磋”、“隔膜”、疏通“，都是不可译之字。,二、通顺，即如何将西文之思想译成中国文字。第一，译者必将原文全句意
3、义详细、准确的体会出来，吸收心中，然后依此全句意义按中文语法译出。第二、行文时须完全根据中国心理。一语有一语之语性，语法句法如何，皆须跟从一定之习惯，平常所谓”通“与”不通“，即其句法是否跟从其习惯。凡与此习惯相反者，即所谓“不通”。三、翻译与艺术文以上所论翻译之忠实与通顺问题，系单就文字上立论，求译文必信必达的道理。但是还有翻译艺术上之问题，也不能不简略考究一下。翻译于用之外，还有美一方面须兼顾的，理想的翻译家应当将其工作做一种艺术。以爱艺术之心 爱它，以对艺术谨慎不苟之心对它，使翻译成为美术之一种(translation as a fine art)，,且所译原文，每每属于西洋艺术作品，如
4、诗文小说之类，译者不译此等书则已，若译此等书则于达用之外，不可不注意于文字之美的问题。译艺术文最重要的，就是应以原文之风格与其内容并重。不但须注意其说的什么，并且须注意怎么说法。凡译艺术文的人，必先把其所译作者之风度神韵预先认出，于译时复极力发挥，才是尽译艺术文之义务我们可以说翻译艺术文的人，须把翻译自身事业也当做一种艺术。这就是Groce所谓翻译即创作，not reproduction,but production之义。,林语堂的翻译论发表于1933年，距今已七十余年，主要针对汉译英讨论翻译。林语堂是作家学者和典籍译家，曾英译或编译了论语、老子、庄子等典籍。他在对翻译的性质、过程、标准与译者
5、的责任等方面观点对典籍英译同样很有参考意义。以罗新璋（1984：856）来说：林语堂将严复的“译事三难”的理论继承下来，加以发展，不仅奠下了我国翻译理论的基础，还启发了后来的翻译工作者。50年代和60年代的翻译理论基本上没有超出严复和林语堂这两位大家所讨论过的范畴，所异者只是表达方式而已。,Chuangtse,Mystic and Humorist:Lin Yutangs IntroductionJesus was followed by St.Paul,Socrates by Plato,Confucius by Mencius,and Laotse by Chuangtse.In all
6、four cases,the first was the real teacher and either wrote no books or wrote very little,and the second began to develop the doctrines and wrote long and profound discourses.Chuangtse,who died about 275 B.C.,was separated from Laotses death by not quite two hundred years,and was strictly a contempor
7、ary of Mencius.Yet the most curious thing is that although both these writers mentioned the other philosophers of the time,neither was mentioned by the other in his works.,On the whole,Chuangtse must be considered the greatest prose writer of the Chou Dynasty,as Chu:Yu:an must be considered the grea
8、test poet.His claim to this position rests both upon the brilliance of his style and the depth of his thought.That explains the fact that although he was probably the greatest slanderer of Confucius,and with Motse,the greatest antagonist of Confucian ideas,no Confucian scholar has not openly or secr
9、etly admired him.People who would not openly agree with his ideas would nevertheless read him as literature.,Nor can it be said truly that a pure-blooded Chinese could ever quite disagree with Chuangtses ideas.Taoism is not a school of thought in China,it is a deep,fundamental trait of Chinese think
10、ing,and of the Chinese attitude toward life and toward society.It has depth,while Confucianism has only a practical sense of proportions;it enriches Chinese poetry and imagination in an immeasurable manner,and it gives a philosophic sanction to whatever is in the idle,freedom-loving,poetic,vagabond
11、Chinese soul.It provides the only safe,romantic release from the severe Confucian classic restraint,and humanizes the very humanists themselves;,therefore when a Chinese succeeds,he is always a Confucianist,and when he fails,he is always a Taoist.As more people fail than succeed in this world,and as
12、 all who succeed know that they succeed but in a lame and halting manner when they examine themselves in the dark hours of the night,I believe Taoist ideas are more often at work than Confucianism.Even a Confucianist succeeds only when he knows he never really succeeds,that is,by following Taoist wi
13、sdom.Tseng Kuofan,the great Confucian general who suppressed the Taiping Rebellion,had failed in his early campaign and began to succeed only one morning when he realized with true Taoist humility that he was no good,and gave power to his assistant generals.,Chuangtse is therefore important as the f
14、irst one who fully developed the Taoistic thesis of the rhythm of life,contained in the epigrams of Laotse.Unlike other Chinese philosophers principally occupied with practical questions of government and personal morality,he gives the only metaphysics existing in Chinese literature before the comin
15、g of Buddhism.I am sure his mysticism will charm some readers and repel others.Certain traits in it,like weeding out the idea of the ego and quiet contemplation and seeing the Solitary explain how these native Chinese ideas were back of the development of the Chan(Japanese Zen)Buddhism.,Any branch o
16、f human knowledge,even the study of the rocks of the earth and the cosmic rays of heaven,strikes mysticism when is reaches any depth at all,and it seems Chinese Taoism skipped the scientific study of nature to reach the same intuitive conclusion by insight alone.Therefore it is not surprising that A
17、lbert Einstein and Chuangtse agree,as agree they must,on the relativity of all standards.The only difference is that Einstein takes on the more difficult and,to a Chinese,more stupid work of mathematical proof,while Chuangtse furnishes the philosophic import of this theory of relativity,which must b
18、e sooner or later developed by Western philosophers in the next decades.,A word must be added about Chuangtses attitude toward Confucius.It will be evident to any reader that he was one of the greatest romanticizers of history,and that any of the anecdotes he tells about Confucius,or Laotse or the Y
19、ellow Emperor must be accepted on a par with those anecdotes he tells about the conversation of General Clouds and Great Nebulous,or between the Spirit of the River and the Spirit of the Ocean.It must be also plainly understood that he was a humorist with a wild and rather luxuriant fantasy,with an
20、American love for exaggeration and for the big.One should therefore read him as one would a humorist writer knowing that he is frivolous when he is profound and profound when he is frivolous.,The extant text of Chuangtse consists of thirty-three chapters,all of them a mixture of philosophic disquisi
21、tion and anecdotes or parables.The chapters containing the most virulent attacks on Confucianism(not included here)have been considered forgery,and a few Chinese textual critics have even considered all of them forgery except the first seven chapters.This is easy to understand because it is the mode
22、rn Chinese fashion to talk of forgery.One can rest assured that these textual critics are unscientific because very little of it is philological criticism,but consists of opinions as to style and whether Chuangtse had or had not enough culture to attack Confucius only in a mild and polished manner.,
23、I have based my translation on that of Herbert A.Giles.It soon became apparent in my work that Giles was free in his translation where exactness was easy and possible,and that he had a glib,colloquial style which might be considered a blemish.The result is that hardly a line has been left untouched,
24、and I have had to make my own translation,taking advantage of whatever is good in his English rendering.But still I owe a great debt to my predecessor,and he has notably succeeded in this difficult task in many passages.Where his rendering is good,I have not chosen to be different.In this sense,the
25、translation may be regarded as my own.,It should be noted that throughout the text,Giles translates Heaven as God where it means God.On the other hand,the term Creator is an exact rendering of chao-wu,or he who creates things.I will not go into details of translation of other philosophic terms here.
26、,追随耶稣的是圣保罗，追随苏格拉底的是柏拉图，追随孔子的是孟子，追随老子的是庄子。在以上四种情形中，前者是真正的老师，要么什么书都没写，要么著述颇少，后者则开始发展学说，并撰写了漫长深邃的论著。庄子约卒于公元前275年，跟老子的生卒岁月相差不到两百年，严格意义上与孟子生活在一个时代。然而最奇怪的是，尽管这两位在著作中都提到了当时其他哲学家，但谁也没有在自己的著述中提及对方。总体而言，庄子一定被认为是周朝最伟大的韵文作家，就像屈原被视为最伟大的诗人一样。他拥有这一地位是基于他杰出的风格和深邃的思想。这说明了这样一个事实:尽管庄子可能是孔子最大的诽谤者，对墨子而言，他又是儒家思想的最大对手，但没有
27、哪位儒家学者不公开或私下里钦佩他。公开不赞同他思想的人却把他的著作当做文学作品来拜读。,也不能真说一位纯粹的中国人会很不赞同庄子的观点。道教并非中国的一个思想学派，它是中国思维以及中国人对人生和社会的态度的深刻本质特征。道教具有深度，而儒学只有主次观念;道教对中国诗歌和想象力的丰富简直难以衡量，并为舒适闲散、热爱自由、诗意漂泊的中国人灵魂赋予哲理性的钳制。它提供了唯一安全、浪漫的方法，把中国人从刻板压制的儒家传统约束中释放出来，使那些人文主义者人性化。因此，中国人要是成功了，他总是儒派;要是失败了，总是道家。正因为世上之人失败者多于成功者，还因为所有成功人士都明白，尽管自己成功了，但在深夜反省
28、自身时却总是楚脚踌躇，所以我相信道家思想往往比儒家更为奏效。就连儒家学者只有明白自己并没有真正成功时，也就是遵循道家智慧时，他才算成功。,伟大的儒家大将、曾经镇压了太平天国运动的曾国藩早期运动中失败了，只有在一天早上他带着真正的道家谦卑认识到自己“不善”，把权力给予手下，这时他才开始成功。因此，庄子之所以重要，在于他是第一位完全发展了老子隽语中所包含的道家生活节奏观。中国其他哲学家主要关注政府管理和个人道德的实际问题，庄子不一样。他在佛教到来之前，为中国文学赋予了唯一的形而上学。我肯定他的神秘主义会让一些读者着迷，而把另外一些读者排斥在外。其中有些特征，譬如摒弃自我的思想、静思以及见独，表明中
29、国这些本土思想是怎样成为禅教发展的后盾的。人类知识的每一个分支，即便是研究地球的岩石和天空的宇宙光线，一触及任何深度，便会碰到神秘主义。,而且，中国的道教似乎跃过了对于自然的科学研究，仅仅是凭借洞察力也得出了同样的直觉结论。因此，毫不吃惊，阿尔伯特爱因斯坦和庄子在所有标准的相对性上观点一致，他们的观点肯定一致。唯一的不同是，爱因斯坦承担了更为艰巨一一对中国人而言一一更为愚蠢的数学证明工作，而庄子则提供了这一相对论的哲学重要性。在接下来的几十年里，西方哲学家迟早一定会把这一点发展出来。还要说几句庄子对孔子的态度。任何读者都看得出来，庄子是最伟大的历史浪漫家之一，因而接受他讲述的孔子、老子或皇帝的
30、逸事，一定得像接受他讲述的云将与鸿蒙的谈话或河伯与北海若的对话的逸事一 样。显然还须这样理解，庄子是一位幽默大师，带有异想天开且相当丰富的奇思怪想，带着美国式的夸张和矫饰的嗜好。因此，应该把庄子解读为一位幽默作家，明白他深刻时非常浅薄，浅薄时又非常深刻。,我的译文以霍理思的译本为蓝本。我翻译时很快便发现，在容易且 可能译得确切之处，霍理思的译文都是意译。他的风格不假思索，爱用口语体，这可能被认为是一个瑕疵。结果，几乎没有一行不是如此，所以我只得自己动手翻译，他译文中译得好的地方，我就使用。但我还是非常感激这位前辈，在许多文章中，他非常成功地完成了这项艰巨的任务。他译得好的地方，我没做什么改动。
31、在此意义上，这篇翻译可以视为是我本人所作。还应该注意到，整个文本中，在本意为上帝(God)的地方，霍理恩、译成了上天(Heaven)。另一方面，创造者(Creator)一词是 造物即造万物者的确切翻译。这儿我就不再详细说明其他哲学术语的翻译了。,He laughs best who laughs last/best.(Dutch)He laughs best who laughs longest.(Swedish)He laughs ill that laughs himself to death.(German)He that laughs on Friday may cry on Sund
32、ay.(French)He who laughs alone is recalling his little sins.(Spanish)He who laughs last laughs longest.(English)He who laughs much weeps much.(Turkish)He who laughs overmuch may have an aching heart.He who tickles himself,can laugh when he likes.If you laugh today,you will cry tomorrow.(Portuguese),
33、It is better for a man to laugh at life than to lament over it.Laugh with those that laugh.(Roman)No one becomes a laughing stock who eagerly laughs at himself.One half the world laughs at the other half.(French)One never wept but another laughed.(Italian)That day is lost on which one has not laughe
34、d.(French)The laugh is always on the loser.(German)There is nothing more foolish than a foolish laugh.They will be hushed by a good deed who laugh at a wise speech.Time spent laughing is time spent with the gods.(Japanese)Who laughs at others ills,has his own behind the door.,刘重德：信达切,刘重德（19142008）是我
35、国德高望重的教育家、学者和译家，2005年获得中国翻译协会授予“资深翻译家”的荣誉称号。刘重德（2002：298）对典籍或经典进行了界定：“广义的经典应包括历代具有权威性代表作包括古籍、诗词、戏曲以至五四时期的白话诗。”他英译过不少诗词，校注了汉英四书、汉英对照千家诗等典籍，其典籍英译理论与实践成果颇丰。刘重德批判地继承了严复的翻译思想和和泰特勒翻译三原则，结合自身翻译实践，基于“入于诗，出于诗的译诗观，提出了的“信达切”翻译标准：即信保全原文意义；达译文通顺易懂；切切合原文风格，或曰信于内容、达如其分，切合风格（刘重德，2000：44-50）。他在中国翻译辞典（2005：173-174）的“
36、翻译的忠实性”条目中指出：,所谓忠实性，乃是“信达切”三字原则的概括，也就是说，忠实性既要求译者做到“信于内容”的“信”，又要求做到“达如其分”的“达”和“切合风格”的“切”。要想圆满实现忠实性，译者就必须：1、深刻领会语言的实际情景；2、辩证地运用有关语言的对应规律；3、灵活处理句法结构和实际含义的矛盾；4、练掌握常见词的特殊用法；5、注意行文的逻辑性；6、活现说话者的神情和口气等等。可见刘重德的“信达切”翻译标准很强调翻译的忠实性。,许渊冲：信达优,典籍英译“桂冠译家”许渊冲是当代文学翻译艺术论的倡导先锋和坚强卫士，其典籍英译研究与实践每每“敢为天下先”，目前仍活跃于译坛，笔耕不止。最近还
37、翻译了许多人认为不可译的对联，其中昆明大观楼长联的优美译文就是好例子。在继承和发展前人翻译理论的基础上，在大量诗词英译实践中，许渊冲提炼出自己的翻译标准“信达优”。他认为，信、达、优三字按顺序排列，不可随意颠倒。翻译的第一个标准是“忠实于原文的内容”（信），翻译的第二个标准是“通顺的译文形式”（达），翻译的第三个标准是“发挥译语语言的优势”（优）。换言之，“信”最为重要，“达”是必要条件，“优”是充分条件。,许渊冲认为，文学翻译作品是原作者用译入语的创作，译者要尽可能发挥译入语优势。“优”是其“美化之艺术，创优似竞赛”文学翻译观或“文学翻译十论”的核心：“优”就是发挥译语优势，采用译语最好的表
38、达方式，采用富有意美、音美、形美的词语。如果要把“优”换个字眼，则“美”可当之。在这三字标准当中，许渊冲非常看重最后一个“优”或“美”字，因为他认为正是这个字，把优秀译作与一般译作区别开来。换言之，优秀译作正是在发挥译文语言优势的前提下产生的（张智中，2006：73）。,在许渊冲看来，译诗要像原诗一样能感动读者的心，这是意美；像原诗一样有悦耳的韵律，这是音美；还要尽可能保持原诗的形式，这是形美。在他看来，诗歌翻译，只有形美不一定是好诗，只有音美，也不一定是好诗。好诗要有“三美”。所以只重形式不行，要尽可能传达原文的意美、音美、形美，可以采用等化、浅化、深化的方法，达到让译文读者对译文“知之、好
39、之、乐之”的翻译目的。许渊冲（2003：1）历来一贯坚持“文学翻译应该是原作者用译入语的创作文学翻译，尤其是诗词翻译，需要意美、音美、形美，所以是综合性的艺术”之观点。,汪榕培：传神达意,在大量典籍英译实践的基础上，汪榕培提出了“传神达意”的典籍英译（尤其诗歌）的翻译标准。关于诗歌翻译，他（1997：119）指出：要说我自己的翻译标准，我在几年前的一篇文章里写过，只有四个字更确切地说是一条四字成语“传神达意”。关于这四个字还要两条注释。第一，“传神”就是传达原作的神情，包括形式（form）、语气（tone）、意象（image）、修辞（figures of speech）等等；“达意”就是表达原
40、作的意义，尤其是深层意义（deep meaning），尽量照顾表层意义（surface meaning）。第二，这四个字不是并列结构（“传神”和“达意”不是并重的），而是偏正结构（“传神”是“达意”的状语，即“传神地达意”）。,一首好的译诗首先要表达原作的基本意义，传神是在达意的基础上传神，是锦上添花，不达意则无神可传。对于典籍英译的总体标准，汪榕培和王宏（2009：10）还认为：典籍英译标准的制定不仅与原作内容、风格、文本类型和原作者的意图密切相关，还要考虑与文化、社会现实、翻译目的、读者需求等因素。译者的选择应以是否恰当为依据，在尽量贴近原文和满足读者的阅读需求之间寻找平衡。,翻译天生就是辩义和比较。汪先生历来很重视典籍英译与研究的比较、创新和超越。汪榕培（2002：3）指出：如果没有扎实的汉语和外语基本功，创新就没有起点。所谓“两张皮”的问题，归根结底还是个基础问题。也就是说，汉语学者没有眼睛向外，而外语学者没有眼睛向里，致使没有造就一批中西贯通的学者外语工作者接触两种语言、两种文化有比较才能有鉴别，在比较中往往能出真知，这样的真知往往就是一种创新。,Assignment,1.Preview assignment:2.My Appreciation Show:The Translation I Like Best,
