07第四讲 五四时期 郭沫若 朱光潜_咬文嚼字朱光潜答案
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Lecture 4
Translation of literature and social sciences
around May Fourth Period（Continued）
Guo Moruo 郭沫若（1892-1978），a writer, poet, and translator.His translation career began from the translation of Goethe’s Faust in 1919 and lasted about 30 years.Famous translations:
Selected Poems of Shelley;The Sorrows of Young Werther;The Jungle;War and Peace;Selected Poems by Heine;Selected Poems by Tagor, etc.《雪莱诗选》
《浮士德》《少年维特之烦恼》 《海涅诗选》 《 屠场》 《战争与和平》《泰戈尔诗选》等 Translation ideas: 1.Translation is creation
Translation is no parroting, but a creative work.Good translation is no inferior to and even surpaes creative composition.翻译家不是鹦鹉名士。翻译是一种创造性的工作，好的翻译等同于创作，甚至超过创作。
2.Translating “the graceful charm”
风韵译
“我始终相信，译诗于直译意译之外，还有一种风韵译。字面、意义、风韵，三者均能兼顾，自是上乘。即使字义有失而风韵能传，尚不失为佳品。若是纯粹的直译死译，那只好屏诸艺坛之外了。”（陈福康，2011：219）
3.The theory of “resonance” “共鸣”说
“Resonance” is the spiritual interaction of the translator with the poet or the merging of the translator and the poet into one.“译雪莱的诗，是要我成为雪莱，是要使雪莱成为我自己。译诗不是鹦鹉学话，不是沐猴而冠。
男女结婚是要先有恋爱，先有共鸣，先有心声的交感。我爱雪莱，我能感听得他的心声，我能和他共鸣，我和他结婚了。——我和他合而为一了。他的诗便如我自己的诗。我译他的诗，便如像我自己在创作一样。”（王秉钦，2005：150）
From the 1930s to the period of the Anti-Japanese War, translation in China entered a lull(沉寂期）with fewer achievements both in practice and in theory, compared to the translation of the May 4th Movement period.Leading figures in this period were 林语堂、朱生豪，朱光潜 etc.Lin Yutang 林语堂(1895-1976)
A world famous Writer, translator, and a linguist, who wrote both in English and Chinese.“两脚踏中西文化，一心评宇宙文章”
Famous translations: 《浮生六记》《 老残游记》
《中国之智慧》 《印度之智慧》
编译《孔子哲言》In 1933, he iued On Translation《论翻译》, a long treatise which included his most systematic and famous translation theories and remarks on many translation problems.Translation ideas:
1.Three conditions for a translator——the aesthetic subject（审美主体）: In On Translation, he set down three conditions for a translator——the aesthetic subject（审美主体）: “第一是译者对原文文字及内容上透彻的了解，第二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手术的问题有相当的见解”。2.Three criteria for translation：
Thereupon, he put forward three criteria of translation: the criterion of faithfulne, the criterion of smoothne, and the criterion of artistic beauty.提出翻译的三重标准：忠实的标准，通顺的标准，美的标准。
3.Three responsibilities of the translator：
He interpreted the three criteria as the three responsibilities on the part of the translator.The criterion of faithfulne refers to the translator’s responsibility to the author, the criterion of smoothne, the translator’s responsibility to the Chinese reader, and the criterion of artistic beauty, the translator’s responsibility to art.三重标准又是译者的三种责任：对原著者的责任，对中国读者的责任，对艺术的责任。
4.Conveying both the meaning and the spirit of the original 翻译必须 “达意传神”
He argued that translation must reproduce the meaning and spirit of the original.And according to him, one needs to heed the following four aspects to achieve faithfulne.(即 忠实有四义）:
“忠实的第一结论就是忠实非字字对译之谓，译者对于原文有字字了解而无字字译出之责任。译者所应忠实的，不是原文的零字，乃零字所组成的语意。” “所谓字义，不能看作死的，固定的，分立的，须当作活的，有连贯的，不可强为分裂的东西。”
“忠实的第二义，就是译者不但须达意，并且须以传神为目的。译文须忠实于原文之字神句气与言外之意。字神是什么？就是一字之逻辑意义以外所夹带的情感上之色彩，即一字之暗示力„„”
“论忠实的第三义，就是绝对忠实之不可能。译者所能谋达到之忠实，即比较的忠实之谓，非绝对的忠实之谓„„
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„„决不可能把文义文神文气文体完全同时译出。”
“通顺即忠实非说不通中国话之谓。译者一方面对原著负责任，然既为本国人译出，当然亦有对本国读者之责，此则翻译与著述相同之点” ”（王炳钦，2009：197-198）。5.Translation is an art He was the first in China to declare in unequivocal terms that translation was an art.“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„„.6.Favoring sentence-by-sentence translation over “word-by-word” translation
He strongly opposed “word-by-word” translation but advocated fervently sentence-by-sentence translation, saying the unit of translation can only be sentences instead of individual words.坚决反对字译，提倡句译，指出，翻译只能以句为主体的句译，不能以字为主体的字译。„„其对于译文方面，是取一种态度，先把原文整句得意义明白准确的体会，然后依此总意义，据本国语言之语法习惯重新表达出来„„(陈福康，2005：328)His reputation and achievements outlive him.他虽已去世，当名望和成就犹存。
“若此总意义在本国文不能用同样之辞字表出，就不妨牺牲此零字，而别求相当的，或最近的表示方法。倘或一成语，在本国语中果为最准确翻译原义的，就是不与原文所用的相同，也可不顾；与其求守原文逐字意义，毋宁求达原文语意，这就是字译与句译的区别”。（ibid）She has beauty still, and, if it be not in its heyday, it is not yet in its autumn.她依然很美，如果不是风华正茂，也还不到迟暮之年。Rats desert a falling house.树倒猢狲散。
Zhu Guangqian朱光潜，Prominent aesthetician and translator who received a doctor’s degree in 1933 with a mastery of several foreign languages.Famous translations: 《美学原理》（by Croce);《美学》（by Hegel)
His translations are all masterpieces because he followed the principle that what one translates should be what one studies and specializes in.遵循研究什么，翻译什么的指导原则，因此他的译作既忠实又传神，成为译事的典范。Translation ideas: 1.Translation can only be approximate to the original.Absolute faithfulne is just an ideal.译文只能得原文的近似，绝对的信只是一个理想。
In 1944，he iued On Translation《谈翻译》, putting “Xin” above everything else and saying that “Xin” includes “Da” and “Ya” since a work of literary value must be an organic whole with meage and style in perfect harmony.If the original is not “Da” and “Ya” and the translation is, or vice versa, then the translation can not be regarded as “Xin”.一文，提出“信”是第一位的，“信”里包含“达”、“雅”，力主一个“信”字，而非“信达雅”并列或对等。
That is, faithfulne means that the translation shall be faithful to the whole of the original work, including the idea, the meaning, the style, the mood and so on.But absolute fidelity is only an ideal.2.Ideal translation is literal translation in smooth target language.理想的翻译是文从字顺的直译。3 Translation is an art.The highest realm for all forms of arts, including the art of translation, is “Following the desires of one’s own heart without transgreing the boundaries of rules.”
从心所欲不逾矩是一切艺术的最高境界，这是朱光潜翻译艺术论的核心。
He holds that translation is creation and by no means simple rewriting or imitation.And literary translation has nothing to do with mechanical or dead translation.Since translation is creative work, it should not only resemble the original in appearance but in spirit.A translator should deliver the eence and spirit of the original in languages favored by the target readers.翻译带有创造性，不但要貌合，而且要神似，要把原著的精神实质，忠实地用本国人民喜闻乐见的形式表达出来。
