Trans_principles_翻译原则.doc

Lecture Three
Translation Principles, Approaches,
and Qualifications for a Translator
1．翻译标准和原则
任何翻译实践总要遵循一定的标准或原则,衡量一篇译文的好坏同样也离不开一定的标准,因此翻译标准的确立对于指导翻译实践有着重要的意义。然而由于主客观因素的作用,人们看待翻译的角度不同,采用的翻译标准也就各异。
1．1 严复的“信、达、雅”
关于 “信”,严复认为:译文应该抓住全文要旨,对于词句可以有所颠倒增删,只要不失原意,不必斤斤计较词句的对应和顺序。
关于“达 ”,严复认为:达非常重要。只信而不达,译了等于没译；只有做到达,才能做到信。要做到达,译者必须首先认真通读全文,做到融会贯通,然后进行翻译。为了表达原意,可以在词句方面作必要的调整改动。
关于“雅” ,严复认为:译文要雅,否则没有人看。“雅” 是指“古 雅” ,要采用汉代以前使用的古文。
对于严复的信达雅,不少人对于“雅” 有一些不同的看法:不能脱离原文,片面求雅；如果原文不雅,译文怎么能雅？况且,严复主张的是古雅,即用古文进行翻译,这是不可取的。至于“信” 和“达” ,多年来用作评价翻译的尺度,在我国翻译界一直是没有异议的。
严复在《天演论·译例言》里首次提出了“信、达、雅” 的翻译标准。“信 ” 指的是“忠实” ,“达 ” 指的是“流畅” ,“雅 ” 指的是“尔雅”。 所谓 “尔雅 ”, 用严复自己的话来说就是“用汉以前字法、句法 ”。
一百年来,严复提出的“信、达、雅” 在中国翻译界起了很大的作用。人们对“信” 和 “达” 没有什么争论, 唯有“雅”字例外。再“用 汉以前字法、句法” 进行翻译是不行了。因此人们对“雅 ” 字作过各种解释,发过各种议论。纵观各家之言,我认为周照良教授的解释是比较可取的。
周照良教授在 “翻译三论” 一文中说:“我认为应当作为‘得体'来理解。得体不仅仅指文笔,而是指文笔基本上必须根据内容来定；文笔必须具有与其内容相适应的风格。”他还说:“信、达、雅”三者哪一个最重要?我以为要看内容而定。如果译的是《读者文摘》或旅游见闻,那就要着重达,便是漏译一两句也无关宏旨。如果译的是哲学、社会科学 , 特别是经典著作 , 信就应当放在首位。 ...
至于文学翻译 , 那当然要讲究文笔。
如果一篇译文在内容上是忠实的,在语言上是通顺的,在风格上是得体的,那的确就是一篇很好的译文了。
1．2 “忠实”和“通顺”的标准
“忠实” 主要是指内容。翻译是在理解了别人用某种语言表达的意思之后,把同样的意思用另外一种语言表达出来。 也就是说,译者的任务是表达别人的意思,而不是自己进行创作。因此,就要力求准确地表达原作者的意思。“通顺”指的是语言。如果原文是通顺易懂的,那么译文也要尽量做到通顺、易懂。

1. 3 Tytler’s Three Principles
If it were possible accurately to define, or, perhaps more properly, to describe what is meant by a good Translation, it is evident that a considerable progress would be made towards establishing the Rules of the Art; for these Rules would flow naturally from that definition or description. But there is no subject of criticism where there has been m much difference of opinion ...I would therefore describe a good translation to be, That, in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work.
Now, supposing this description to be a just one, which I think it is, let us examine what are the laws of translation which may be deduced from it.
It will follow,
I. That the Translation should give a complete transcript of the ideas of the original work.
II. That the style and manner of writing should be of the same character with that of the original.
III. That the Translation should have all the ease of original composition.
(from A. F. Tytler: Essay on the Principles of Translation)

1.4 Five Types of Translation Principles

1) 以译出语为取向的原则(the source-language-oriented principle)
这类翻译标准唯原文的形式是举,惟恐译文失真,主张采用词对词、句对句 (word-for-word, line-for-line)的译法,而且常用音译法。
“直译”作为一种具体翻译方法完全有自己存在的价值,例如,它可以引人外来语中新鲜的表达法,丰富汉语语言文学。不过,如果把“直译” 视为指导翻译实践的通行原则,显然是行不通的。例如把 the Milky Way(银河)直译为“牛奶路”、 把the apple of my eye( 珍爱物；珍爱之人,宝贝)直译成“我眼中的苹果 ”,这些译例让人难以理解和接受。
2) 以译入语为取向的原则(the target-language-oriented principle)
这类翻译标准完全为了适合读者的口味而让译文“归化”(adaptation),有时甚至不惜曲解原作、添油加醋。“意译”作为一种具体翻译方法同样完全有着自己存在的价值,如所译英语在汉语中没有对应的词语或表达法时就常用它。但如果把它视为指导翻译实践的通行原则,同样也是行不通的。例如把Solomon(所罗门,古以色列国国王大卫之子,以智慧著称)意译成“诸葛亮”,把spring, the sweet spring, is the Year's pleasant king意译为“春,甘美之春,一年之中的尧舜”等。陈廷佑曾举例说明过分意译的坏处, 例如:
He wanted to learn, to know, to teach. 他渴望博学广闻,喜欢追根穷源, 并且好为人师。(译文过分意译,偏离原作思想,可改译为:他想学习,增长知识,也愿意把自己的知识教给别人。)(陈廷佑,1982年,23页)
3) 以作者和读者为取向的原则(the author-and-reader-oriented principle)
这一原则既考虑到作者又同时考虑到读者,比较全面。鲁迅先生认为,“凡是翻译,必须兼顾两面,一当然力求其易解,一则保存着原作的丰姿。”这就是说,译文既要信又要顺。简言之,该原则就是主张翻译既要“忠实”又要“通顺”。从大量的翻译实践来看,它基本上是正确的,但其缺点是付诸实践时让人感到过于笼统和抽象。
4) 以美学为取向的原则(the aesthetics-oriented principle)
这类翻译原则主要为文学翻译家所提倡,如美国的意象派诗人庞德 (Ezra Pound,1885-1975), 前苏联翻译理论家加切奇拉泽 (1914-1974), 以及我国的傅雷、钱钟书和许渊冲等人。傅雷认为,“以效果而论,翻译应当像临画一样,所求的不在形似而在神似(similarity in spirit)。”(傅雷,1951年,3-4页)钱钟书提出,“文学翻译的最高标准是‘化'。把作品从一国文字转变成另一国文字,既不能因语文习惯的差异而露出生硬牵强的痕迹,又能完全保存原有的风味,那就算得入于‘化境' (sublimation)。”(钱钟书,1985 年,125页)许渊冲提倡文学翻译要做到“意美、音美、形美”。值得指出的是,采用美学取向的翻译原则指导翻译实践的确产生了不少精彩的文学译作,但是,这类原则一是过于高深”和“抽象” ,同时也不太适合用来指导非文学作品的翻译实践。
5) 以社会符号学为取向的原则 (the sociosemiotics-oriented principle)
这类翻译原则强调翻译必须充分考虑各种语言符号所传达的意义和具有的功能。所谓意义指的是三个方面的内容:A.指称意义(designative meaning)；B.言内意义(linguistic meaning)；C.语用意义 (pragmatic meaning)。
1.5 Criteria for Translation
Speaking of translation, we tend to think of Yan Fu who advocated for the first time the three words as translation criteria, namely, “faithfulness, expressiveness and elegance.” Yan Fu’s “faithfulness” means the full and complete conveying or transmission of the original content or thought. His “expressiveness” demands that the version must be clear and flowing without any grammatical mistakes or confused logic and sense. So the first two words as translation criteria are acceptable. But his “elegance” is unadoptable because it refers to the use of classical Chinese before the Han Dynasty. Yan Fu held that only the language before the Han Dynasty could be considered elegant and old vocabulary, old structure of Chinese must be used in order to represent the original fully and adequately. Therefore he can be said to object to the use of the vernacular or popular language of the people. As a matter of fact, the vernacular began to be in fashion when Yan Fu lived. Facts prove the vernacular or the popular language of the people can be used to translate any foreign language in the world. But Yan Fu opposed the application of the vernacular in translation, that is why many people criticized his “elegance.” Of course Yan Fu's explanation of the translation criteria is limited by the age he lived in. Therefore we must look at his criteria with a critical eye.
Furthermore, Yan Fu's “elegance” can only be regarded as one style. Its opposite is the style of “boldness and unconstraintedness.” “Elegance” and “boldness” constitute two different styles. Of course there are many other styles in translation. So “elegance” as an overall translation principle may give rise to diverse interpretations.
Mr. Lu Xun, the greatest modern Chinese writer proposed “faithfulness” and “smoothness” as translation standards and attached importance to the preservation of the original flavor. But he once said, “Rather be faithful (in thought) than smooth (in language).” This was only put forward in opposition to Zhao Jingshen's saying: “It's better to have a smooth version than a faithful one.” And this is, of course, understandable.
Criteria for translation constitute the yardstick for measuring a piece of translated work. The common criteria applied in translation can be summarized in the following two words: faithfulness and smoothness.
1）“Faithfulness” first refers to the content of the original work. The translator must bring out the original meaning both comprehensively and accurately without any distortion or casual addition or deletion of the original thought.
Faithfulness also includes the keeping of the original style, as Mr.Lu Xun put it, “keep the full flavor of the original work.” Sometimes, even the original emotions or feelings such as anger or distress, satire or irony, joy or happiness should not pass unnoticed.
2） “Smoothness” requires that version must be clear and distinct, flowing and easy to read without signs of the mechanical word-for-word translation, of obscure and crabbed language, of grammatical mistakes, confused structure and turbid logic. By smoothness we mean that we should make the language forceful, clear and idiomatic. Different languages have different ways of expression. The translator must try to follow the custom and good usage of the languages used and not stick to the mode of expression of the original.
Sometimes there are contradictions between faithfulness and smoothness, but the translator must try his best to arrive at the unity of the contradictions. The most important thing is, he must first have a thorough understanding of the authors, ideas and feelings expressed in the original and put them into a different language idiomatically according to some of the fundamental rules and methods of translation. Only thus can he be said to be responsible both to the author and the readers.
In the last decade of the 18th century, Alexander Fraser Tytler, professor of history at Edinburgh University, laid down three fundamentals by which a translation should be made or judged. They were (1)a translation should give a complete transcript of the ideas of the original work;(2)the style and manner of writing should be of same character as that of the original and (3)a translation should have all the ease of original composition. In his book Essay on the Principles of Translation, Tytler illustrated those fundamentals with a wealth of examples which put his book in a class by itself...
In his book Les belles infideles, Georges Mounin says that the translation is a pane of glass through which we look at the work of art. He is thinking of Gogol's definition of the perfect translator as one who becomes a pane of glass which is so transparent that the reader does not notice that there is any glass. Obviously, it is too difficult to reach such an ideal: even the clearest glass has an index of refraction. A “clear glass” translation, however, can always be effected as it has been done though centuries. And the indispensable requisite is that the version must be both faithful to the original work and smooth in the target language.
… then it is clear that we shall come to a satisfactory conclusion: unity of contradictions, i.e., a translated work both faithful and smooth.
Before 1949 we got from the west almost nothing about the theories on translation except the principles of A F.Tytler, which were, however, of little help to us. Recently we have learned much from A .B. Feedorov, whose “principles of translation” have, indeed, supplied us a sound system of theory on translation. Adequate translation, as suggested by the Soviet scholar, is, in fact, a translation both faithful and smooth.

2．直译与意译

2．1 简述
直译与意译都是艺术，无高下之分，孰优孰劣不是绝对的。
直译:指偏重于照顾原文字句的翻译。
意译:根据原文的大意来翻译，不作逐字逐句的翻译。
关于直译，有人认为文学翻译才是翻译艺术的殿堂，科学偏重直译，文学偏重意译，其实不然，除非有量化的统计结果可以证明。
译界已达成共识:直译不是死译或硬译，不是生搬硬套，不是逐字照译，它强调形似。意译不是任意增减，曲解原意，不是胡译乱译，它强调意似。为了忠实表达原文的思想内容和文体风格，达至译作与原作的相似，“直译与意译是译事中一种基本手段的两个方面。”“事实上，持直译论的人也大量地求诸意译，主张意译的人也少不了直译。” (李全安，1990) 即使同一原文，时而直译，时而意译；有时既可以直译，也可以意译；有时可部分直译，部分意译。只是整体上有所倾向，有所侧重而已，并非泾渭分明。
传达意义是首要的，旨在传达原作独特的内容。直译是翻译之一种，必然以传达意义为宗旨。意义不确实的话，即使形式再美的译品，也不是原作在译语文化中的再生。
“照顾形式”是顺带的，旨在体现原作独特的形式美。“为译语读者所接受”是根本的，旨在实现原作文化的传播功能。
如:China has a long history，a large population and a vast terr1tory.
原译:中国有悠久的历史、众多的人口和辽阔的领土。
试译:中国历史悠久，人口众多，幅员辽阔。
原译基本上是直译，但决非逐字对出: 一是基本保留了原句语法结构， 未变语序；二是保留原文词语的字面意义，但不定冠词没有译作常见的 “-X” 形式。试译则用汉语常用的句式，将原文单句变成了译语的复句，取意换形，但在句序上仍与原作语段相照应。
2．2 直译
直译的专业界定:直译是既传达原作意义又照顾形式且为译语读者所接受的翻译。
2．2．1 直译的特征
1）保留形象
直译可以保留原文的形象，包括物象、比喻形象等， 进而保留民族色彩和新的科学内涵。这种形象是能为译语读者接受的，不存在特别强的原语文化色彩的语言现象可以如此操作。若遇原话文化色彩强的语言现象，如修辞方式、地方色彩和民族特色等，可采用加注方法，给特质文化在域外接受一个缓冲机制。
2)模仿结构
原文的形式一般包括词序、语序等。直译强调形似， 依照原文的形式逐一翻译出来。无机离子对破乳剂浊点的影响 ， 除与离子性质有关外，还与盐的浓度和破乳剂的结构有关。
The effect of inorganic ions on the cloud point of demulsifiers depends not only on the nature of ions， but also on the concentration of salts and the structure of demulsifiers.(刘先刚译)
用 not only---but also 译 “除与……还与……”， 基本保留了原文的逻辑结构和语言形式
3) 照顾语序
科学作品大多描写客观世界，其绝大部分句子都按照“自然顺序” 推进，即主语在前，谓语在后，与汉语的语序一致。单句如此，句群更是如此。二者大体相同时， 一般均可按英语句子的语序先后，顺译成汉语。如:
Some animals are sensitive to earthquake indicators. About two days before an earthquake， fowl roosts in trees， fish leap out of the water， horses will not enter their stables， and snakes leave their holes.
有些动物对地震征兆很敏感，大约在地震前两天， 家禽上树， 鱼跃出水，马不进厩， 蛇钻出洞。
4) 形意兼顾
译文基本不改变原语的形式，更不改变原语的内容，二者相融。如:
As the months lapsed into years， Mr. Hill became more like a wise uncle than a boss.
原译:不知不觉中几年过去了，与其说希尔先生是我 的老板不如说是我的一个睿智的表叔。
改译:月复一月，年复一年， 希尔先生是我的老板，但更像我的聪明的叔叔。 ( 伍贻文译 )
原文表示时间的形象说法被原译抽象为“不知不觉中几年过去了”， 失去应有的形象，也就使前句的翻译缺乏生气。原文中的 months 与 years 均用复数， 相当于两个命题:The months have gone. The years have gone. 改译为 “月复一月 ， 年复一年” ，非常恰当地表现了这两个命题，用复句再现了原文的一个单句， 把一个形象变成了两个形象。
2.2.2 直译的模式
直译在意似的基础上同时追求译文与原文的形似， 不是求等同。形似表现语表形式的层次对应。( 朱文振 ，1987:18)语言共性是双语赖以转换的基础，是层次对应模式能够实现的前提，即原文的各个语言层次基本或完全能够在译文中得到再现，译语基本不改变原文的形式，包括词序、语序和修辞方式。可分为绝对对应和 相对对应。
1) 绝对对应
绝对对应指译文与原文的各个语言层次( 不含音素层 )均能相互对应。如air，cap， air gun， air hammer， air cushion等分别译成“气 帽 ” 、 “ 气枪 ” 、 “ 气锤 ” 、 “ 气垫” 等，是短语层面的直译，译得形象生动，为汉语接受。语句层面的绝对对应如:
Five plus five is ten.
五加五等于十。
2)相对对应
相对对应指部分对应即译文形式基本与原文保持一致。但为使译文通顺流畅，其中个别句子成分也可调整。如:
Since 1978， high-rise flats have sprung up like mushrooms in the cities.
自1978年起，高层住宅雨后春笋般地在城市出现。
据徐亚男、李建英 (1998:4-5)介绍，1990年代我国申办奥运会期间曾接待奥委会代表团，有关领导详细通报了我方各种有利条件以及准备工作后说:“现在有戏没戏就看你们了。” 有人把 “戏 ”想成show，于是译成 Whether there is a show or not is up to you。这就是死译，是词的死译，没有把词正确地融入句中考虑，其内涵是“申办是否成功，取决于奥委会了” 。
2.3意译
2.3.1 意译的概念
意译的专业界定:意译是传达意义不拘原作形式的翻译。
“传达意义”是意译的显著特色。译者领会原作，直通原意，径直表达出来。但是传意不等于自由表达，意而不乱，意而不曲。要说意译的自由，是表达的自由， 而不是取意的自由。“不拘原作形式”，指在转换过程中不拘泥原文形式，是意译有别于直译的灵魂。意译往往是在原作形式与译语表达方式产生冲突时采取的策略， 它将原作内容金蝉脱壳。各民族语言中的词汇、句法结构和表达方式都有其特殊性，当译语与原语形式上发生矛盾时，往往需借助意译来解决。意译依照原文意义， 将它灵活表达出来，达至原作内容与译语表达之间的和谐。不拘于形式，主要指拘于单句内的形式结构、句子间的结构以及更高层次语篇的形式。如:
One boy is a boy， two boys half a boy，three boys no boy.
一个和尚挑水吃 ， 两个和尚抬水吃 ， 三个和尚没水吃。
2．3．2 意译的特征
1) 形意兼顾
形意兼顾,形意均传达出来。这一点,意译与直译相通。
2) 变形保意
变形保意,内容完整,外形上有增有减,词序前后有变,换言之,是据意调形,就是根据原文的意思调整形式,以适应译语的形式要求。
3) 舍形取意
舍形取意,不顾原语形式, 传达本质含义。如:
In order to avoid excessive clutter, Fig.4 is presented without sideslipβ indicated.
原译:为避免过分的混乱,在侧滑角β。没有示出的情况下图4被示出。
改译:图4没有标出侧滑角β, 以免混乱。
原译受原作形式局限,依字面译出,译文冗长罗嗦,不如舍去形式,将原意用汉语自如地表达出来。
4) 轻形重意
轻形重意,以传意为主,兼顾形式。形式的转换, 包括语序的重大变动、句序的颠倒、句子成分的改变等。如:
A stone given a push along a rough road is quickly stopped by friction.
死译:如果在粗糙路面上推一下石头, 石头就会受磨擦而很快停止。
意译:石头受力的作用沿粗糙路面运动,因磨擦作用而迅速停止。
按照原文描写的事物运动状态,将其整理用汉语描述出来。加上“运动”二字, 显示逻辑内涵,只有运动的物体才会因磨擦作用而停止。
2．3．3 意译与乱译的区别
意译求意到,不求形到,因形限意,必然变形,所以与原作形式相比,译语语表形式上会有变化,当补则补,当略则略,灵活求求顺。当然,灵活有一定限度,不能出格。譬如,为表达清楚,不得不加一些字,不是随意添加,只是在忠于原意的前提下,以此作为一种手段而已。不加字,会译出洋腔洋调的文字。如:
The battlefield radar will be small enough to be carried by one man.
原译:战场雷达将小得足以由一个人来携带。
改译:战场雷达很小,一个人即可携带。
意译是力求保全原作的内容不变,以内容传达为主,以形式传达为辅。乱译则是臆译,对原文的内容任意增删、篡改。臆译大概有两种情况:有人读文一知半解,凭主观臆断和想当然,胡乱猜测,有丢有漏；还有的人抓住原文一点意思,就放开手添油加醋,脱离原文自由发挥,越组代庖,把原文没有的意义强加于译文。
The Falcon has been tested by the British Army but to date no production orders have been placed.
原译:英国陆军已对鹰炮进行了试验,但直至目前尚未批量生产。
改译:英国陆军已对鹰炮进行过试验,但至今未发生产订单。
原文并元“批量生产”之意,是译者篡改的,使原文走意。这种乱译在某些情况下会误事,造成很大的损失。再看一例:
The only way I know of dealing with this general human conceit is to remind ourselves that man is a brief episode in the life of a small planet in a little corner of the universe, and that for aught we know, other planets of the cosmos may contain beings as superior to ourselves as we are to jelly-fish.
原译:据我所知, 排除人类这种夜郎自大的心理状态的唯一办法是提醒自己: 地球只是字窗天体中一颗不足为奇的小星星。而人生在地球上的沧桑变幻过程中只是一首短暂的插曲；况且,如同人之优于海萤一样,宇审中别的地方 也还可能存在着比人类更高级的动物,只是我们尚未知晓而已。
改译:我所知道的对付人类这种自负通病的惟一办法即提醒自己:人类只是茫茫宇宙一隅的一颗小行星上的短暂插曲；宇宙深处也许存在着更高等的动物,他们优于人 类,如同人类之优于海萤。 (吕秀一译)
原译选自中国国际广播出版社出版的《大学英语阅读文选》(英汉对照), 是全译与全文的对照。可是原译者将 a small planet in a little corner of the universe 译出之后,无端添加了“在地球上的沧桑变幻过程中”, 这是全译所