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经典散文翻译

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篇一:经典散文翻译

30. 不死鸟

三毛

一年多前,爱书人杂志给我出了一个题目“如果你只有三十天的寿命,你将会做些什么?” 我一直没有动笔。

荷西听我说起这件事情,也曾好奇地问过我,——“你会做些什么呢?”

当时,我正在揉面,我举起了沾着白粉的手,温和地摸摸他的头发,慢慢地说:“傻子,我不会死的,因为还得给你做饺子呢!”

以后,我们又谈起这份欠着的稿子,我的答案仍是那么的简单而固执——“我一样的守这个家,有责任的人是没有死亡的权利的。”

虽然预知死亡是我喜欢的一种生命结束的方式,可是我仍然不能死,在这个世界上有三个与我个人存亡牢牢相连的人。那便是我的父亲、母亲还有荷西,如果世界上有他们活着一日,我便不可以死,连神也不能将我取去,因为我不肯。

让我父母在渐入高年地失去爱女,那么他们一生的幸福和慰藉,会因为这一件事情完全崩溃,这样尖锐的打击不可以由他们来承受,那是过分残酷也过分不公平了。

要荷西半途折翼,失去他相依为命的爱妻,那么在他日后的心灵上会有什么样的伤痕,什么样的烙印?如果因我的消失而使得荷西的余生不再有一丝笑容,那么我便更不能死。

这些,又一些,因我的死亡而将使父母及丈夫所遭受到的大劫难,每想起来,便是不忍,不忍,不忍又不忍。

毕竟,先走的是比较幸福的,留下的并不是强者,可是想到这彻心切肤的病痛,我仍是要说——为了爱的缘故,这永别的苦杯,还是留给我来喝下吧。

The Surviving Bird

San Mao

Over a year ago, the Book Enthusiast magazine asked me to write an article in answer to the question, “What would you do suppose you were to live for only 30 more days from now?”

So far I still haven’t set pen to paper.

Hexi, learning of it from me, asked with curiosity, “What would you do?”

I was then kneading dough. Raising my hand caked with white flour to caress his hair with tenderness, I said unhurriedly, “O, silly, I’m not going to die, I have to live on to make jiaozi for you!”

Later when we again mentioned the article I was supposed to write at the request of the magazine, I still took a simple and resolute stand. “I’ll keep watching over the house,”said I. “A person bearing responsibility for a home has no right to die at all.” Although I know my favourite way to end this life is by death, I still don’t want to die. Three persons in this world have their fate so closely tied up with my life and death. They are my parents and Hexi. I refuse to die as long as t(本文来自:Www.dXF5.com 东星资源 网:经典散文翻译)hey’re alive. Not even a god can take me away when I say no.

The loss of their beloved daughter would deprive my ageing parents of their life-long happiness and consolation. It would be cruel and unfair for them to suffer the

crushing blow.

If Hexi should lose his beloved wife, with whom he had been living for interdependence, what an emotional trauma he would undergo! And what bitterness would be deeply engraved in his mind! The thought of the complete vanishing of smiles from his face during the rest of his life as a result of his bereavement made me all the more determined against my death.

I cannot bear to think of the great adversity to be brought on my parents and husband by my death. No, I can’t, absolutely can’t.

Yes, those who leave first are happier than those left behind, and the latter are not necessarily the stronger. In spite of my painful illness. I reiterate that for the sake of love, let me stay behind to drink down the last bitter cup of parting.

我愿意在父亲,母亲及荷西的生命圆环里,做最后离世的一个,如果我先去了,而将永远的哀伤留给世上的他们,那么是死不瞑目的,因为我的爱有多深,我的牵挂便有多长。

所以,我几乎没有选择地做了暂时的不死鸟,我的羽毛虽然因为荷西的先去,已经完全脱落,无力再飞,可是那颗碎掉的心,仍是父母的珍宝。再痛,再伤,他们也不肯我死去,我也不忍放掉他们啊。

总有那么一天,在金色的彼岸,会有六只爱的手臂张开了在迎我进入永生,那时,我方肯含笑狂奔而去了。

这份文字本是为着另一个题目写的,可是我拒绝了只有一月寿命的假想,生的艰难,尘世的苦,死别时一刹的碎心又碎心,还是由我一个人来承担吧。

父亲、母亲,荷西,我的亲人,我爱你们胜于自己的生命,那么我便护着你们的幸福,不轻言消失吧!

I hope to remain with my parents and Hexi in their lifetime and be the last to pass away. It would make me turn in my grave if I should be the first to die, thus leaving them with perpetual sorrow. My concern for them is as deep as my love for them.

Therefore, I have no choice but to be a temporary surviving bird. Though I can’t fly any more, having lost all my feathers due to Hexi’s death, my broken heart is still treasured by my parents. They just won’t let me die despite my spiritual agony and wound. And nor can I bear to lose them.

The day will surely come when six loving open arms on the other golden bank will welcome me to eternity. Then, and only then will I rush forward with a smile.

I originally intended this article to be written under another title. But I rejected the hypothesis that I was going to die in 30 days. The trials and tribulations of living, the sufferings of mortal life, the acute sorrow of parting for good—let me bear all that alone.

Dad, Mom and Hexi, my dear ones, I love you more than I do myself. So let me guard your happiness and never unthinkingly speak of my death.

篇二:散文翻译的技巧

散文翻译

一、散文的特点

散文是文学中常见的体裁,它选材广泛,结构灵活,表现手法多样,如叙事!抒情!议论等,主要特点是:体物写志,行散神聚。―形散―是指散文运笔如风,不拘形式,清淡自然; ―神聚‖指意旨明确,紧凑集中,既散得开,又收得拢;既有豪放的特色,又有清幽的特征。真正的散文是充满诗意的,就像苹果里饱含着果汁一样(巴乌斯托夫斯基语)。优美的散文艺术性在于新颖的构思,充沛的感情,丰富的想像,简洁精粹的语言和耐人寻味的意境"散文也常常被比作小而境界深邃的园林。作者运笔看似信手拈来,实则字斟句酌,环环相扣,使读者浮想联翩。文论家刘勰说道: ―情动而言行,理发而文见‖,由此可见散文贵在以巧取胜,以巧妙的语言、巧的意境来打动读者,给读者以最大审美愉悦。既然散文有丰富的艺术魅力,那么它的审美效果又如何在译文中传达呢?俄国著名翻译家吉加切奇拉泽在《文艺翻译与文学交流》一书中谈到文艺翻译的总的指导原则时认为:―理想的文艺翻译首先是在艺术上,而不是在语言上和原文一致。即使达不到这一目标,也应全力以求,离目标越近越好‖。在加氏看来,作家的思想表现在文字形象以及一定的语调和节奏结构上,每个句子由若干语调、意群或若干句素组成,它们的意义合构成句子。因此,他认为文艺翻译的过程也应当根据上面的模式进行。不过译者不能机械地重复创作过程的所有阶段,译者应努力把通过文字形象表达的原作的思想用另一种语言再现出来,当然同时要有兼顾文学文本所特有的语调、节奏和句构特点,作为文学翻译形式之一的散文翻译,自然也要求译者在传译过程中,不仅要传达出原文的语流!节奏和句子结构等语义信息,更应着重传达原文的艺术神韵,以使目标读者在读译文时可以获得和原文读者读原文时同样的语义和美学的双重享受。

二、散文英译

以张培基的《英译中国现代散文选》为例:

(一)句子短小精悍,结构简单

从理论上说,英语语言与汉语语言相比,英语句子―常常是环扣相嵌,盘根错节,句中有句‖,也就是所谓的―楼房建筑法‖(architecture style) 。而汉语以散句、松句、紧缩句、省略句、流水句等短句居多[4 ] (P48 - 49) 。可见,在汉英翻译中,使用英语长句是理所当然的,也是符合语言规律的。

但在张先生英译的散文中,英语短句却屡见不鲜,正是这些短句的使用,形成了张先生译文―质朴‖的风格。在《差不多先生》( Mr. About - the - Same) 一文中,有这么一段话:

差不多先生的相貌和你和我差不多。他有一双眼睛,但看的不很清楚;有两只耳朵,但听得不很分明; 有鼻子和嘴,但他对于气味和口味都不很讲究。他的脑子也不小,但他的记性却不很精明,他的思想也不很细密。

Mr. Cha Buduo has the same physiognomy as you and I. | |He has a pair of eyes ,but doesn’t see clearly. | | He has a pair ofears ,but doesn’t hear well. | | He has a nose and a mouth ,butlacks a keen sense of smell and taste. | | His brain is none toosmall , but he is weak in memory and sloppy inthinking. (P18 - 26)

译文句子多为简单句和并列句,译文干净、利落,通俗易懂,给人一种清爽自然之美,而没有盘根错节之迷惑。

(二)用词简单、通俗

张培基先生在翻译散文时, 很少使用生僻词( bigwords) ,主要使用普通的形容词、副词和动词等,以达到言简意赅。例如:

1. 他的脑子也不小,但他的记性却不很精明,他的思想也不很细密。———《差不多先生传》His brain is none too small ,but he is weak in memory and sloppy in thinking.

2. 他用两手攀着上面,两脚再向上缩;他肥胖的身子向左微倾。??过铁道时,他先将橘子散放在地上,自己慢慢爬下,再抱起橘子走。———《背影》His hands held onto the upper part of the platform ,his legs huddled up and his corpulent body tipped slightly towards the left , ??In crossing the railway track,he first put the tangerines on the ground ,climbed down slowly and then picked them up again.

3. 燕子去了,有再来的时候; 杨柳枯了,有再青的时候;桃花谢了,有再开的时候。但是,聪明的,你告诉我,我们的日子为什么一去不复返呢? ———《匆匆》If swallows go away ,they will come back again. If willows wither,they will turn green again. If peach blossoms fade,they will flower again. But ,tell me ,you the wise ,why should our days go by never to return ?

从以上的摘录我们可以看出,张先生翻译的风格用词方面朴实无华,对保存原文风格起到至关重要的作用。

(三)修辞上力求通俗易懂

一般说来,散文中修辞格用得相当少。但张培基先生在翻译中对于这一小部分语言要素也不忽略,认真处理,使译文没有生硬的感觉。例如:

1. 他也说我一天不写文章第二天就没有饭吃。 ———《朋友》(借代)

He also says that I would have nothing to live on once I should lay down my pen.

意译法处理该句符合英语表达习惯,如直译为―have no rice to eat‖,一定会引起歧义,让人费解。

2. 弓儿似的新月,挂在树梢。———《笑》(明喻)

The crescent new moon looked as if hanging on the tips of the trees.

译文仍然用比喻的修辞手法翻译原文的比喻,但却转移了喻体, ―弓儿似的‖如果直译成bow - like ,看似形象,但不符合英语对新月的描述习惯,译文将比喻落在了动作上,形象地再现了―新月挂树梢‖的样子。

3. 木匠老陈那时不过四十岁光景,脸长得像驴子脸。 ———《木匠老陈》Carpenter Lao Chen was then only about forty years old ,with a longish face like that of a donkey ??

此句采用直译法,既传达了意愿,又兼顾了译文的习惯。

4. 什么有轮齿的锯子啦,有两个耳朵的刨子啦? ———《木匠老陈》(暗

喻)

such as the saw with toothed blade ,the plane with two ear -like handles.增词法符合英语表达习惯。

以上例句对修辞的处理恰到好处,把原文的修辞意义用朴实地道的语言表现了出来,与散文文体本身的风格是一致的。

(四)逻辑关系清晰

英语通常采用形合法连接,而汉语却用意合法连接。也就是说,英语造句用各种―形式手段‖来连接词、语、分句或从句,注重显性接应,表达语法意义和逻辑关系;而汉语通过词语或分句的―含义‖表达语法意义和逻辑关系。汉译英至关重要的一步就是弄清汉语各句之间的逻辑关系。张培基先生在翻译散文时,使用适当的句型表现逻辑关系,译文通俗易懂。例如:

1. 那年冬天,祖母死了,父亲的差使也交卸了,正是祸不单行的日子。 ———《背影》Misfortunes never come singly. In the winter of more than two years ago ,grandma died and father lost his job.

原文事实在前,结论在后;译文结论在前,事实在后。调整结论与事实的顺序,更符合西方人逻辑思维习惯。

2. 世代为地主耕种,家境是贫穷的,和我们来往的朋友也都是老老实实的贫苦农民。———《母亲的回忆》From generation to generation ,they tilled land for landlords only to eke out a bare subsistence.

―only to‖表明一种结果关系。

3. 可是她的时间大半给家务和耕种占去了,没法照顾孩子,只好让孩子们在地里爬着。———《母亲的回忆》But she was too busily occupied with household chores and farming to look after the kids so that they were left alone crawling about in the fields.

too…to表示一种逻辑上的因果关系, so that 表示结果。

(五)对文化障碍进行增补或诠释

文化因素如果处理不当,就会成为理解的障碍。对于散文来说,任何令人费解的成分都是应该清除的。张培基先生采用了增词法、意译法等消除了这些障碍。例如:

1. 有时也兼做点农作, 芒种的时节, 便帮人家插秧. ———《为奴隶的母亲》Sometimes he also worked in the fields ;early each summer he turned farm – hand.

芒种是中国的24 节气之一,直译法必须加注,否则会让人费解,意译法简洁明了。

2.那真是祖宗三代的楣都要倒尽,那里还有什么―官人请! 娘子请!‖的唱随之乐可说呢? ———《谈结婚》With such a terrible misfortune be falling your family , how could you still have wedded bliss to speak of ?

―官人请! 娘子请!‖是中国文化表达闺房之乐的典型例子,如果直译,西方人一定会茫然不知其意。用类属词就克服了文化差异。

3. 他姓差,名不多。———《差不多先生传》His surname is Cha and his given name ,Buduo ,which altogether mean―About the Same‖.

此句用增补法,补充了中文―差不多‖的意义,目的语读者就能理解这篇文章的中心内容了。

文化因素经过合理处理,以读者能够理解的形式进入目的语。对保存散文―质

朴‖的风格也起了很大的作用。

(六) 再以朱自清的《荷塘月色》为例,来看散文翻译的节奏和意境的传递: 曲曲折折的荷塘上面,弥望的是田田的叶子。叶子出水很高,像亭亭的舞女的裙。层层的叶子中间,零星的点缀着些白花,有袅娜地开着的;有羞涩地打着朵儿的;正如一粒粒的明珠,又如碧天里的星星,又如刚出浴的美人。微风过处,送来缕缕清香,仿佛远处高楼上渺茫的歌声似的。

All over this winding stretch of water, what meets the eye is a silken field of leaves, reaching rather high above the surface, like the skirts of dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud, like scattering pearls, or twinkling stars, or beauties just out of the bath. A breeze stirs, sending over breaths of fragrance, like faint singing drifting from a distant building.

原文共有四个句子,结构并不复杂,语调平和,节奏舒缓.叠词的交错使用,使文章读来富有音乐美,如―曲曲折折、田田、亭亭、层层、粒粒、缕缕、‖等具有明显放慢节奏的功能。作者似乎在营造一种复杂的氛围,表达―淡淡的喜悦、淡淡的忧愁"译者也是着意塑造一种幽雅、恬静的意境,选用winding stretch把蜿蜒曲折的荷塘、一望无际的荷塘夜景呈现给读者;也会

使读者想到荷叶像丝绸那般轻盈美丽,同时也增添了朦胧感;非常形象地传达了原文的神韵,风姿绰约的舞女形象飘然而至,译出了原文的内含;breaths of fragrance译―缕缕清香‖完全活化出了这一段,读者仿佛能透过纸背闻到荷花的清香.译者在用词上是下了工夫的,用小词译深意,以常用词写景,表达非常之心境.整段译文用词丰富\声调悦耳,完美而准确地表达了原作者的心情.从音节上来看,词汇以单音节为主,间或有多音节,使译文读来错落有致,舒缓有度,富有变化"可以说译者从音、形、义等层面均成功再现了原文的情韵。

篇章节奏是一种语言组织现象,有规律的重复,行成一种感觉,营造一种气氛,激起一种感情。节奏一般包括押韵、长短句的分布、对偶、排比和重复等。原文的节奏在译文里可以用平行结构和借助音律、头韵、变语等修辞手段来传递其美学效果"请看下面的引文:

我爱热闹,也爱冷静;爱群居,也爱独处

I like a serene and peaceful life, as much as a busy and active one; I like being solitude, as much as in company.

原文结构对称,表达作者自己对自由而安宁的生活的向往.译者用了两个非常巧妙地把前后部分紧密地连接起来,不但保留原文的平行结构,原文的韵味藏于字里行间,也传递了原文的均衡美.

三、散文汉译

下面以英国著名学者和文学家本?约翰森的的名篇《致切斯菲尔德伯爵书》为例探讨散文翻译的若干技巧。

《致切斯菲尔德伯爵书》原文:

My Lord(1),

I have been lately informed, by the proprietor of The World(2), that two Papers, in which my Dictionary is recommended to the Public(3), were written by your Lordship. To be so distinguished, is an honor(4), which, being very little accustomed to(5) favors from the Great(6), I know not well how to receive, or

in what terms to acknowledge(7).

When, upon some slight encouragement(8), I first visited your Lordship, I was overpowered, like the rest of Mankind(9), by the enchantment of your address; and could not forbear(10) to wish that I might boast myself Le vainqueur du vainqueur de la terre (11)— that I might obtain that regard for which I saw the world(12) contending; but I found my attendance(13) so little encouraged, that neither pride nor modesty would suffer(14) me to continue it.(15)

When I had once addressed your Lordship in public, I had exhausted all the art of pleasing which a retired and uncouthly scholar(16) can possess. I had done all that I could; and no Man is well pleased to have his all(17) neglected, be it ever so little.

Seven years, My Lord, have now past, since I waited in your outward Rooms, or was repulsed from your Door(18); during which time I have been pushing on my work through difficulties, of which it is useless to complain(19), and have brought it, at last, to the verge of Publication, without one act of assistance, one word of encouragement, or one smile of favor(20). Such treatment I did not expect, for I never had a Patron before.

The Shepherd in Virgil grew at last acquainted with Love, and found him a Native of the Rocks(21).

Is not a Patron, My Lord, one who looks with unconcern on a man struggling for life in the water, and, when he has reached ground, encumbers him with help?(22) The notice which you have been pleased to take of my Labors,(23) had it been early, (24) had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary,(25) and cannot impart it; till I am known, and do not want it(26). I hope it is no very cynical asperity(27) not to confess obligations(28) where no benefit has been received, or to be unwilling that the Public should consider me as owing that to a Patron, which Providence has enabled me to do for myself.(29)

Having carried on my work thus far with so little obligation to any Favorer of Learning,(30) I shall not be disappointed though I should conclude it(31), if less be possible, with less; or I have been long wakened from that dream of hope, in which I once boasted myself with so much exultation(32), My Lord, Your Lordship’s Most Humble,

Most Obedient Servant,

Sam: Johnson

February 7,1755

伯爵大人:

近日从《世界报》馆主得知,该报刊载了两篇文章,对拙编词典颇多举荐滥美之词,这些文章据悉均出自阁下您的手笔。承蒙您如此的推崇,本应是一种荣耀,只可惜在下自来无缘得到王公大人的青睐,所以真不知道该如何来领受这份荣耀,也不知道该用些什么言辞来聊表谢意。

篇三:散文 翻译 摘要

摘 要

相对于其它文学样式翻译的研究,散文翻译的研究不够深入广泛。原因是多方面的,主要原因来自散文的范围难以清晰界定。再者,由于散文语言常常被以为是不如诗歌语言的地位高。中国翻译界对散文翻译的研究较西方为盛,然而主要是就散文翻译的某个侧面开展的研究。刘士聪先生的“韵味说”和高建先生的“语言个性论”及“风格可译性”研究较为系统和深入,影响广泛。

本人以为,迄今为止,有必要对有关研究成果整理综合一下,以再现原文风格为指导,综合运用多种翻译标准,过对形式与内容各层次系统的对比研究,以期对散文翻译提出一些理论上的思考。

本文作者选取风格再现为中心标准,以《匆匆》三个英译本作为具体研究对象进行如下方面的研究:第一部分是引言,提出研究的相关主题。第二部分是对散文翻译标准的简单介绍。重点是第三部分,形式与内容的对比研究。主要又分为音韵层面,结构层面和意义层面。其中结构层面从形象化语言,形美与意美,和跨句法三个角度来分析;而意义层面又从忠实的比较和通顺的比较两个角度出发。第四部分是基于前面形式与内容的分析,对三位译者的风格进行分析比较,得出谁的风格更接近原作的风格。最后部分是总结。正因为散文的形式自由,灵活,文字优美,被称为“美文”,散文翻译时就应有多种翻译标准,以重现原作的风格为中心标准,注重从各个角度去翻译,展现原文的风格,是全面的,系统的翻译方法。关键词:散文翻译,形式与内容,风格再现

ABSTRACT

Compared with translation studies of other literary gees, those

concerning prose translation have been less intensive. There are many reasons. In my opinion, the fundamental reason is that prose is too general a concept, including too many forms of writings. It is as hard to study translation methods of the prose as a whole as to define so vast a territory the prose covers. On the other hand, the prose language is often mistakenly regarded as inferior to that of poetry. Among Chinese scholars in this field, Mr. Liu Shicong, who expounded on the “Artistic flavor” theory and Mr. Gao Jian, who put forward “Language Character Theory” and “The translatability of Style”, stand out for the comprehensiveness and intensiveness of their

achievements.

As far as I am concerned, it is necessary to integrate the relevant research achievement. In this paper the author will chose a center criterion----the reproduction of style and make use of a range of translation standards. Hope that the system comparative study between form and content will provide theoretical thinking for prose translation.

In this paper the author will chose a center criterion----the reproduction of style, and take the English version of CongCong as object to have studies as follows; first part is introduction, in which the relevant theme is put out. And the second part is a brief introduction to the criterion for prose translation. The key part is the third part, which is mainly for the comparative study between form and content. Further, it contains three aspects as: rhythm level, structure level, meaning level. For structure level, it studies from figurative language, beauty of form and image, cross-sentence translation, while for meaning level it contains: comparison of honesty and comparison of fluent. Base on the above study, there is a comparison study from the reappearance style of original text in the forth part. The purpose is trying to get a result whose style is much more close to the original author’s style. And the final part is conclusion. As the prose enjoys the fame “beautiful essay”, and has the most flexible and liberal style, criteria for it should be more integrative and flexible. It is a systematic translation to translate prose from different perspectives with taking reappearance of style as the central criteria.

Keywords:Prose translation, form and content, reappearance of style Contents

1.Introduction 1

2. Criterion of Prose Translation 2

2.1 Zhang Peiji’s Criterion: Faithfulness and Smoothness 2

2.2 Yan Fu’s Criteria 3

3. Comparative Studies between Form and Content 4

3.1 Rhythm Level 4

3.2 Structure Level 7

3.2.1 Figurative Language 7

3.2.2 Beauty of Form and Image 9

3.2.3 Study on Cross-sentence Translation 11

3.3 Comparison Studies from Meaning Level 12

3.3.1 Comparison of Faithfulness 12

3.3.2 Comparison of Smoothness 14

4. Comparison Studies from the Perspective of Style Reappearance of Original Text 15

4.1 The Style of Zhang Peiji 16

4.2 The Style of Zhu Chunshen 17

4.3 The Style of Zhang Mengjing 17

5.Conclusion 19

Acknowledgements 20

References 21

Abstract

Animation film rhythm is the soul of the film; the rhythm is reflected in its meaning in life with a basic objective, is common law. Is the law of the unity of opposites. 《bunny story》 to brings is distinctive flavor, she notes the tones of rotating around the fulcrum, enthusiasm is bold and uestrained, abounding emotion.

标签:散文 翻译 经典 经典散文翻译赏析 散文翻译技巧