For a long time, Shanghai translation company has been heard from literature and art to the humanities and Social Sciences, translation quality declining, translation talents and how to lean. Also noted that more than 10 years ago, "Reference News" and Singapore joint translation contest, accompanied by several first prize vacancies, the reason is not in the foreign language level of the participants, just in Chinese can not express ideas. The same is true of the CASIO translation prize of foreign literature and art magazine. The "literary translation Award" in Lu Xun prize for literature is also often vacant. The reason is not in foreign language, but also in chinese. Therefore, it is necessary to discuss the prominence of Chinese in literary translation.

 

　　我们知道，汉语不同于英语这样的屈折语，也不同于日语这样的粘着语，它一字一音一义，是一种孤立语，而且，它不太重视刚性的语法规制，而更重视内在的语意生成。如语言学前辈所讲的那样，如果说西语是“法治”的，那么汉语就是“人治”的。所以少有必须不能省的句子成分，相反还为追求某种特殊的语言效果，时不时故意省去一些成分，尤其省略语法性虚词。像唐人温庭筠的诗句，“鸡声茅店月，人迹板桥霜”，实词与实词直接拼合与并置，根本不交代其间的逻辑关系，这在英文是不可能的。若要译成英文，须有类似在何时何处等关系的说明。但中国有人以为，“作诗不用闲言助字，自然意象具足”，它能使诗歌“宛然在目”，不然，“一落村学究对法，便不成诗”（李东阳语）。对此，西人多有感会，葛雷在讨论克洛岱尔与法国文坛的中国热时，就曾引克氏的话，称“为了把这些思想融为一体，中国作者不用讲逻辑的语法联系，只消把词语并列起来即可”。

 

　　We know that Chinese is different from English inflectional language, also different from Japanese such agglutinative language, it is a word, a word meaning, is an isolated language, and it does not attach importance to rigid grammar regulation, and pay more attention to the internal semantic generation. Such as linguistics predecessors mentioned, if the Spanish is the "rule of law", so Chinese is the "rule of man". Therefore, there are few sentence elements that must not be saved. On the other hand, in order to pursue some special language effect, they deliberately omit some components, especially omitting grammatical function words. Like Tang Wen's poem, "chicken sound Maodian, deserted bridge frost", content words directly together with the juxtaposition of logic relationship does not account for it, it is not possible in English. If you want to translate it into English, you must have a description of where and where. But Chinese some people think, "poem without gossip help words, all natural images, it can make the poem" like in the eye ", otherwise," a village of scholastic method, will not be a poem "(Li Dongyang). In this regard, many Westerners will, in the discussion of French literature and Gary's China harmful heat, had Yinke's words, that "in order to bring these ideas together, China authors use logical grammar, as long as the words can be tied up".

 

　　基于汉语的这种特点，当我们在汉译外国文学时，能深体中文的上述特性并善加利用，无疑是确保译文成功的重要前提，甚至可决定译文的质量与品级。事实正是如此，今天触目可见的那些不能让人满意的译文，有许多的症结恰恰在凸显汉语性方面做得太差。譬如，英文词性相同的字之间大半会用“and”加以连接，许多翻译一律将其译作“和”，看似不错，但例如“微笑”、“无语”之间一定要用“和”才能连接吗？中文中，有“和”这个意思的字至少还有“而”、“又”与“且”，这里难道不应该译作“笑而不答”吗？又如，英文介词很多，但也并非一见到“about”，就得译成“关于”，难道“我没有关于他的消息”这样的句子符合中文的习惯？这里的“关于”显然是多余的。再如，英文有所谓关系代词，对名词多有框限，翻译时若都作定语处理，一定会使句子超长，甚至“的的不休”。英文单、复数必须明确，于是有的译文频频出现“男士们”、“动物们”这样的表述，这很不简洁，更主要的是也不合汉语的习惯。此外，不像散文中顺句多，英诗中倒装特别多，译成中文一定也得用倒装吗？英文被动语气很多，译成中文时是否需要照单全收？总之，英文冠词、代名词与系词等都不可或缺，但译成中文似乎正不必亦步亦趋。相反，遵从汉语的习惯，通过拆分、换序和合并等方式，完全可以将原意等值实现，又不违汉语特有的文法。

 

　　Based on the characteristics of Chinese, when we translate foreign literature into Chinese, we can deeply use the above-mentioned features of Chinese and make good use of it, which is undoubtedly an important prerequisite to ensure the success of the translation, and even determine the quality and grade of the translation. The fact is that, today you see those not satisfying translation, there are many highlights in Chinese on the crux of doing too bad. For example, most of the words with the same part of speech will be connected by "and", and many translations will be translated into "harmony", which seems good, but is it necessary to use "harmony" to connect "smile" and "no language"? Chinese, "and" the meaning of the word "and" at least, "and" and "and" don't here should be translated as "only smiled but did not reply"? If there are many English prepositions, but not the "about", it must be translated as "yes", and "I don't have a message about him" is a sentence that conforms to the Chinese language The "yes" here is obviously superfluous. Again, English has the so-called relative pronoun, the noun has more than the limit, when translation as attributive treatment, will make the sentence super length, even "endless"". English single and plural must be clear, so some translation frequently appear "men", "animals" such statement, this is not concise, more important is not the habit of chinese. In addition, unlike in prose sentence, especially in English poetry translation flip, Chinese must have to use flip? There are many passive tones in English. Do they need to be taken as a whole when translated into Chinese? In a word, English articles, pronouns and prepositions are indispensable, but translated into Chinese seems to do not have to follow. On the contrary, following the habit of Chinese, it can achieve the original meaning equivalence by means of splitting, changing order and merging, and it does not violate the unique grammar of chinese.

 

　　当然，以上这些尚属技术层面的考校。更重要的是要在观念层面上确立，译者有维护汉语纯正性的职命，有在翻译过程中最大限度地遵从汉语的表达习惯，进而尽可能地凸显“汉语性”、即汉语特有的丰赡美与博雅美的责任。在这方面，前辈如傅雷、朱生豪、梁实秋、梁宗岱、夏济安、吕同六、冯亦代、梅绍武等人已作出了很好的示范，他们既精熟外文，又有深厚的国学根底，译文不但可信、畅达，还充溢着中文特有的儒雅，是余光中所说的“入深而出纯”。再往前推，林纾的翻译更显中国气派，可谓将汉语的特性发扬到淋漓尽致。以至钱锺书称他所译《块肉余生记》要好过狄更斯原作，他译得最多的是维多利亚时代以写浪漫爱情与冒险故事著称的哈葛德，钱锺书也认为他的译笔比哈氏的原文要好很多。

 

　　Of course, the above is the technical level of the school. What is more important is to establish the concept of level, maintenance of pure Chinese translator vocational life, in the process of translation to maximize compliance with Chinese expression habits, and as far as possible to highlight the "Chinese", namely Chinese unique beauty and rich Boya beauty responsibilities. In this regard, such as Fu Lei, Zhu Shenghao, senior Liang Shiqiu, Liang Zongdai, Xia Jian, Lv Tongliu, Feng Yidai, Mei Shaowu et al have made a very good demonstration, their mastery of a foreign language, and deep Ancient Chinese Literature Search foundation, the translation is not only reliable, accessible, are filled with Chinese unique elegance, Yu Guangzhong said "into the deep and pure". Further push forward, Lin Shu's translation is more Chinese style, it can be carried forward the characteristics of Chinese to the fullest. He said that he "translated David Copperfield" is better than the original Dickens, he is the most famous Vitoria times to write romance and adventure story of Hagd, Qian also believes that his country Bihashi text is much better.

 

　　有人担心，追求传神会妨碍传真。其实对一个严肃的译者来说，这种担心是多余的，因为他比任何人都清楚并能恪守再创造的基点，同时，他比一般人了不起的地方在于，更进而能时时提醒自己，他工作的终点在哪里。看看中外翻译史上著名的例子，譬如意象派诗人庞德以自由诗体的形式翻译了不少中国诗，在西方世界引起很大的轰动，艾略特称他“我们时代中国诗的发明者”。还有，译出《松花笺》(Fir-Flower Tablets)的埃米·罗厄尔（Amy Lowell）被称为“中国诗在美国最伟大的知音”。为什么？就是因为他们的翻译中有许多创造性的改写。今天，葛浩文译中国当代小说更常如此。还有在西方，最有名的《红楼梦》译本不是杨宪益和戴乃迭的，而是牛津教授霍克斯的，后者同样有基于西方语言习惯的改写。唯此，杨绛才会称译者“一仆二主”，即他既要忠实于原作者，又要服务于读者。其实，就实际情形而言，他更仰赖的是后者。他怎么能不将母语的特性发扬到极致？于此相伴随，翻译批评对凸显汉语性的呼吁也不能脱离翻译的具体语境，走向片面化的自说自话。

 

　　Some people worry that the pursuit of vividness will hinder faxes. In fact, for a serious translator, this fear is unnecessary, because he knows better than anyone else and insists on the point of re creation. At the same time, the great thing about him is that he can always remind himself of where his work ends. Look at the famous Chinese and foreign translation history as examples, such as poet Pound to free verse translation form a lot of China poems, caused a great sensation in the western world, Eliot called him a "China poem of our times inventor". In addition, Amy Lowell (Amy Lowell), the "Fir-Flower Tablets", is called "the greatest bosom friend of Chinese poetry in America"". Why? It's because they have a lot of creative rewriting in their translation. Today, Ge Haowen's translation of Chinese contemporary novels is more common. And in the west, the most famous version of the dream of Red Mansions is not Yang Xianyi and Dai Naidie, but Oxford professor Hawkes, and the latter also has a rewriting based on western language habits. Only in this way, can Yang Jiang call the translator "one servant, two masters", that is, he should be faithful to the original author and serve the readers. As a matter of fact, he relied more on the latter. How could he not bring the characteristics of his mother tongue to the extreme? In the context of translation criticism with prominent Chinese of appeal can not be divorced from the translation, to one-sided talking.