文 学 翻 译 张宝林 副教授 2014年9月.

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1 文 学 翻 译 张宝林 副教授 2014年9月

2 CONTENTS Part I The Fundamentals of Literary Translation
Chapter 1 Why do literary translation? Chapter 2 The uniqueness of literary translation Chapter 3 Getting started Chapter 4 Preparing to translate Chapter 5 Staying on the track Chapter 6 Stages of translation

3 CONTENTS Part II The Techniques of Literary Translation
Chapter 1 Decisions at the outset Chapter 2 What literary translators really translate? Chapter 3 Style in translation Chapter 4 How to translate fiction? Chapter 5 How to translate poetry? Chapter 6 Other areas of literary translation Chapter 7 Pitfalls and how to avoid them

4 CONTENTS Part III Literary Translation: Comparison and Appreciation
Chapter 1 Tess of the D’Urbervilles (excerpts) and Two Chinese Versions Chapter 2 Uncle Tom’s Cabin (excerpts) and Two Chinese Versions Chapter 3 《红楼梦》(excerpts) and Two English Versions Chapter 4 《水浒传》(excerpts) and Three English Versions Chapter 5 In a station of Metro and Four Chinese Versions Chapter 6 Shakespeare’s Sonnet 18 and Four Chinese Versions Chapter 7 《枫桥夜泊》 and Four English Versions Chapter 8 《春晓》 and Four English Versions

5 Part 1 The Fundamentals of Literary Translation

6 Chapter 1 Why do literary translation?
1. 1 Sharing the creative process The translator can experience the aesthetic joys of working with great literature, of recreating in a new language a work that would otherwise remain beyond reach.

7 1.2 Getting the intellectual rewards
For some, the pleasure of puzzle-solving is an important element. How to find an equivalent for a source-language pun? Can the tone of the original be reproduced in the target language? The delight, mental though it be, that a translator feels in cutting through any of these Gordian knots can best be described as somewhere between chocolate and sex—you choose their rank-order.

8 1.3 Expanding the potential readership
1.4 Translating for the prestige or money Seeing one’s name on a title page just below that of a Nobel laureate is, well, heady, and the translator can improve his/her own prestige or get a lot of money. 1.5 Establishing the relationships By doing translation, some translators and writers may develop their relationships and even become close friends.

9 1.6 Getting access to a world they would never penetrate in their home countries
An ordinary citizen who would scarcely hope to have tea with literary luminaries of his own nation can interact socially and professionally with their equivalents in other countries. For often underappreciated word-workers like translators, this is not inconsequential perk.

10 Chapter 2 The uniqueness of literary translation
2.1 Style is a major concern in literary translation. 2.2 Literary translation is the most demanding type of translation.

11 2.3 What is literary language? Literary language is affective language. (Richards) Literary language is language of imagination. ( Coleridge) Literary language is language of polysemy. ( Empson) Literary language is language with literariness, which is not a function of the work itself, but a special way of reading. (Culler)

12 2.4 Translatability and untranslatability
2.4.1 Complete translatability and incomplete translatability 2.4.2 Translatability is just relative.

13 eg 1: L(a 孤(一 le 片 af 树 fa 叶 ll 落 s) 下） one 单 l ——黄凌 译 iness
——E.E.Cummings

14 eg 2: 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。 -----李清照《声声慢》 I seek but seek in vain,
I search and search again, I feel so sad, so drear, So lonely, without cheer (许渊冲 译)

15 eg 3: 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。 李清照《声声慢》 So dim, so dark, So dense, so dull, So damp, so dank, So dead! ----(林语堂 译)

16 eg 2: 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。 ---李清照《声声慢》 I’ve a sense of something missing I must seek. Everything about me looks dismal and bleak. Nothing that gives me pleasure, I can find (徐忠杰 译)

17 eg 2: 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。 李清照《声声慢》 Seeking, seeking , Chilly and quiet, Desolate ,painful and miserable. (杨宪益夫妇 译) Searching, seeking, endlessly / Alone, lonely, /Moody, gloomy. ------(朱纯生 译)

18 ---- (Kenneth Rexroth 译)
eg 2: 寻寻觅觅，冷冷清清，凄凄惨惨戚戚。 -----李清照《声声慢》 Search. Search. Seek. Seek. Cold . Cold. Clear. Clear. Sorrow. Sorrow. Pain. Pain. ---- (Kenneth Rexroth 译) Seek, seek, search, search; / Cold, cold, bare, bare; /Grief, grief, cruel, cruel grief. ------(Clara Candlin 译)

19 Sea-waters tide, day to day tide, every day tide and every day ebb.
eg 3: 海水潮，朝朝潮，朝潮朝落 浮云涨，长长涨，长涨长消 Sea-waters tide, day to day tide, every day tide and every day ebb. Floating clouds appear, often appear, often appear and often go (周玉忠 译)

20 2.5 literary translator competence
The literary translators must command tone, style, flexibility, inventiveness, knowledge of the SL culture, the ability to glean meaning from ambiguity, an ear for sonority, and humility. More than in other branches of the translator’s art such as legal, technical/scientific, financial /commercial, or in interpretation (simultaneous or consecutive), literary translation entails an unending skein of choices.

21 3. a sense of responsibility 4. a keen insight 5. the innate talent
1. bilingual competence: possessing linguistic competence in both languages. 2. bicultural competence: possessing communicative competence in both cultures. 3. a sense of responsibility 4. a keen insight 5. the innate talent

22 2.6 Literary translation: an ephemeral art
The half-life of a translation, it has been said, is from 30 to 40 years; every 30 years (or 40 or 50 – take your pick) the translation loses half its vitality, its ability to communicate to the reader in a contemporary voice. If this is true, it follows that major works of literature must be retranslated periodically if they are to retain their function as a bridge between cultures and eras.

23 Chapter 3 Getting started
3.1 How many languages? Before choosing what to translate, the question for some is what language or languages to translate.

24 Two sides to the issue

25 First: the argument for sticking to a single language
①The truly bicultural individual is a near impossibility; ②A translator gains more standing among his or her peers and achieves greater name recognition with book publishers by concentrating on a single language;

26 Second: the multilingual view
①Two or more languages add another string to one’s bow and one can avail himself/herself of the wide panoply of ,say, Hispanic literature as well as that of Francophone nations. ②If the bottom drops out of the market for novels or poetry in Language A, perhaps Language B is enjoying a resurgence.

27 3.2 How to choose a work to translate?
3.3 Some tips to maximize your chance of success and minimize unpleasant surprises： ①Once you’ve found someone whose novel clamors for a larger readership in the TL, look for a short story by the same writer. Or pick a self- contained excerpt from the longer work that functions well as a stand-alone passage — all things being equal, shorter texts have a better chance of publication in periodicals.

28 ②Resolve all authorization issues before starting
②Resolve all authorization issues before starting. Don’t expose yourself to the disappointment of sweating away on a translation only to learn that the foreign rights aren’t available. ③Have a game plan before you begin. Where do you foresee publishing the translation? If you can’t rattle off at least three periodicals that publish similar translated works, you haven’t done your homework.

29 ④Decide how much time you are willing to invest in the undertaking
④Decide how much time you are willing to invest in the undertaking. How many drafts do you estimate will be necessary? Have you budgeted the time to work on the project in the free hours from parenting and/or your day job? ⑤Line up qualified readers to give a second opinion before you send the translation to an editor. At least one person proficient in both SL and TL is desirable, but in a pinch TL monolinguals will do, provided they are endowed with a sense of style and a nose for infelicities in English.

30 ⑥Formulate your backup plan
⑥Formulate your backup plan. If the translation doesn’t find a publisher, do you persist? Give up? The first mano a mano with translation can sometimes make or break the would-be translator, and more than one wannabe has abandoned plans for a second career as translator after a single rejection. For your own emotional health, you should have a contingency plan in case your first try doesn’t work out.

31 Chapter 4 Preparing to translate
The preliminary steps : 4.1. Read the entire text at least once. 4.2 Do any necessary research first. 4.3 Deal with possible roadblocks at an early stage. 4.4 Negotiate a reasonable deadline.

32 Chapter 5 Staying on track
There are signs that should alert wannabe translators that perhaps they’ve set out on the wrong path.

33 5.1 Frequent and/or lengthy periods without translating
On the whole, translation should be enjoyable, not something we look upon as a chore. If you find yourself spending weeks at a time without working on the translation, if you are easily distracted from translating, or if you constantly find excuses to keep from returning to the task, consider it a possible wake-up call.

34 5.2 False starts and excessive rewrites
Starting and restarting the same project numerous times could be a signal from our subconscious that our heart isn’t really in this endeavor. By the same token, a larger number of rewrites could be an indication of a fear of failure, or a penchant for perfectionism. Either way, there are problems ahead.

35 5.3 Slowing of production If you find that progressively you are taking more and more time to produce less and less, that’s a danger sign. Normally we translate a novel faster after familiarizing ourselves with its characters, style, and vocabulary; if the opposite occurs, bells should sound.

36 5.4 Writer’s block Translators suffer their version of writer’s block. It doesn’t entail staring at a blank sheet of paper in a typewriter, because we can always translate a few lines of easier text here and there. It manifests itself in more subtle ways. Words just don’t seem to flow. Phrases emerge jejune. Inspiration is non-existent. The flashes of brilliance that make translation so rewarding are absent. Words may continue to emerge, but the level of creativity plummets.

37 Chapter 6 Stages of translation
6.1. Text analysis Read the entire work at least twice and try to have a firm grasp on the meaning of the work. Analyzing the meaning of the SL text on different levels, including the surface level and the underlying level of deeper significance, with a focus on internal factors including cohesion and structural aspects and external factors such as the viewpoint of the speaker, narrator, or reader in terms of culture, attitude, time, place, etc.

38 6.1.2 contextual analysis 6.1.3 logical analysis
6.1.1 grammatical analysis 6.1.2 contextual analysis 6.1.3 logical analysis

39 6.2. A rough translation At this stage, there is relatively less emphasis on smoothness and fluency and more on capturing the semantic gist of the text. Consult with an educated native speaker to clarify any points that are still vague. For especially vexing items, consult the author.

40 6.2.1the procedure of transfer: shift from thinking in the source language to thinking in the target language. 6.2.2 the procedure of synthesis: organization of the lexical, syntactic and discourse features of the transferred text to provide maximal comprehension and appreciation on the part of the target reader.

41 6.3. Revision Revise the manuscript, with emphasis on phraseology, fluency, and naturalness. The revision process entails several steps. Not all of these will be applicable to every project but are nonetheless highly desirable.

42 6.3.1 First read-through (for mechanics)
Correct typographical errors and misspellings. Make sure punctuation and pagination are accurate. Check paragraph division to conform to the SL text.

43 6.3.2 Second read-through (for content)
Check for inappropriate verbosity. Make sure use of character names is consistent throughout and any acronyms or abbreviations are explained.

44 6.3.3 Second read-through (for sonority, rhythm, euphony)
If you are not lucky enough to have someone to read it to, read it aloud to yourself. Only in this way can you detect the tiny cacophonies that would mar an otherwise smooth translation.

45 Part II The Techniques of Literary Translation

46 Chapter 1 Decisions at the outset
1.1 Fluency and transparency The prevailing view among most, though not all, literary translators is that a translation should reproduce in the TL reader the same emotional and psychological reaction produced in the original SL reader. Most translators judge the success of a translation largely on the degree to which it doesn’t read like a translation.

47 1.2 The author-translator-reader triangle
A cliché for the relationship between translator, author and reader: author translator reader

48 The underlying concept is that ideally the translator maintains equal proximity to the author(or the SL text)and to the reader (the final product the TL text).

49 author----translator----reader
Perhaps a more accurate depiction of the author-translator-reader relationship might be a simple linear one: author----translator----reader

50 1.3 “targeteers” and “sourcerers”
The two approaches boil down to what the always sound Peter Newmark calls “targeteers” and “sourecrers” . The targeteers approach: SL-oriented The sourcerers approach: SL-oriented

51 What is resistance in translation?
At the risk of oversimplifying, resistance is the concept that translation should patently demonstrate that it is a translation.

52 1.5 Word by word or thought by thought?
Word by word translation: Thought by thought translation: Independent of the ongoing debate the optimal approach to translation, the practitioner must establish certain principles when beginning a project. One of these to determine what the translation unit is to be. Is it the word, the sentence, the paragraph, or none of the above? Whatever strategy is adopted, it must be flexible enough to adapt to changing conditions in the next.

53 Thought –by-thought normally yields more fluent or transparent translation.
In summary, the goal is not to translate what SL author wrote but what he or she meant, and thought –by-thought is usually the superior vehicle for accomplishing this.

54 1.6 Adaptation or translation
1.6.1 What is an adaptation? An adaptation, while taking as its point of departure the information content of the original, is less “faithful” than a translation.

55 1.6.2 How does an adaptation differ from a translation?
Adaptations are not inferior to translations. In some ways, adaptations are even more challenging than more conventional translations.

56 1.6.3 What kind of situations call for adaptation rather than “straight” translation?
One obvious case is drama, in which dialogue must be not only intelligible but also “speakable”. Another occasion for adaption rather than translation on stage comes about in frothy works like farce. A third motive for adaption often occurs when a language is self-referential.

57 1.7 Register and tone 1.7.1 Register What is register?
In the Cambridge Encyclopedia of Language , David crystal defines register as a “socially” defined variety of language.

58 Categories of register:
Non-technical/technical Informal /formal urban/rural Standard/regional Jargon/non-jargon Vulgarity/propriety

59 Examples : Lower register: afterwards(similar: backwards, towards) anybody(nobody, somebody) Higher register: afterward(backward, toward) anyone(no one, someone)

60 1.7.2 Tone What is tone? Tone means the overall feeling conveyed by an utterance, a passage, or an entire work, including both conscious and unconscious resonance. Categories of tone: humor, irony, sincerity, earnestness, naivete, or virtually any sentiment.

61 Tone violation and tone consistency:
Tone violation occurs when the translator ignores requirements of tone, whether in dialogue, description, or narration.

62 Chapter 2 What literary translators really translate?
It is commonly thought that translators deal with words, but this is only partly true. Whatever their branch of translation, they also deal with ideas. And literary translators deal with cultures In a very real sense, Time magazine was right when over a decade ago it called literary translators “couriers of culture”.

63 2.1 Different layers of translating: Words ,Ideas, Cultures
2.2 The importance of cultural awareness: Understanding and becoming familiar with the SL culture is crucial. Culture shapes and changes a language, sometimes separating rather than uniting. Instances of a single word having opposite meanings in two countries that share a language are rare, but differences in usage are common.

64 Culture is certainly a significant part of our lives
Culture is certainly a significant part of our lives. Language is not only a distinctive feature of culture, it also distinguishes humans from animals and it is an absolutely indispensable means of transmitting culture from one generation to the next. ---- Nida

65 2.3 Cultural universals: Cultural universals: the generality of human thought makes people from different cultures communicate possible. eg1:父亲给他娶了媳妇，今年才二十二岁…最喜 欢插花惹草。 ----《红楼梦》 While he was young his parents had found him a wife who was just about twenty….who loved nothing better than to have affairs. ---G. Yang 

66 eg.2 An’ after all her bringing’-up what I tol’s her an’ talked wid her, She goes thed’ bad, like a duck to the water. ----Maggie: a Girl of Streets 我生她养她，叮咛来嘱咐去，她还是去做那 伤风败俗的事儿，跟鸭子下水一样有瘾头。 ----- 孙致礼 译

67 2.4 Cultural disparities:
Each language possesses certain distinctive characteristic which give it a special character. Language is the carrier of culture and cultural distinctiveness clings very close to words. 2.4.1 Disparities in historical culture: eg. eat one’s leek, cat with nine lives. 四面楚歌，破釜沉舟，身在曹营心在汉。

68 eg. 狗腿子，狗胆包天，狗急跳墙，狗仗人势， 狗眼看人低，狗嘴吐不出象牙
2.4.2 Disparities in geographical culture: Disparities traditional modes of thinking： eg. 狗腿子，狗胆包天，狗急跳墙，狗仗人势， 狗眼看人低，狗嘴吐不出象牙 Love me, love my dog; top dog; a lucky dog. Birds of a feather 一丘之貉 A rat in a hole 瓮中捉鳖 Like a drown cat 像个落汤鸡 As poor as a church mouse 一贫如洗

69 碧云天，黄叶地，西风紧，塞雁南飞。 ---《西厢记》
Grey are the clouds in the sky and faded are the leaves on the ground , Bitter is the west as the wild geese fly from the north to the south. ---熊式一 译

70 （赵辛楣）…，一肚皮的酒，几乎化成 酸醋. ---《围城》 The considerable amount of wine Hsinmei had consumed earlier was burning inside and made him sick with jealousy.  

71 宝玉含羞央告道: “好姐姐，千万别告 诉人。”
---《红楼梦》 “Please, Aroma,” Bao-yu shamefacedly entreated as she helped change , “please don’t tell anyone!” --- David Hawks 译

72 松下问童子，言师采药去。 只在此山中，云深不知处。 --- 贾岛 《寻隐者不遇》 Beneath the pines look I for the recluse. His page replies :’Gathering herbs my master’s way. You’ll find him nowhere , as close are the clouds. Though he must be on the hill, I dare say.” ——余光中 译

73 眼前呈现出一片阡陌纵横、鸡犬相闻、风 和日丽、鸟语花香的新天地。
--- 《桃花源记》 Ahead appears a new land with crisscrossed fields, bright sunshine, gentle breeze, flowers blooming ,cocks crowing, dogs barking, and birds singing.

74 2.5 Some suggestions for dealing with cultures in translating
The first and most desirable method, of course, is to live in the SL culture for as long as possible. Next best is to read as much as possible from the SL culture. Cultivate contacts with members of the SL culture, both in your home country and aboard, to consult when doubts emerge.

75 2.6 Some basic methods of dealing with cultures
Literal translation: If possible, the translator should translate literally so as to retain the SL cultural flavour. eg. 1 Better to reign in hell, than serve in heaven. ( Milton: Paradise Lost) 宁肯在地狱里为王，也不肯在天堂里为臣。

76 eg.2 This small country has long been regarded as a Trojan horse in southeast Asia by its master.
很久以来，人们一直把这个小国家卡诺 其主子安置在东南及的一具特洛伊木马。

77 2.6.2. Annotation Examples: AIDS——艾滋病；Benz——奔驰车
气功——qigong ( a system of deep breathing exercises) 太极拳——taijiquan ( a kind of traditional Chinese shadow boxing)

78 2.6.3. contextual amplification
eg.: “三个臭皮匠，合成一个诸葛亮。”这就 是说，群众有伟大的创造力。 “Three cobblers with their wits combined equal Chukeh Liang the mastermind.” In other words, the masses have great creative power.

79 paraphrase eg. He’s all thumbs, not fit for the job. 他笨手笨脚的，干不了这活。 shift of perspective eg. Their wives are sisters. 他们是连襟。

80 adaptation eg:__“Jack has been sentenced to three years’ imprisonment.” __“Give a dog a bad name.” ___“杰克被判处三年徒刑。” ___“欲加之罪，何患无辞呢。”

81 Chapter 3 Style in translation
3.1 What is style? Style is a multifaceted topic on which countless treaties continue to be written. In theory at least, “style” in a translator is an oxymoron. Ideally, the translator strives to have no style at all and attempts to disappear into and become indistinguishable from the style of the SL author.

82 Style is the man. （风格即人） ---Buffon Proper words in proper places make the true definition of a style. (合适的地方用合适的词，便是风格) ---Jonathan Swift

83 Style is the writer’s own way of thinking and seeing.
（风格是作家思考或观察事物的独特方式。) ---Flaubert Style naturally comes to be applied to a writer’s idiosyncrasy, because style is the direct expression of an individual mode of experience. (风格无疑体现了作家的个性，因为风格是个人经验 模式额直接表现。) ---Middleton Murry

84 3.2 Stylistic Beauty: authenticity conformity creativity refinement

85 3.3 Stylistic makers: 3.3.1 Formal markers: various linguistic forms characteristic of a piece of writing, including phonological, register, lexical, syntactic, textual markers. 3.3.2Non-formal markers: distinctive features of the original work as way of expression, subject matter, and ideological contents.

86 3.4 Difficulties in reproducing the original style
eg. 1. 冻雨洒窗，东两点，西三点； 切瓜分片，横七刀，竖八刀。 eg. 2. 此木为柴山山出， 因火成烟夕夕多。 eg. 3. 人曾为僧，人弗可以成佛； 女卑为婢，女又何妨成奴。(pun ) eg. 4. 客上天然居，居然天上客。

87 eg.5. She sells seashells on the seashore,
The shells she sells are seashells. ( a tongue twister) Eg.6. —— What’s the relation between the door-mate and the door? —— A step father.( father-----farther)

88 3.5 The author’s and the translator’s style
Does each literary translator has a personal style?

89 3.6 How to deal with styles in translation?
As translators we have neither the right to “improve” the original nor to impose our style.

90 Chapter 4 How to translate fictions?
Often difficulties arise not only from vocabulary but also from cultural artifacts not found in the target culture. The greater the culture distance between the source culture and the target culture, the more the translator will need to bridge that gap.

91 4.1 Devices of fiction 4.1.1. plot
Without a plot, we do not have a story. A plot is a plan or ground work for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response. The plot of a typical realistic story is often conceived of as moving through five distinct sections or stages, which are exposition, complication, crisis, falling action, and resolution.

92 character The most significant agent of plot is character. The term applies to any individual in a literary work. Protagonist and antagonist: Flat and round characters: Static and dynamic characters:

93 setting Setting, quite simply, is the story’s time and place. While setting includes simple attributes such as climate, it can also include complex dimensions such as the historical moment the story occupies or its social context.

94 other devices Theme: the meaning or concept conveyed by a piece of fiction Point of view: the source or the scope of the narrative voice Style and tone: Imagery, symbolism and allegory

95 Desire to convey the maximum possible amount of information
4.2 Three basic ways to cope with lacunae in the TL reader’s knowledge of the SL culture 4.2.1 footnotes How to make footnotes? In making it , you must decide for yourself what the book’s primary purpose is. In what cases? Desire to convey the maximum possible amount of information

96 4.2.2 Interpolations What is interpolation? adding a parenthetical word or phrase How to make interpolations? being always be short The advantages of interpolations:

97 4.2.3 Omission It doesn’t refer to cutting out a portion of the work that presents difficulties-deleting any part of the original text is the equivalent of unconditional surrender, an admission that a certain word, phrase, or construction is beyond the translator’s ability to reader.

98 4.4 examples Eg 1 孔乙己便涨红了脸，额上的青筋条条绽出，争辩道： “窃书不能算偷；……窃书……读书人的事，能算偷 么？”(鲁迅《孔乙己》 At that Kong Yiji would flush, the veins on his forehand standing out as he protested, “Taking books can’t be counted as sealing…for a scholar…can’t be counted as stealing.” （杨宪益 译）

99 Eg.2 “女儿悲，嫁个男人是乌龟。”“女儿愁，绣房钻出个 大马猴。”   （《红楼梦》第二十八回中行酒令选段） “The girl’s sorrow: She married a queer. ” “The girl’s worry: A big gorilla springs out of her boudoir.” （杨宪益、戴乃迭 译） “The girl’s upset: She’s married to a marmoset.” “The girl looks glum: His dad’s a baboon with a big red bum.” （霍克思 译）

100 eg.3 It was remarked that the clock began to strike, and I began to cry, simultaneously. （Dickens: David Copperfield) 闻人言，钟声丁丁时，正吾开口作呱呱之声。 （林纾 译） 据说，钟开始敲，我也开始哭，两者同时。 （董斯秋 译）

101 Eg. 4 His eyes rest on her vigorous hips. Woods his name is
Eg.4 His eyes rest on her vigorous hips. Woods his name is. Wonder what he does. Wife is oldish. New blood. No follows around. Strong pair of arms. Whacking a carpet on the clotheline. She does whack it, by George. The way her crooked shirt swings at each whack. (James Joyce: Ulysess) 他的目光落到了她的健壮的臀部上。那一家姓伍兹。不知道是 干什么的。妻子是老了些。新鲜血液，不许人追。胳膊很有劲。 抽打着搭在晾衣绳上的地毯。她可真抽，乖乖。抽一下，歪着的 裙子就摆动了一下。（金隄 译） 他的视线落在她那结实的臀部上。他的主人姓伍兹。也不晓得 他都干了些什么名堂。他的老婆已经上岁数了。这是青春的血液。 克不许人跟正在后面。她有一双结实的胳膊。嘭嘭地拍打搭在晾 衣绳上的地毯。哎呀，她拍得可真猛，随着拍打，她那歪歪扭扭 的裙子就摆来摆去。（萧乾、文洁若 译）

102 Chapter 5 How to translate poetry?
5.1 What is poetry? “The art of rhythmical composition, written or spoken, for exciting pleasure by beautiful, imaginative, or elevated thoughts; as memorable speech; as what is lost in translation (Robert Frost’s famous put-down of our art). ---Random House Unabridged Dictionary 5.2 The soul of poetry The soul od poetry lies in the use of language in a figurative, metaphorical mode of expression that transcends traditional semantic limitations of language.

103 5.3 Translating poetry well is so difficult as to be called impossible.
eg. Charmed magic casements, opening on the foam Of perilous seas, in faery lands forlorn. ---Keats’s ‘Ode to a Nightingale’

104 5.4 Different layers of translating poetry
5.4.1 Translating forms: possible or impossible? Eg.1 Star If you arte A love compassionate, You will walk with us this year. We face a glacial distance, who are here Huddled At you feet. -----William Burford A Christmas Tree

105 茶。 香味，嫩芽。 慕诗客，爱僧家。 碾雕白玉，罗织红纱。 铫前黄蕊色，碗转曲尘花。 夜后邀陪明月，晨前命对朝霞。
eg.2 茶。 香味，嫩芽。 慕诗客，爱僧家。 碾雕白玉，罗织红纱。 铫前黄蕊色，碗转曲尘花。 夜后邀陪明月，晨前命对朝霞。 洗尽古今人不倦，将知醉后岂堪夸。 元稹《茶》

106 5.3.2 Translating rhyme and rhythm
Eg.1 是谁多事种芭蕉？ What busy boy planted this sapling? 早也潇潇， Morning tapping, 晚也潇潇； Evening tapping. 是君心绪太无聊； it’s you who’re lonesome, fretting; 种了芭蕉， Banana getting, 又怨芭蕉。 Banana regretting. ---蒋坦《秋灯琐忆》 林语堂 译

107 eg.2忽反顾以游目兮，将往观乎四荒。--《离骚》
Oft I looked back, gazed to the Distance still, Longed in the Wilderness to roam at Will. by Yang Xianyi and Gladys Yang eg.3 渭城朝雨浥轻尘，舍客青青柳色新。 ---王维《渭城曲》 A FAREWELL SONG No dust is raised on pathways wet with morning rain, The willows by the tavern look so fresh and green. -----translated by Xu Yuan-chong

108 5.3.3 Translating images 枯藤老树昏鸦， 小桥流水人家， 古道西风瘦马。 夕阳西下， 断肠人在天涯。
----- (马致远)

109 -----刘若愚 译 Withered vines , aged trees, twilight crows.
Beneath the little bridge by the cottage the river flows. On the ancient road and lean horse the west wind blows. The evening sun westward goes, As a broken-hearted man stands at heaven’s close. -----刘若愚 译

110 Withered wines hanging on old branches,
Returning crows croaking at dusk. A few houses hidden past a narrow bridge, And below the bridge quiet creek running. Down a worn path, in the west wind, A lean horse comes plodding. The sun dips down in the west, And the lovesick traveler is still at the end of the world. ------丁祖馨 Burton Faffe 译

111 Crows hovering over rugged old trees wreathed with rotten vine--- the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little village. But the traveler has to go on down this ancient road, the west wind moaning, the bony horse groaning, trudging towards the sinking sun, farther and farther, away from home. ----翁显良 译

112 5.4 To rhyme or not to rhyme? 5.4.1 How critical is rhyme to poetry?
5.4.2 The translator’s poetic sensitivity: appreciation for nuance, sonority, metaphor and simile, allusion; the ability to read between and above lines.

113 5.5 Principles of translating humorous verse
(1)humorous verse must rhyme; (2)brevity is the soul of wit; (3)save the humorous rhyme for last; (4)sound trumps meaning .

114 Chapter 6 Other areas of literary translation
6.1 Translating prose 6.1.1 Categories of prose Narrative prose: focusing mainly on the portraying of characters, accounting of events or describing of sceneries. Lyric prose: being concerned not so much with thought as with feeling. Argumentative prose: setting out to provide insights into or make comments on whatever topics, events or happenings, life or human nature, etc.

115 6.1.2 Characteristics of prose
Dealing with a variety of subjects; Employing various modes of expression, but meanwhile maintaining its own distinctive features; Being very convenient for emotional outputting; Being multifunctional; Making artistic use of sentence variety and length; Enjoying the good name of “aesthetic writing”.

116 examples eg Of Study (excerpt)___ Francis Bacon Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment, and disposition of business. For expert men can execute, and perhaps judge of particulars, one by one; but the general counsels, and the plots and marshalling of affairs, come best, from those that are learned. To spend too much time in studies is sloth; to use them too much for ornament, is affection; to make judgment wholly by their rules, is the humor of a scholar. They perfect nature, and are perfected by experience: for natural abilities are like natural plants, that need proyning, by study; and studies themselves, do give forth directions too much at large, except they be bound in by experience.

117 谈读书 读书足以怡情，足以博彩，足以长才。其怡情也， 最见于独处幽居之时；其博采也，最见于高谈阔论之 中；其长才也，最见于处世判事之际。练达之士虽能 分辨处理细事或一一辨别枝节，然纵观统筹、全局策 划，则舍好学深思者莫属。读书费时过多易惰，文采 藻饰太盛则矫，全凭条文断事乃学究故态。读书补天 然之不足，经验又补读书之不足，盖天生才干犹如自 然花草，读书然后知如何修剪移接；而书中所示，如 不以经验范之，则又大而无当。（王佐良 译）

118 论学问 读书为学的用途是娱乐、装饰和增长才识。在娱乐上 学问的主要的用处是幽居养静；在装饰上学问的用途是 辞令；在长才上学问的用处是对于事务的判断和处理。 因为富于经验的人善于实行，也许能够对个别的事情一 件一件地加以判断；但是最好的有关大体的议论和对事 务的计划与布置，乃是从有学问的人来的。在学问上费 时过多是偷懒；把学问过于用作装饰是虚假；完全依学 问上的规则而断事是书生的怪癖。学问锻炼天性，而其 本身又受经验的锻炼；盖人的天赋有如野生的花草，他 们需要学问的修剪；而学问的本身，若不受经验的限制， 则其所指示的未免过于笼统。（水天同 译）

119 Eg 《故都的秋》——郁达夫 秋天，无论在什么地方的秋天，总是好的；可是啊，北国的的 秋，却特别的来的清，来的静，来的悲凉。我的不远千里，要从 杭州赶上那个青岛，更要从青岛赶上北平来的理由，也不过想饱 尝一尝这“秋”，这故都的秋味。 Autumn in Peiping Autumn, wherever it is, always has something to recommend itself. In North China, however, it is particularly limpid, serene and melancholy. To enjoy its atmosphere to the full in the onetime capital, I have, therefore, made light of traveling a long distance from Hangzhou to Qingdao, and thence to Peiping.

120 6.2 Translating for the theater
Elements of drama: Thought / theme/ ideas Action /plot Characters Language Music Spectacle

121 6.2.2 Stylistic analysis Treating it as poem: Treating it as fiction: Treating it as itself: Drama dialogue is a particular literary language.

122 6.2.3 Examples Eg.1 Fools had ne’er less grace in a year,
For wise men are grown foppish, And know not their wits to wear, Their manners are so apish. (Shakespeare: King Lear) Version A Version B 这年头傻瓜供过于求， 当今傻瓜供过求， 聪明人个个变了糊涂， 明人个个变糊涂。 顶着个没有思量的头， 谁知为何没思想， 只会跟着人依样葫芦。 只会依样画葫芦。

123 Eg 2. Hamlet: Look here upon this picture, and on this, The counterfeit presentment of two brothers See what a grace was seated on this brow: Hyperion’s curls, the front of Jove himself. An eye like Mars, to threaten and command, A station like the herald Mercury New lighted on a [heaven] kissing hill, A combination and a form indeed. Where every god did seem to set his seal To give the world assurance of a man. This is your husband.

124 哈姆雷特：来看，看看这张画像，再看看这张，这是两个兄弟 的肖像。你看看这位眉宇之间是何等的光辉；有海皮里昂的卷 发；头简直是甫夫的；眼睛像是马尔士的，露出震慑的威严； 那姿势，就像是神使梅鸠里刚刚降落在吻着天地山顶上；这真 是各种风姿的总和，每个男子的模型，所有的天神似乎都在他 身上盖了印，为这一个人作担保一般：这人便曾经是你的丈夫。 （梁实秋 译） 哈姆雷特：瞧这一幅图画，再瞧这一幅，这是两个兄弟的肖像。 你看这一个的相貌多么高雅优美：太阳神的鬓发；天神的前额， 像战神一样威风凛凛的眼睛，像降落在苍穹的山巅的神使一样 矫健的姿态；这一个完善卓越的仪表，真像每一个天神都在那 上面打下印记，向世间证明这是一个男子的典型。这是你的丈 夫。（朱生豪 译）

125 Eg3. 黄胖子：哥儿们，都瞧我啦！我请安了！都是自 己弟兄，别伤了和气呀！ （老舍《茶馆》） Tubby Huang: Now, now, folks, for my sake, please, I’m here greetin’ you all! We’re all brothers, ain’t we? Let’s have none of them bad feelings.

126 Eg. 4 刘麻子：告诉你，过了这个村可就没这个店，耽误 了事别怨我！快去快来！ （老舍《茶馆》）   Pock-mark Liu: I am telling you, you won’t find another chance like this. If you lose it, don’t blame me! You’d better give move on （英若诚 译）

127 6.3 Translating children’s literature
Most of the challenges of translating literature for adults ---for example, fluency, accuracy, register, flexibility, a feeling for style, an appreciation of nuance, and transparency — are also present in translating children’s literature. But in addition, there are special needs in translating works at children. Age-level must be taken into consideration. Appropriate illustrations must be found. “Correct” content must be considered.

128 eg.1 Old McDonald had a farm, E I E I O.
And on his farm he had a cat, E I E I O. With a meow here And meow meow there. Here a meow there a meow, Everywhere a meow meow. Old McDonald had a farm, E I E I O. 译文 老麦有个小农场，依唉依哎呦。 小农场里有只猫，依唉依哎呦。 这里叫喵喵，那里叫喵喵。 这也叫，那也喵，到处叫喵喵。 老麦有个小农场，依唉依哎呦。

129 For grubby old moles, 满身泥巴的老鼹鼠， Always in tunnels, 它们一直在地道里，
eg. Don’t you feel sorry 你难道不可怜。 For grubby old moles, 满身泥巴的老鼹鼠， Always in tunnels, 它们一直在地道里， Always in holes, 在地洞里住， Never out watching 从不到外面 The sun climb high 看看太阳上升， Or the grass bend low 看看青草低垂， Or the wind race by 看看吹过的风， Or the stars make twinkles看看满天星星， All over the sky? 对着我们眨眼睛？

130 Once I caught a fish alive. 抓到小活鱼 Six, seven, eight, nine, ten, 六七八九十
eg. One, two, three, four, five， 一二三四五 Once I caught a fish alive. 抓到小活鱼 Six, seven, eight, nine, ten, 六七八九十 But I let it go again 我又放回池。 Why did you let it go? 为啥放走他？ Because it bit my finger so. 咬我手指头。 Which figure did it bit? 咬了哪一个？ The little one upon the right. 右手最小的。

131 Chapter 7 Pitfalls and how to avoid them
Both experienced and neophyte translators call fall prey to certain errors that at first glance may not appear to be mistakes at all. In some cases they can masquerade as ‘faithfulness’; in others, they may take the form of excessive fastidiousness.

132 7.1Errors of frequency Errors of frequency occur when a grammatical feature of the SL is allowed to influence the structure of the TL. A common mistake of beginning translators is the fear of ‘betraying’ the author by leaving out some shade of meaning from the original.

133 7.2Hidden traps in translating common vocabulary
The double conditional: eg. If I would have know, I would have some earlier. The double negative: eg. He doesn’t do nothing right. Adverb/adjective confusion: eg. Monty reads good but he doesn’t understand everything he reads. Failure of subject/verb agreement: eg. He doesn’t work here anymore.

134 Part III Literary Translation: Comparison and Appreciation

135 Chapter 1 Tess of the D’Urbervilles (excerpts) and Two Chinese Versions

136 1 The most impressed of them said: “Be you really going to christen him ,Tess?” The girl-mother replied in a grave affirmative. 张谷若译：其中有一个受感动最深的问：“姐姐， 你真 要给他行洗礼吗？” 那个年纪轻轻的母亲郑 重地答应了一个“是”字。 吴笛译：其中有一个问题给人印象最深：“苔丝， 你真的给他施洗礼吗？”年幼的母亲转眼地作出了 肯定的回答。

137 2 Her mother knew Tess’s feeling on this point so well, though no words had passed between them on the subject, that she never alluded to the knightly ancestry now. 张译：虽然她们是母女，并没提及这一节。她母 亲却很知道，苔丝对于这一方面，有什么样的情 感，所以现在再也不说武士世家的话了。 吴译：虽然她们母女俩没有谈到这方面的问题， 可做母亲的非常清楚女儿的情感，所以她一次没 有提及武士世家之类的话。

138 3 The marble hardness left her face, she moved with something of her old bounding step, and flushed in all her young beauty. 张译：她脸上不像先前跟大理石一般那么硬了， 她的举动也带出了一些她往日轻快活泼的样子来， 她那焕发的容光，更显出她青春的美丽。 吴译：大理石一般生硬的神气也从她脸上消失了， 她的脚步也变得轻快自如，无拘无束了，她周身 洋溢着青春的美丽。

139 4 Symbols of reflectiveness passed into her face, and a note of tragedy at times into her voice. 张译:她脸上带出来深沉思念的象征，语言里有时 也露出凄楚伤感的强调。 吴译：她脸上映出了沉思的符号，她声音中也时 常出现了悲剧的音调。

140 5 On these lonely hills and dales her quiescent glide was of a piece with the element she moved in. 张译：在这些旷山之上那个和空谷之中，她那悄 悄冥冥的凌虚细步在和她所活动于其中的大气， 成为一体。 吴译：在这些寂静的山林和溪谷中，她那轻轻的 脚步和她周围的环境及其融合。

141 6 In the blue of the morning that fragile soldier and servant breathed his last, and when the other children awoke they cried bitterly, and begged Sissy to have another pretty baby. 张译：在晨光熹微中，那位脆弱的兵士和仆人就喘了他最后一 口气，别的孩子们醒过之后，一个个哭得伤心极了，他们恳求 苔丝姐姐再给他们生一个漂亮的娃娃。 吴译：在清幽幽的晨光中，这名脆弱的战士和奴仆喘出了他最 后一口气，别的孩子们醒过之后，一个个哭得伤心极了，他们 恳求苔丝姐姐再给他们生一个漂亮的娃娃。

142 Chapter 2 Uncle Tom’s Cabin (excerpts) and Two Chinese Versions

143 1 Have not many of us, in the weary way of life, felt in some hours, how far easier it were to die than to live？ 张培均译：我们中间有许多人，在人生厌倦的道 路上，不是有时候会感觉到，一死了之远比生活 下去容易得多吗？ 黄继忠译：我们有许多人在令人厌倦的人生旅途 中，不是有时感到生不如死吗？

144 2. “what the devil’s got into Tom. ” Legree said to Sambo
2.“what the devil’s got into Tom?” Legree said to Sambo. “A while ago he was all down in the mouth, and now he’s peart as cricket.” 张译：“到底有什么东西钻到汤姆的肚子里去了 呢？”雷格利问桑波。“一会儿以前他还是愁容满 面，而现在却像蟋蟀一样愉快活泼。” 黄译：“真见鬼，汤姆是怎么了？”雷格利温山 宝道。“前两天还是垂头丧气的，现在却这么精神 勃勃。”

145 3 Long before his wounds were healed, Legree insisted that he should be put to the regular field-work. 张译：远在他的创伤治愈之前，雷格利就坚持安排他做正常的田 间工作； 黄译：汤姆的伤还远远没有复原时，雷格里就逼他照常下地去干 活。 4 In the height of the season, Legree did not hesitate to press all his hands through ,Sundays and weekdays alike. 张译：在这大忙紧张季节，雷格利毫不犹豫胁迫所有工人工作， 礼拜天和非礼拜天一样。 黄译：在农忙高潮时，雷格里索性逼着黑奴们连轴转，连礼拜天 也不例外。

146 5 “…I never have prayed since my children were sold
5 “…I never have prayed since my children were sold!” 张译：“从孩童时候卖出来以后，我从来没有祷告过！” 黄译：“自从我的儿女被卖掉以后，我就再也不做祷告了。” 6 “…Lord, help us to follow His steps, and love our enemies.” 张译：“主啊！帮助我们追随他，亦步亦趋，爱我们的敌人。” 黄译： “上帝啊！帮助我们以他为榜样，爱我们的敌人。” 7 A coarse laugh roused him; he looked up, ---Legree was standing opposite to him. 张译：一个粗鲁的笑声惊醒了他； 他抬头一看，----雷格利站在他对面。 黄译：一阵粗野的笑声惊动了他。他抬头一看，面前站的是雷格利。

147 8 From this time, an inviolable sphere of peace encompassed the lowly heart of the oppressed one, -- -an ever present Saviour hallowed it as a temple. 张译：从这个时候起，有个不可侵犯的和平区域围 绕着这个被压迫者的谦恭的心，----永存的救世主基 督称之为一个庙。 黄译：从此以后，这个被压迫者的心灵就形成了一 个不可侵犯的平安区，无所不在的救世主使它变成 了一座圣殿。

148 Chapter 3 《红楼梦》（excerpts） and two English Versions

149 1 …“况且这通身的气派，竟不像老祖宗的外孙女，竟 是个嫡亲的孙女，怨不得老祖宗天天口头心头一时不 忘”… 杨宪益译：”Her whole air is so distinguished! She doesn’t take after her father, son-in-law of our Old Ancestress, but looks more like a Chia. No wonder our Old Ancestress couldn’t put you out of her mind and was for ever talking or thinking about you.” 霍克斯译: “And everything about her so distingue! She doesn’t take after your side of family, Grannie. She’s more like Jia.”

150 2 王夫人因说道：“你舅舅今日斋戒去了，再见 罢。…” 杨译: “Your uncle’s observing a fast today,” said Lady Wang. “You will see him some other time.” 霍译: “Your uncle is in retreat today,” said Lady Wang. “He will see you another time.”

151 3 心较比干多一窍，病如西子胜三分。 杨译：She looked more sensitive than Pikan1, more delicate than Hsi Shih2. 1. A prince noted for his great intelligence an the end of the Shang Dynasty. 2. A famous beauty of the ancient Kingdom of Yueh. 霍译：She had more chambers in her heart than the martyred Bi Gan; And suffered a tithe more pain in it than the beautiful Xi shi.

152 4 第一个肌肤微丰，合中身材，腮凝新荔，鼻腻鹅脂， 温柔沉默，观之可亲。 杨译：The first was somewhat plump and of medium height. Her cheeks were the texture of newly ripened lichees, her nose as sleek as goose fat. Gentle and demure, she looked very approached. 霍译: The first girl is of medium height and slightly plumpish, with cheeks as white and firm as a fresh lychee and a nose as white and shiny as a soap made from the whitest goose-fat. She had a gentle, sweet, reserved manner. To look at her was to love her.

153 5 宝玉听了，登时发作起狂病，摘下那玉，就狠命摔去， 骂道: “什么罕物，连人之高低不择，还说 ‘通灵’不 ‘通灵’ 呢！我也不要这劳什子了！” 杨译：This instantly threw Pao-yu into one of his frenzies. Tearing off the jade he flung it on the ground. “what’s rare about it?” he stormed. “It can’t even tell good people from bad. What spiritual understanding has it got? I don’t want this nuisance either.” 霍译: This sent Bao-yu off instantly into one of his fits. Snatching the jade from his neck he hurled it violently on the floor as if to smash it and began abusing it passionately. ‘Rare object! Rare object! What’s so lucky about a stone that can’t even tell which people are better than others? Beastly thing! I don’t want it!’

154 Chapter 4 《水浒传》(excerpts) and Three English Versions

155 1 “杨雄道: ‘这个兄弟，姓杜，名兴，祖贯是中山府人士，因 为他颜生得粗鲁，以此人都叫他做鬼脸儿。’ ” Pearl Buck译: “ Yang Hsiung answered, ‘this brother is surnamed Tu and his name is Hsing, and his ancestors were men of Chung Shan Fu. Because his face is so coarse and wild men call him the The Devil Faced.’ ” J.H.Jackson译：“Yang Hsiung raised the man and then introduced him to Shi Hsing as Tu Hsing of Chung Shan Fu. He had a fierce face, and therefore people called him the Devil Faced Man.” Sidney Shapiro译: Du Xing is his name. He’s from the prefecture of Zhongshan. Because of his crude features everyone calls him Demon Face.’ ”

156 2 “摇旗呐喊，擂鼓鸣锣，大刀阔斧，杀奔祝家庄 来。”
赛译: “Then waving their flags and shouting their war cries, beating their drums and gongs with their great knives and their broadaxes, they went charging toward the village, killing as they went until they might reach the Bridge Of The Lonely Dragon.” 杰译: “ There was at once a great hubbub, waving their flags, beating of drums and gongs, and a great display of swords and axes.” 沙译: “Amid waving flags, pounding drums and braying gongs, the raiders, shouting and brandishing swords and axes, marched rapidly on the Zhu Family Manor.”

157 3 “李应纵马赶将去，祝彪把枪横担在马上，左手拈弓， 右手取箭，搭上箭，拽满弓，觑得较亲，背翻身一箭。 ”
赛译: “ But Li Yun urged his horse on in pursuit. The Tiger Cub held his weapon uptight on his horse. With his left hand he reached for his bow, with his right he took at the same time his arrow and he fitted the arrow to the bow, and he stretched full his bow, he took true aim and turning, he let fly the arrow.” 杰译: “Placing his spear on the horse he took his bow Cub and arrow, and turning his body shot at Li Ying who was following close behind.” 沙译：“ Li Ying gave chase. Tiger Cub rested his lance athwart his animal’s neck, fitted an arrow to his bow and drew it to the full. Twisting in the saddle, he aimed and let fly.”

158 4 “（杜兴）入得庄门，见他模样，气得紫涨了面 皮，龇牙露嘴，半晌说不得话。” 赛译: “He was so angered the skin of his face was empurpled and his teeth bared. For a time he could not speak.” 杰译: “ His face was red with passion, and as he raised his lips he showed the tightly set teeth. For some time he could not speak.” 沙译: “His face was tight with rage and his teeth were bared . For several minutes he was unable to speak.”

159 5 “又有一个教师，唤作铁棒栾廷玉，此人有万夫不当 之勇。” 赛译: “They have a teacher who is called Luan T’ing Yu, The Iron Stuff. Among ten thousand there is not one to match him.” 杰译: “They had a drill instructor named Luan T’ing Yu, nicknamed Iron Stuff, who was invincible .” 沙译: “They have an arms instructor, Luan Tingyu, who’s known as the Iron Stuff. Ten thousand men are no match for him .”

160 Chapter 5 In a station of Metro and Four Chinese Versions

161 In a Station of the Metro
                             Ezra Pound The apparition of these faces in the crowd; Petals on a wet, black bough.

162 车站 人群中，这些面孔的鬼影， 潮湿的黑树枝上的花瓣。（余光中 译） 在地铁车站 这几张脸在人群中幻景般闪现； 湿漉漉的黑树枝上花瓣数点。（飞白 译） 在车站 这些面庞从人群中涌现 湿漉漉的黑树干上花瓣朵朵。（郑敏 译） 在地铁车站 这些面孔浮现于人群； 花瓣在潮湿的黑树枝。（颜元叔 译）

163 Chapter 6 Shakespeare’s Sonnet 18 and Four Chinese Versions

164 Shall I compare thee to a summer's day?
Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee

165 以君比夏日，未知君可愿？ 美丽君拥有，保留至永远。 君自更可爱，君亦更温婉： 死神虽不惭，不敢将君挽。 五月娇花蕾，狂风吹落散， 永恒诗行间，君与时共延。 夏季何短暂，倏忽已过完。 人若可呼吸，眼睛可看见， 日头高悬天，有时吐烈焰。 此篇若流传，君生得万年。 金黄灿烂脸，常常转阴暗； -----王道余 译 美丽随时减，日久终不艳， 若非遇不测，自然亦使变。 君当长为夏，历历不暗淡，

166 我可能把你和夏天相比拟 你比夏天更可爱更温和： 狂风会把五月的花苞吹落地， 夏天也嫌太短促，匆匆而过： 有时太阳照得太热， 常常又遮暗他的金色的脸； 美的事物总不免要凋落， 偶然的，或是随自然变化而流转。 但是你的永恒之夏不会褪色； 你不会失去你的俊美的仪容； 如果你在这不朽的诗句里获得了永生； 只要人们能呼吸，眼睛能看东西， 此诗就会不朽，使你永久生存下去。 ----梁实秋 译

167 我怎能把你比作夏天， 你比它更可爱、更温婉： 狂风把五月的花蕊摧残， 夏季时光匆匆、总是如此短暂： 有时炙热异常，像天上灼烧的眼， 它那金色的面容常飘忽闪现。 再美好的事物也终将凋残， 随时间和自然的变化而流转。 但是你的夏日会永远鲜艳， 你将永远拥有这俊美的容颜。 死神也无法夸口让你在它的阴影里逗留， 当你在这不朽的诗句中永远地生息留守： 只要人类还在呼吸，只要眼睛还在阅读， 我这首诗就会存在，你的生命就会存在。 ----艾梅 译

168 我不知能否将你比作夏天？ 你比夏天更温和也更可爱。 狂风有时将五月的娇蕾摧残， 而夏天的尽期很快就会到来。 有时苍天的巨眼照得太热， 有时他金色的脸庞又黯淡无光； 每一种美都会凋零，或夭折， 或随着时序代谢自然衰亡。 但你的夏天永远不会消殒， 永远不会丧失你赋有的美貌， 死亡也不能夸耀你徘徊其影， 你将在我诗中与时光共存不老； 只要还有人呼吸，眼睛能看见， 我的诗就活着，使你生命绵延。 顾子欣 译

169 Chapter 7 《枫桥夜泊》 and Four English Versions

170 枫桥夜泊 --- 张继 月落乌啼霜满天， 江枫渔火对愁眠， 姑苏城外寒山寺， 夜半钟声到客船。
枫桥夜泊 --- 张继 月落乌啼霜满天， 江枫渔火对愁眠， 姑苏城外寒山寺， 夜半钟声到客船。 Mooring by Maple Bridge at Night At moonset cry the crows, streaking the frosty sky; Dimly lit fishing boats'neath maples sadly lie. Beyond the city wall, form Temple of Cold Hill. Bells break the ship-borne roamer 's dream and midnight still. ---- 许渊冲 译

171 When the moon slants, ravens croak and thick frosts grow.
Maple Bridge Night Mooring When the moon slants, ravens croak and thick frosts grow. Bank maple groves and fishing glows invoke my woe. From the Hanshan Temple outside Suzhou moat, The midnight tolls resound and reach my mooring boat. -----汪榕培译

172 Anchored at Night by the Maple Bridge
The moon is setting, rooks disturb the frosty air, I watch by mapled banks the fishing-torches flare. Outside the Suzhou wall, from Hanshan Temple’s bell, I hear its sound aboard and feel its midnight spell. ---蔡廷干 译 Maple Bridge Night Mooring Moon set, a crow caws, frost fills the sky, River, maple, fishing-fires cross my troubled sleep. Beyond the walls of Su-chou from cold Mountain temple, The midnight bell sounds reach my boat. -- Gary Snyder译

173 Chapter 8 《春晓》 and Four English Versions

174 春 晓 孟浩然 春眠不觉晓， 处处闻啼鸟， 夜来风雨声， 花落知多少。

175 Spring Morning 许渊冲译 This spring morning in bed I’m lying Not to awake till birds crying After one night of wind and showers How many are the fallen flowers! A Spring Morning 丁序周译 I awake light hearted this morning of spring Everywhere, round me the singing of the birds But now I remember the night, the storm And I wonder how many blossoms were broken.

176 A Spring Morning 翁显良译 Late! The Spring morning as I awake,
I know all around me the birds are crying. The Storm last night, I sensed the fury, How many, I wonder, are fallen, poor dear flowers. At Dawn in Spring 王守义译 Slept so well I didn’t know it was dawn. Birds singing in every courtyard woke me up. The wind and rain troubled my dream last night I think of all those petals swept to the ground.