1译文之“文”意识重点.ppt

译文之“文”意识及翻译仿拟法 张德让 2012 Warm-up I’m sorry to hear that. The man is coming. A man is coming. I ate the apple. I ate an apple. She is a little dark personage… Ye Shiwen poses with her gold medal … poses with her gold medal 图为中国选手叶诗文与金牌合影 中国叶诗文摆姿势展示金牌 上图为中国选手叶诗文手持金牌 中国选手叶诗文高举金牌 中国队叶诗文展示她的金牌 清者自清？叶诗文强烈反驳外媒质疑！ 叶诗文站在冠军领奖台上 叶诗文在领奖台上展示金牌 用实力回应质疑 《约翰牛之性格》：论及法国人 “They are the gayest of the gay, and the gravest of the grave. Their very faces pass at once from an expression of the most lively animation, when they are in conversation or in action, to a melancholy blank.”（10） 赫兹列认为法国人易走极端：“他们比乐天派还要乐天，比悲壮派还要悲壮。言行之顷，其脸色可由如靥之花，一变而为茫然之木。” In comparing these four writers together, it might be said that Chaucer excels as the poet of manners, or of real life; Spenser, as the poet of romance; Shakespeare as the poet of nature; and Milton, as the poet of morality. 将这四人作横向比较，可以说作为诗人，乔叟的长处在其写实，斯宾塞的长处在其浪漫，莎士比亚的长处在其自然，而弥尔顿的长处在其说教。 Chaucer most frequently describes things as they are; Spenser, as we wish them to be; Shakespeare, as they would be; and Milton as they ought to be. 乔叟叙事是实是如此，斯宾塞叙事是但愿如此，莎士比亚叙事是也许如此，而弥尔顿叙事是理当如此。 The characteristic of Chaucer is intensity; of Spenser, remoteness; of Milton, elevation; of Shakespeare, every thing. 就风格特征而言，乔叟得之力，斯宾塞得之远，弥尔顿得之高，而莎士比亚则无所不包。 That is a fault. That will not do. God-damn-me vanishes clean out of our minds expected too serious an old almanac sit drooping at intervals repeated 此言差矣 这一招不灵。 天杀的 溜到爪哇国去了 如约而来 太顶真了 老黄历 垂头端立 隔三差五 一而再，再而三 有时添加修饰语，神情顿现，如 “Dates, names, faces come back” “悠悠岁月，熟悉的名字，亲切的面容，一一在眼前浮现。”（37） “语美”：凝练简约，如 “We are never so much disposed to quarrel with others as when we are dissatisfied with ourselves.”（4） “不满于己者，每寻衅于人。”（5） 善用形合 My standing upright, speaking loud, entering a room gracefully, proves nothing. 我认为站立再正，说话再漂亮，走路姿势再优美，都证明不了什么。 The generations of men…with their different concerns, passions, follies, vices, virtues, actions, and motives… 一代又一代……各怀不同的心思与情感，有的愚蠢，有的聪明，有的恶毒，有的善良，各