“信达雅”众说-精选（公开课件）.pptVIP

Appreciation of Translation From E to C Lecture 10 “信达雅”众说 Outlines of Chinese history in translation It can be divided into four periods, namely the post-history period up till Han Dynasty; the period between Han and the First Opium War; the period between the Opium War and the May-Fourth Movement; and the period after the May-Fourth Movement. Introduction of eminent translators and their theories of translation as: The three characters 信、达、雅 (faithfulness, expressiveness and elegance) formulated by Yan Fu, who made contributions to the Enlightenment of the bourgeoisie in China. In his Introductory Remarks to his translation are thought of and supported as the one and only maxim all translators must observe. In his essay On Translation he declares that translation is an art whose success depends upon one’s artistic talent and enough training. Besides these, there are no set rules for translation and there is no short cut for art. And by contrast, Fraster Tytler’s (1749 – 1814) three principles of translation: 1. The translation should give a complete transcript of the idea of the original work. 2. The style and manner of writing should be of the same character with that of the original. 3. The translation should have the ease of the original composition. 对泰特勒的“翻译三原则”和严复的“信达雅”，人们大多理解为三个标准，有主次之分。就“信达雅”来说，严复在他的《天演论·译例言》中阐述其要旨。他提出：“译事三难，信、达、雅。求其信，已大难矣！顾信矣不达，虽译犹不译也，则达尚焉。”严复还引证儒家经典，来建立他的翻译原则。“《易》曰‘修辞立诚’。子曰：‘辞达而已’。又曰‘言之无文，行之不远。’三者乃文章正规，亦即为译事楷模。故信达而外，求其尔雅。”“信达雅”可谓简洁明了，要言不繁。 在国内关于三次翻译标准的热烈讨论中，我国译家学者基本都是围绕“信达雅”而进行，众说纷纭，有肯定的，有否定的，有大体肯定或不否定但认为应该修订或代之以新说的。在此，作者不想再作知人论世的研究，再去详细考证“信达雅”三个字的确切含义，以及严复的“达”与“达旨”的关系。作者要指出的是，钱钟书对“信达雅”的理解代表了不少人的看法。 钱钟书（1984：23）指出： 译事之信，当包达、雅；达正以尽信，而雅非为饰达。依义旨以传，而能如风格以出，斯之谓信。支、严于此，尚未推究。雅之非润色加藻，识者犹多；信之必得意忘言，则解人难索。译文达而不信者有之矣，未有不达而能信者也。 而季羡林和沈苏儒对“信达雅”的理解大致代表大部分译者的观点。季羡林（2007a：4）认为：“信” 是忠于原作，“达”是忠于读者，“雅”是对文学语言的忠诚。信、达、雅虽然只有三个字，但体现了作品、读者、语言三者之间的关系。而沈苏儒的理解是“忠实于原文、明白晓畅地表达、译文须用规范化的语言（大致如此，以下有详解）”。就“信达雅”的英译来说，根据夏天（2008：2），有14种译法，还有作者看到的另外两种译法，如图表1——“信达雅”译法用词对照表。 钱