在中(zhōng)譯翻譯公(gōng)司，要知道文(wén)學(xué)翻譯并不簡單，為(wèi)什麽這麽說呢(ne)?下面詳細為(wèi)大家介紹：

　　In the Chinese Translation Company, it is not easy to know that literary translation is not easy, why do you say so? The following is a detailed introduction to you:

　　周克希，可(kě)能(néng)大部分(fēn)翻譯行外人都不知道這位如今已然年達73歲高齡的老先生，可(kě)在翻譯這行裏做的行内人，卻少有(yǒu)不知道這位半路出家的，我國(guó)的著名(míng)的法語文(wén)學(xué)翻譯家的老先生。

　　Zhou Kexi, perhaps most translators do not know this 73-year-old gentleman, can be done in the translation industry insiders, but few do not know this half-way monk, China's famous French literature translator of the old gentleman.

　　是的，和不少即使在全球範圍内都十分(fēn)有(yǒu)名(míng)的知名(míng)翻譯家一樣，我們的周克希老先生也是一名(míng)可(kě)以說是半路出家的翻譯——他(tā)是數學(xué)專業畢業的，卻意外的喜歡上了文(wén)學(xué)翻譯，并在自己的愛好和當時的市場需求的共同驅使下，走上了法語——中(zhōng)文(wén)兩種語種轉換之中(zhōng)的文(wén)學(xué)翻譯這一路途，并令人驚訝的，做的不但不比自己大學(xué)數學(xué)教授這一職位差不說，從某個角度來說，甚至更為(wèi)優秀也說不一定。

　　Yes, like many well-known translators around the world, our old Mr. Chou Kexi was a half-baked translator - a math graduate who accidentally fell in love with literary translation and was driven by his hobbies and the needs of the market at the time. On the way to literary translation in the French-Chinese linguistic transformation, it is surprising that not only is it not inferior to my position as a college math professor, but, in some ways, even better.

　　筆(bǐ)者不知道大家有(yǒu)沒有(yǒu)閱讀過周克希老先生的文(wén)學(xué)翻譯作(zuò)品但筆(bǐ)者自己是真正讀過的。而在筆(bǐ)者閱讀的那些文(wén)學(xué)翻譯之中(zhōng)，周克希版的《基督山(shān)伯爵》對于筆(bǐ)者的吸引力可(kě)謂是最大的——無論是該部經典著作(zuò)本身就具(jù)備的緊湊而刺激感滿滿的劇情，還是經周克希老先生翻譯後，行文(wén)非常流暢，不會令人産(chǎn)生什麽晦澀難懂之類的不那麽好的評價的經典翻譯版的《基督山(shān)伯爵》。當然，筆(bǐ)者是在高中(zhōng)時期閱讀的那本周克希譯本的中(zhōng)文(wén)版《基督山(shān)伯爵》。那時的筆(bǐ)者僅僅是出于一個純粹的閱讀者的角度評價，感覺這部書本身的内容非常棒，隻覺得這本書不愧是享譽全球的經典文(wén)學(xué)作(zuò)品，壓根兒就沒考慮過這和翻譯有(yǒu)多(duō)大的關系——因為(wèi)，在那時的筆(bǐ)者看來，一本中(zhōng)文(wén)版本的文(wén)學(xué)作(zuò)品的好壞，隻和這本書本身有(yǒu)關系，和其他(tā)影響因素并沒有(yǒu)什麽關聯。

　　I do not know if you have read Mr. Zhou Kexi's literary translation works, but I really read them. Among the literary translations I have read, the Count of Monte Cristo by Zhou Kexi is the most attractive to me - whether it is the compact and exciting plot of the classic itself, or the fluency of the text after Mr. Zhou Kexi's translation, which does not produce anything. The classic translation version of the count of Monte Cristo is obscure. Of course, I am the Chinese version of the count of Monte Cristo in the high school reading of Zhou Kexi. At that time, the author just out of a purely reader's point of view, feel that the book itself is very good, just feel that the book is a world-renowned classical literary works, at all did not consider how much the relationship with translation - because, in my opinion, at that time, a Chinese version of the text. The quality of learning works is only related to the book itself, and has nothing to do with other factors.

　　當筆(bǐ)者無意間走入翻譯這一行，并可(kě)以預期會一輩子走下去的現在，再回頭看看。實際上，《基督山(shān)伯爵》這部世界名(míng)著确實非常的經典，非常的優秀，可(kě)是，它的譯本卻也着實不少，但在大多(duō)數的中(zhōng)國(guó)《基督》迷眼中(zhōng)，承認的經典譯本也就那麽一兩部。而這，其實是因為(wèi)，不但文(wén)學(xué)作(zuò)品的創作(zuò)本身是一種藝術，文(wén)學(xué)作(zuò)品的翻譯，它也是另一種藝術，一種從傳播學(xué)的角度來講，完全不遜色于文(wén)學(xué)作(zuò)品的創作(zuò)的藝術。

　　When the author inadvertently entered the translation industry, and can be expected to go on for a lifetime now, look back. In fact, the Count of Monte Cristo is indeed a very good classic of the world, very good, but it is also a lot of translation, but in the eyes of most of China's "Christ" fans, the recognition of the classic translation is so one or two. In fact, this is because, not only is the creation of literary works an art, the translation of literary works, it is also another art, a kind of communication from the point of view, is not inferior to the creation of literary works of art.

　　到這裏，可(kě)能(néng)很(hěn)多(duō)人會問了，那麽，什麽樣的文(wén)學(xué)創作(zuò)才叫做真正優秀的文(wén)學(xué)創作(zuò)呢(ne)?實際上，對于這點，即使是全球範圍内都沒有(yǒu)絕對權威的答(dá)案。要知道，翻譯也算是文(wén)學(xué)範疇之類的分(fēn)支，而我們向來都說武無第二，文(wén)無第一。因為(wèi)，文(wén)學(xué)的評價本身就擁有(yǒu)極大的主觀因素在裏面，本就沒有(yǒu)那麽的絕對，沒有(yǒu)所謂的真正最優者。但同時，我們又(yòu)可(kě)以從從古至今的文(wén)學(xué)中(zhōng)選出絕對的精(jīng)品文(wén)學(xué)作(zuò)品，為(wèi)什麽?自然是因為(wèi)，時間最後能(néng)夠證明，什麽才是契合絕大多(duō)數的受衆的作(zuò)品，而這種作(zuò)品，本身就是一種精(jīng)品。這，放在文(wén)學(xué)作(zuò)品中(zhōng)可(kě)行，放在文(wén)學(xué)翻譯中(zhōng)，自然也可(kě)行。

　　So what kind of literary creation is called really good literary creation? In fact, there is no definitive answer to that, even globally. You know, translation is also a branch of literary category and so on, and we have always said that there is no second, no first. Because the evaluation of literature itself has a great subjective factor in it, there is no such absolute, there is no so-called real optimist. But at the same time, we can choose absolute works of literature from ancient times to the present. Why? Naturally, time can finally prove what works fit the overwhelming majority of the audience, and this kind of work itself is a fine work. It is feasible to put it in literary works, and it is also feasible to put it in literary translation.

　　而何謂優秀的文(wén)學(xué)翻譯作(zuò)品，對于這一點，不同的人有(yǒu)不同的看法，我們的法語文(wén)學(xué)翻譯家周克希老先生自然對此也有(yǒu)着自己的讀到見地。在周老先生看來，在文(wén)學(xué)翻譯中(zhōng)，隻要我們翻譯的文(wén)字足夠的準确、傳神，那麽翻譯出來的文(wén)學(xué)作(zuò)品的譯本，也就有(yǒu)了獨屬于自己文(wén)采。可(kě)能(néng)有(yǒu)人會覺得周老先生說的不夠形象，不用(yòng)着急，筆(bǐ)者接下來會慢慢的和大家解釋一番。

　　Different people have different opinions on what is an excellent literary translation. Our French literary translator, Mr. Zhou Kexi, naturally has his own views on it. In Mr. Zhou's opinion, in literary translation, as long as we translate the text accurately and vividly, the translated literary works will have their own literary style. Perhaps some people will feel that Mr. Zhou said not enough image, do not worry, the author will slowly explain to you next.

　　其實，周老先生的意思非常的簡單，也就是我們在文(wén)學(xué)翻譯中(zhōng)，第一，要做到足夠的準确，不能(néng)罔顧文(wén)學(xué)作(zuò)品的原文(wén)，自己在那兒想當然的翻譯;第二，優秀的文(wén)學(xué)翻譯，還得在翻譯之時，注意做到“傳神”——亦即不能(néng)機械化的一字一句逐詞翻譯，還得在翻譯之時，做到适當的帶入自己的語言，将原作(zuò)翻譯成為(wèi)目标語種的受衆更習慣的表達模式;第三，真正厲害的文(wén)學(xué)翻譯，還得是擁有(yǒu)自己的“風格”的文(wén)學(xué)翻譯，是讓讀者既能(néng)完全讀懂原著的表達意思的同時，還能(néng)從譯本中(zhōng)看出這是誰誰誰翻譯的。

　　In fact, Mr. Zhou's meaning is very simple, that is, in literary translation, first, we should be accurate enough to ignore the original text of literary works, their own translation there for granted; second, excellent literary translation, but also in translation, pay attention to "vivid" - that is, not mechanized. Word by word translation, but also in the translation time, to achieve appropriate into their own language, the original translation into the target language audience more accustomed to the mode of expression; third, really strong literary translation, but also has its own "style" of literary translation, so that readers can fully understand the original expression. Meaning, at the same time, we can see from the translation who and who translated.

　　以上三點，實際上第一點是最為(wèi)好做到的，因為(wèi)，當詞彙量累積的足夠大之時，十有(yǒu)八九的翻譯都能(néng)做到準确的翻譯文(wén)學(xué)作(zuò)品。當然，這也是一部文(wén)學(xué)作(zuò)品的翻譯達标的最為(wèi)基礎的要求，畢竟，翻譯出來的作(zuò)品就是要讓人看得懂的，如果連準确的翻譯都做不到，那麽這種翻譯出來的譯本就不是優秀，而是連達标的水準都沒到了。

　　In fact, the first of the three points is the best, because when the vocabulary is large enough, nine out of ten translations can achieve accurate translation of literary works. Of course, this is also the most basic requirement for a literary work to reach the target. After all, the translated work is to be understood. If even accurate translation can not be done, then the translated version is not excellent, but even the standard has not been reached.

　　而第二點，适當的帶入自己對于原著的理(lǐ)解，進行一定程度的創作(zuò)式翻譯，則需要那些真正肚中(zhōng)有(yǒu)剛貨的譯者才能(néng)做到。為(wèi)什麽這麽說呢(ne)，是因為(wèi)這種自我創作(zuò)式的翻譯，需要譯者能(néng)夠準确的把握兩種轉換語言的對應國(guó)家的文(wén)化、思想上的不同，能(néng)夠做到将某些直譯過去，可(kě)能(néng)會讓目标受衆産(chǎn)生難以理(lǐ)解的感覺，亦或直接就會産(chǎn)生誤解的語句，經過自己的轉化，變成對方能(néng)夠一看就明白文(wén)中(zhōng)想表達的真實意義的語言。而這一點的把握，可(kě)謂是非常的難，因為(wèi)一不小(xiǎo)心就可(kě)能(néng)會造成反效果，使譯本直接前後風格不同，令讀者讀起來産(chǎn)生一種很(hěn)要不得的違和感，這可(kě)以說是大多(duō)數意譯的文(wén)學(xué)作(zuò)品都會遇到的一個難題。

　　The second point is that the proper introduction of their own understanding of the original, a certain degree of creative translation, it is necessary for those who have a real belly in the translator can do. Why do you say so? This kind of self-creative translation requires the translator to grasp accurately the cultural and ideological differences between the two languages, and to translate some literally into the past, which may make the target audience feel difficult to understand, or directly produce misunderstanding sentences. Through their own transformation, the other side can understand the real meaning of the text in a glance. But it is very difficult to grasp this point, because carelessness may cause adverse effects, so that the translation directly before and after the style is different, so that readers read a very bad sense of violation, which can be said to be most of the literary works will encounter a difficult problem.

　　最後一點，讓譯本保持住譯者的風格，卻又(yòu)不失了文(wén)學(xué)作(zuò)品本身的風味。這一點，恐怕也就隻有(yǒu)大神級的翻譯家能(néng)夠實現了。因為(wèi)，這兩點其實本身就有(yǒu)一些自相矛盾的意味，其中(zhōng)的度的掌握，可(kě)以說非常的困難，一不小(xiǎo)心就可(kě)能(néng)讓譯本變得風格十分(fēn)奇怪——譬如一會兒語言輕快，一會兒語言又(yòu)十分(fēn)的帶有(yǒu)古韻。無論哪種論調，翻譯出來其實都可(kě)以，但是一旦湊到了一起，那麽絕對是場災難。所以，這一點，可(kě)以說是區(qū)分(fēn)大神級文(wén)學(xué)翻譯家和普通的文(wén)學(xué)翻譯家的分(fēn)水嶺。

　　The last point is to preserve the style of the translator without losing the flavor of the literary works. I am afraid that only the great God translators can achieve this. Because, in fact, these two points in itself have some contradictory meanings, the degree of mastery can be said to be very difficult, inadvertent translation may become very strange style - for example, a while the language is light, a while the language is very ancient rhyme. Either way, it can be translated, but once it comes together, it's a disaster. Therefore, this point can be said to be a watershed separating the great divine literary translators from the ordinary literary translators.