林语堂(1933)在他的《论翻译》中说:“谈翻译的人首先要觉悟的事件,就是翻译是一种艺术,凡艺术的成功,必赖个人相当之艺才,及其对于该艺术相当之训练。”黄振定(2000)认为艺术的再造并不限于感性形式的外壳, 也包括语言的思想内容、包括情感风格。就这个层面来说,例三中译文的情感再现也可以理解为直观―摹拟即艺术性的翻译操作方式,这体现了翻译科学性和艺术性的融合。但首先让我们来看看艺术性的体现。
例四:原文:Get a livelihood, and then practise virtue. (先谋生而后修身―钱钟书译) 原文是一个祈使句,译文也是一句说教色彩很浓的话,非常有趣的是原文是七个词,译文也是七个词,钱先生凭借其深厚的双语功底,译文浑然天成,不假装饰,出语成章,以地道的汉语充分展现了原文的“神”。
再比如,例五:原文: We are but passing guests from who knows where? Say not thy home is here,
thy home is there.
It suits me―what I’ve got and what I’ve not.
The plum flowers bloom here, there, and everywhere. (林语堂)
译文:人本过客来无处
休说故里在何方
随遇而安无不可
人间到处有花香 (张振玉)
译文虽然和原文在形式上有所差异,但是在读到这样高水平的译文的时候,译文给读者一种一份强烈的原创的感觉,其实这种原创性正是深深植根于译者的语感修养。张振玉的译文工整而又韵味十足,可以说是兼具形象和情感,是对语言的情感风格的有效直观和摹拟。
例六:原文:曲则全,枉则直,洼则盈,敞则新,少则得,多则惑。(老子)
译文:To remain whole, be twested!
To become straight, let yourself be bent.
To become full, be hollow.
Be tattered, that you may be renewed.
Those that have little, may get more,
Those that have much, are but perplexed.(Arthur Waley译)
本例中的老子原文用语凝练,浅显易懂,结构工整,节奏感强。译文中对这些品质一以贯之,结构大体一致,同时细微处富于变化,展现了译者超强的语言功底,对原文的形和情的直观与摹拟十分的到位。
如前文所说,解构―重组和直观―摹拟两种翻译操作方法是紧密相连的。这在接下来的例子中得到了很好的诠释:
例七:原文:Set along the blue Danube beneath the wooded hills of the Wienerwald, which were studded with yellow-green vineyards, it was a place of natural beauty that captivated the visitor and made the Viennese believe that Providence had been especially kind to them. (William L. Shirer: The rise and Fall of the Third Reich)
译文:维也纳位于维纳瓦尔得树木葱郁的山脚下,蓝色的多瑙河畔,山坡上到处点缀着黄绿色的葡萄园,这是一个富有天然美景的地方,外来的游客固然为之心醉神迷,维也纳本地人也自以为得天独厚。(董乐山等译)
原文中使用了过去分词词组、定语从句和宾语从句,句式成分比较复杂,译者在充分理解原文的基础上,依据汉语的语言习惯,将原句中的过去分词词组(Set along the blue Danube beneath the wooded hills of the Wienerwald)、两个定语从句(which were studded with yellow-green vineyards和that captivated the visitor and made the Viennese believe that Providence had been especially kind to them)分别译成四个小分句,在表达方式上更符合汉语规范,读起来也更自然贴切。同时需要注意的是,这种贴切和自然的行文也是源于作者对原文的艺术性再造之功,译文秉承了原文舒缓轻快、富于文采的特点,给人以清新流畅之感。
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