
1.“神似”与“形似”的翻译标准由我国著名翻译家傅雷提出的。他在《高老头》的(重译本序)(1951)中写道:“以效果而论,翻译应当像临画一样,所求的不在于形似而在于神似。”
2.The translation criterion of “likeness” and “likeness” is put forward by Fu Lei, a famous translator in China. In his Preface to the Re-Translation of Old Man Gao (1951), he wrote: “In terms of effect, translation should be like a portrait. What is required is not the likeness of form but the likeness of spirit.”
3.就文学翻译而言,傅雷的“神似”与“形似”翻译标准在我国的影响极大,对我国的翻译理论建设以及翻译实践有着非常大的指导意义。他在鲁迅、茅盾、林语堂等人的基础上,发展了翻译艺术作品必须“传神”的理论。
4.As far as literary translation is concerned, Fu Lei’s translation criteria of “spiritual similarity” and “metaphysical similarity” have great influence on China’s translation theory construction and translation practice. On the basis of Lu Xun, Mao Dun, Lin Yutang and others, he developed the theory that translating works of art must be vivid.
5.第三翻译标准——“化境”
6.Third translation criteria — “transformation”
7.“化境”翻译标准是由我国博学多才的著名大学者钱钟书提出的。他认为,文学翻译的理想可以说是“化”,就是把作品从一国文字转变成另一国文字时,既能不因表达习惯的差异而露出生硬牵强的痕迹,又能完全表达出原作的风味。
