Zhu Shenghao:
Zhu's translation is good at conveying the interest of the original, revealing the author's "fate" and grasping the charm and spirit of the original.
Zhu Shenghao believes that the first thing in translation is to keep the charm of the original as much as possible. If this cannot be done, the next best thing is to use clear and simple words in order to faithfully convey the meaning and interest of the original text. For the hard translation word by word, "I beg to differ".
Bian:
As a representative figure of poetry school, Bian put forward translation ideas of "faithfulness", "likeness" and "translation" from the perspective of literary translation.
Bian believes that it is incorrect to pursue "expressiveness" and "elegance" excessively while ignoring "faithfulness". In addition, his "step by step" translation thought refers to being faithful to the content and form of the original text, and pursuing the loyalty of the content on the basis of the correspondence of forms.
2. The comparison of language choice between Zhu Shenghao and Bian.
Looking at Zhu's translation of Shakespeare's plays, Mr. Zhu Shenghao is looking for a China style as close as possible to Shakespeare's plays. He successfully found the best style of Chinese version of Shakespeare's plays, namely poetic vernacular style. His translation of Shakespeare's plays is in the form of prose poetry, which is an extremely important carrier of Shakespeare's drama translation. Not only the traditional and elegant classical Chinese can't stand it, but also the present vernacular Chinese can't stand it.
However, to me, what is the essence of dust?
Yi Zhu: "But in my opinion, what is this clay sculpture life?"
Bian translated: "But, is this thing extracted from my soil?"
In Zhu Shenghao's translation, there is a contempt between the lines, and there is a deep concern about "this quintessence of Chinese culture?" The handling of "dust" is very simple, which is also in line with the identity of Prince Hamlet.
Compared with Zhu Shenghao, Bian advocates the translation of foreign poems in vernacular Chinese, which is close to spoken language and consistent in language and writing. First, it conforms to the modern cultural context of China and meets the expectations of readers; They are also committed to faithfully translating the language of foreign poems. Among them, the words "gadget" and "fire idea" are very colloquial expressions, which is consistent with his idea of translating in spoken language.
In addition, metaphor has also been used in Bian's translation.
For example, this beautiful frame, the earth, is a three-dimensional propaganda for me.
Bian translation: "I only think that the big framework of the earth is a desolate cape, extending to the vast sea."
Among them, the translator compares "the framework of the earth" to "a desolate cape", and at the same time, Bian also has some subjective words. The translator added "reaching out to the vast sea" in his translation, which was not mentioned in the original work.
3. The poems of Zhu Shenghao and Bian pay attention to contrast.
Zhu is good at grasping the overall style and charm of the original, and does not stick to language details. His translation language is vivid, beautiful and poetic, and his translation style is natural and fluent, which translates the essence of Shakespeare's plays.
For example: "How noble intellectually! The faculties are infinite! "
Zhu translated: "What a noble reason! What a great power! "
For example: "How like an angel in action! I don't know the current affairs, how can I be like a god! "
Bian translated: "On action, how like an angel! On understanding, how like a god! " Interrupted sentences in the middle give people a sense of change and highlight the rhythm of poetry.
It can be seen that Zhu's translation is centered on nouns and gives people a catchy feeling when reading. Bian's style has the characteristics of neat and balanced beauty and uneven beauty, simple and plain beauty and rich and novel beauty. Bian's translation not only gives people an orderly, cordial and simple aesthetic effect, but also has ever-changing aesthetic characteristics. This kind of light and heavy rhyme conforms to the rhythm of English, on the one hand, it narrows the distance with the audience, on the other hand, it retains the elegance and rhythm of poetry. In the treatment of the above sentence, Bian's translation phonology and rhythm are basically light, orderly and orderly, which gives people a sense of beauty.
4. Comparison between Zhu Shenghao's and Bian's Ci.
The original Zhu translation bian translation
We need your help? Rely on support
I have heard of it.
Grew up together put forward
Vouchsafe？ Wandering? Stay for a few days
Let us serve you for free. At your majesty's feet? try one's best
Take orders? Do your best? Serve like a dog or a horse ―― at sb's mercy.
As can be seen from the above figure, in terms of vocabulary, the vocabulary of Zhu's translation is more colloquial than that of Bian's translation, while the vocabulary of Bian's translation is more inclined to classical Chinese and more inclined to use four-character idioms. Mr. Zhu's translation did not retain the style of the original poem, nor did he adopt the language style of classical Chinese equivalent to Old English, but adopted the colloquial form of literary and colloquial doping.
In addition, the choice of words in Bian's translation has a strong feudal hierarchical color. These words are intended to cater to the rejection of western capitalism in the early days of the founding of New China, praise the background of the Oriental Group and expose the corruption of the bourgeoisie.
5. Comparison of prosodic styles between Zhu Shenghao's and Bian's versions.
Generally speaking, Mr. Zhu's translated Shakespeare works are called "prose" style, but judging from the excerpts from Hamlet, he chose a very colloquial vernacular style.
Such as "accompanying him", "boring", "not quite the same" and "reverse ambassador" are often used in daily communication at present. When Mr. Bian translated Hamlet, he adopted the translation idea of "following the trend", that is, the translation strategy of alienation.
For example: Welcome, dear Rosen Glanz and Gierden Stein!
Besides, we are very eager to meet you.
We need to use you, which prompted us to act in haste.
You heard something.
Please welcome Rosen kranz and kelton Stein!
Not only do we always miss our dear two people,
I still need to trust you two.
Call in a hurry. You've heard the wind.
In terms of rhythm, basically one Chinese character corresponds to one step, and the rhyming mode is as consistent as possible with the original poem. In addition, when translating Hamlet, Mr. Bian attached great importance to learning from the excellent elements of foreign literature to enrich the art of writing, and advocated the combination of Chinese and foreign, translation and creation, which influenced and promoted each other.
6. Comparison of pun rhetoric between Zhu Shenghao and Bian.
Pun is a homonym or a word with two meanings, which is used in humor and is one of the main rhetorical devices that Shakespeare must use in every play. After his careful arrangement, these puns and homophones play an important role in revealing the theme of the script, portraying the characters' personalities, expressing the relationship between the characters, promoting the development of the plot, predicting the fate of the characters and the ending of the whole play.
For example:
①? King: Hurry up, Laertes; Time is yours,
Spend your greatest favor here!
But now, my cousin Hamlet and my son-
Ham: A little more than relatives, a little less than kinds.
Zhu translation:
King: Make good use of your time, Laertes.
Give full play to your talents!
But come, my nephew Hamlet, my child.
Hamlet: Extraordinary kin, indifferent passerby.
Bian translation:
King: Make good use of your time, Artis. Time is yours.
May you give full play to your virtue and fully enjoy it!
Dear Hamlet, my nephew, my son.
Hamlet: The more you kiss, the less you kiss.
He used the double meaning of "kindness" (family/kindness) to express his anger at Claudius.
②? King: Why are the dark clouds still hanging over you?
Ham: No, my Lord; I get too much sun.
Zhu translation:
King: Why are the dark clouds still hanging over you?
Hamlet: no, your majesty, I have been in the sun for too long.
Bian translation:
King: Why do you still let melancholy hang over you?
Hamlet: Your Majesty, the sun is too big to stand this high temperature.
Use puns of "Sun" and "Son" to ridicule the special relationship between the king and the queen.
Queen: Good Hamlet, take off your knight's robe.
Make your eyes look like friends in Denmark.
Don't cover your veil forever.
Looking for your noble father in the dust.
You know it's normal. _-all life will die,
Go through nature to eternity.
Zhu translation:
Queen: Good Hamlet, take off your black clothes.
You should be kind to the king;
Don't always hang your eyelids,
Looking for your noble father in the dirt.
You know it's a common thing. Everyone who lives will die.
From living space to eternal peace.
Hamlet: Well, Mom, this is a very common thing.
Bian translation:
Queen: Good Hamlet, get rid of the haze of your night.
Come and face the king of Denmark.
Don't keep dropping your eyes like this,
I want to find your noble father in the loess.
You know this is common; Life and death.
Everyone has to go through this world and step into eternity.
Hamlet: Mom, this is common.
Condemn the mother's behavior with the double meaning of "common" (common/despicable).
7. Similes and metaphors in translation
(1) Simile (simile)
Because it is as indestructible as air, we beat malicious ridicule in vain. ?
Yi Zhu: Ghosts should be illusory ... Based on this experience, at the beginning of the play, Shakespeare compared the ghost of the king to the erratic air with the mouth of marcellus. This conception, on the one hand, can vividly outline the characteristics of ghost images in people's thinking, on the other hand, it also highlights marcellus's inner helplessness and casts a mysterious veil over the development of the story.
② Metaphor (metaphor)
For example, the rooster is the horn of dawn, and it awakens the god of day with its high and harsh throat …
Yi Zhu: The crow of a rooster often indicates the dawn ... Based on this, Shakespeare compared the rooster to a "trumpet announcing the dawn". Through such a wonderful metaphor, Shakespeare established a mysterious connection between "the crow of chickens" and "the disappearance of ghosts", thus putting on a mysterious coat for the development of the plot, which is exciting. Metaphor is the most frequently used rhetorical device in Shakespeare's plays, which can be seen everywhere from the beginning to the end.
8. Comparison of hyperbole rhetoric in two versions
hyperbole
Exaggeration means deliberately exaggerating, narrowing or expanding the characteristics of an objective thing or character to highlight its emotions, thus making bad things look worse and good things look better.
①? For example: why, what should he be afraid of?
I won't take my life too seriously,
What can it do for my soul,
As something immortal in itself?
Zhu translation:
Hey, what are you afraid of?
I don't think my life is worth a shot,
As for my soul, it is as immortal as itself,
Will it hurt it?
Bian translation:
Why? What's to be afraid of?
I don't think life is worth a shot,
As for my soul, because it is with itself,
Being an immortal, what can harm it?
Hamlet is determined to follow in the footsteps of the late king. In order to find out the truth, Hamlet regards his life as nothing and humble as a needle.
Shakespeare's use of narrowing exaggeration here has two meanings, one is to set off Hamlet's bravery, and the other is to lay the groundwork for the sudden change of Hamlet's thought in the future.
②? For example, I can tell a story in the most relaxed language.
Will torture your soul, freeze your young blood,
Let your eyes, like stars, start from their spheres.
I can tell you one thing simply,
It can take the life out of you, freeze your young blood into ice,
Make your eyes protrude forward like an off-track planet.
Bian Yi: Otherwise, I can say, in a word,
It will go straight through your spiritual building, freeze your blood,
Let your eyes jump out of orbit like a meteor.
From the words "the lightest words", "harrow out your soul" and "freeze your blood", we can see that Shakespeare created a creepy, nervous and horrible atmosphere through exaggeration.
The ghost said this in order to stimulate Hamlet's nerves and make him summon up courage to avenge himself. Hamlet was filled with indignation after hearing these words. But with the development of the plot, Hamlet really wants revenge, but he becomes hesitant. Shakespeare vividly described Hamlet's character defects through his inconsistent behavior. On the one hand, the father was killed, the mother was taken away and the throne was usurped. On the other hand, I hesitated in revenge. This rhetorical device makes the audience hear its voice, and if they see its shape, they will feel a sense of mourning for its misfortune and angering it.
9. Comparison of parallelism rhetoric in two versions
parallel
Horatio: ... Will you hear it?
Physical, bloody and unnatural behavior.
Accidental judgment, accidental slaughter,
Death by cunning and violence ...
Bian Yi: ... You will hear it.
Dissolute, vicious, abnormal behavior,
An unexpected disaster, an unexpected death,
You will succeed if you have to.
Moreover, in an ending, murdering others has hurt your own ending.
Zhu translation:
..... you can hear.
Rape, murder, abnormal and unreasonable behavior.
An unconscious judgment, an unexpected massacre, a trick to kill people with a knife.
And the end of falling into self-harm.
Parallelism rhetoric is discussed in the same sentence pattern, which makes the structure parallel and symmetrical and the tone powerful. In the above article, Horatio used three sentences beginning with "of" to explain the tragic situation of Denmark to Fortinbras and the British emissary. This kind of parallelism rhetoric not only has clear rhythm and fluent meaning, but also gives people an immersive feeling, and the dramatic effect is very good.
10. Comparison of translation purposes between the two versions
(1) Translation for the sake of inheriting translation ideas.
Mr Zhu is one of the important founders of China's traditional translation poetics. Traditionally, Zhu Shenghao's translation poetics emphasized the translation of "meaning", especially the transmission of "verve", and opposed the rigid translation word for word.
Mr. Bian put forward the translation idea of "following the trend", that is, translation is faithful to both the content and the form of the original text, and pursues the loyalty of the content on the basis of the correspondence of the forms.
(2) target audience-oriented translation
→ The expected readers in Mr. Zhu's mind are descendants of the China people who were bullied by the Japanese and fell into hot water. In order to popularize Shakespeare's works, a simple and fluent translation is urgently needed. Therefore, when translating, he adopted the prose style to translate poems, freed himself from the imprisonment of Shakespeare's prosaic poems, and focused more on how to make the language better express his feelings.
Mr Bian's Hamlet was completed in 1950s and 1960s, when Shakespeare's works had been popularized in China. Scholars in the fields of translation and literature pay more and more attention to Shakespeare's translation. Based on this trend, Mr. Bian insists on introducing western poetry truthfully and keeping the translation as much as possible. Obviously, Mr. Bian's translation is aimed at domestic scholars, on the one hand, for translation research; On the other hand, in order to preserve the characteristics of western poetry and enrich the forms of China's modern poetry.
(3) Translation adapted to the needs of the times
Mr. Zhu's translation was born in War of Resistance against Japanese Aggression, and it is in a white-hot stage. The translation of Shakespeare's plays is permeated with Zhu Shenghao's profound feeling that something is going to happen when he is in danger. The Chinese versions of Shakespeare's plays are obviously branded with the ideology of the times, and Zhu's translations have infected generations of China readers with their rich language and strong feelings.
Mr. Bian translated Shakespeare in the 1950s. At that time, great changes took place in the social environment of China. In the early days of the founding of New China, the domestic political situation was unstable, and due to ideological reasons, most western literature was not accepted by Chinese people. However, due to its importance in the history of human literature, China decided to introduce Shakespeare, but retranslated it from the perspective of exposing bourgeois corruption.
1 1. Comparison of styles between Zhu Shenghao's and Bian's versions (continued)
Both Mr. Zhu Shenghao's "vivid charm" and Bian's "faithfulness and expressiveness" show the interpretation of Shakespeare's original works with their own unique translation strategies.
Zhu's poetic vernacular and colloquial vernacular both convey the essence of Shakespeare's original works and have strong expressive force.
No matter the harmonious tone, rhythm and rhythm in Zhu's translation, or the flexible and patchwork balance in his translation, it has brought the readers in China the beauty and elegance of poetic rhythm.