从“译味”看莎剧Hamlet的汉译——以朱生豪、梁实秋、王宏印和黄国彬译本“戏中戏”译文为例  

On Translating Taste of Chinese Versions of Hamlet: With Reference to “Play Within a Play” and Its Four Chinese Translations

作　　者：王晓农[1] 

机构地区：[1]鲁东大学外国语学院,山东烟台264025

出　　处：《外语教学》2017年第5期91-95,共5页Foreign Language Education

基　　金：教育部人文社会科学研究基金项目"基于认知语言学的文本翻译研究及应用"(项目编号:13YJC740146)的部分研究成果

摘　　要："译味"是文学翻译的重要特征,莎剧汉译的"味"主要体现为"戏味",涉及翻译的创造性、现代化取向和自然汉语运用等。以莎剧Hamlet的朱生豪、梁实秋、王宏印和黄国彬四部译本中"戏中戏"译文为例,考察了诸译本译味问题。就译味而言,朱译形式整齐,多用双行韵诗体,雅俗兼备,有明显的戏剧效果追求;梁译的语义准确性较好,但文体区分度和文采弱于朱译,戏味稍弱;王译汲取了朱译和梁译的长处并有自己的独到理解和独特创造,文气更足、戏味更浓;黄译对原文英雄双行体部分全部采用双行韵模式,因倾向于概念性翻译,译味不够。＂Translating taste＂ is a definitive feature of literary translation and the taste in Chinese translations of Shakespeare features mainly their ＂play taste＂, produced by creative rendering, modem orientating and proper using of natural Chinese, etc. The play taste of the Chinese translations of Hamlet is analyzed with reference to the ＂play in a play＂ by Zhu Shenghao, Liang Shiqiu, Wang Hongyin, and Huang Guobin, respectively. As regards play taste, Zhu＇ s, neat in form with couplet lines largely, is characterized by both elegant and vulgar stylistic features, indicating its conscious pursuit of stage effect. Liang＇ s, semantically more accurate, is less distinctive in style and ingenious in wording and thus weaker in play taste. With his idio- syncratic understanding and creating, Wang＇ s, drawing on Zhu＇ s and Liang＇ s, is more imbued with play taste. Huang＇ s re- produces largely the original heroic couplet features, yet, due to its inclination to conceptual translation, is inadequate in play taste.

关 键 词：《哈姆雷特》 汉译 译味 戏中戏 莎剧 

分 类 号：H059[语言文字—语言学]