外国经典文学作品翻译归化策略研究——以余光中、吴劳、海观的《老人与海》汉译本为例

Domestication in Translating Foreign Classical Literature Based on the Three Chinese Versions of The Old Man and the Sea Translated by Yu Kwang-chung,Wu Lao and Hai Guan

在《老人与海》的汉译本中,余光中的归化程度最强,大致在暗含因果逻辑关系、出现典型的静态语言且中国文化里有对应物、主语非人、多形容词等情况下使用归化策略,以增加译本的可读性。海观的翻译比较忠实于原文,但掺杂了很多口语化的表述,使得译文在更加流畅的同时也弱化了原文本简洁有力的特点。吴劳更加尊崇原文,对原文语言风格的还原较为准确,在塑造硬汉形象上具有明显优势。余光中的译文富含自己的表述风格,词汇丰富,行文细腻,在表现敬畏、热爱自然方面略胜一筹,但是修饰成分过多,比之原文过于华丽,与原文简明扼要的风格韵味有些许差异。

Among the three Chinese versions of The Old Man and the Sea,the degree of domestication in the version by Yu Kwang-chung is stronger than Wu Lao＇s and Hai Guan＇s. He adopted such a strategy under the four conditions below： the text featuring an implicit logical relation,there existing static language with a counterpart in Chinese culture,the subject of a sentence being non-human,and three or more adjectives appearing simultaneously in one sentence. The purpose of domestication strategy is to increase the readability of the translation. The version by Hai Guan is somewhat faithful to the original,but with a lot of colloquial expressions,rendering the Chinese edition more fluent as well as weakening the conciseness and force in question. Wu Lao reproduced the language style of the original created by Ernest Hemingway,his version being more faithful and relatively precise. Actually such practice highlights the obvious merits on depicting the tough character. Copious vocabulary and delicate language make Yu Kwangchung＇s edition better than the others＇ in expressing the themes of respecting and cherishing nature,which brings shortages such as abuse of modifiers,leaving his edition flowerier,a bit gap from the concise style of the original.