Brief Introduction of the Chine Translation History
Chine translation theory was born out of contact with states during the . It developed through translations of into . It is a respon to the universals of the experience of translation and to the specifics of the experience of translating from specific source languages into Chine. It also developed in the context of Chine literary and intellectual tradition.
The modern word fanyi"translate; translation" compounds fan "turn over; cross over; translate" and yi "translate; interpret". Some related synonyms are tongyi通譯"interpret; translate", chuanyi傳譯"interpret; translate", and zhuanyi轉譯"translate; retranslate".
The contain various words meaning "interpreter; translator", for instance, sheren舌人(lit. "tongue person") and fanshe反舌(lit. "return tongue"). The records four regional words: ji"nd; entrust; rely on" for 東夷"Eastern Yi-barbarians", xiang"be like; remble; image" for 南蠻"Southern Man-barbarians", didi
谈笑风生造句"Di-barbarian boots" for 西戎"Western Rong-barbarians", and yi"translate; interpret" for 北狄"Northern Di-barbarians".
In tho five regions, the languages of the people were not mutually intelligible, and their likings and desires were different. To make what was in their minds apprehended, and to communicate their likings and desires, (there were officers), — in the east, called transmitters; in the south, reprentationists; in the west, Tî-tîs; and in the north, interpreters. (王制, tr. 1885 vol. 27, pp. 229-230)
A work attributes a dialogue about translation to . Confucius advis a ruler who wishes to learn foreign languages not to bother. Confucius tells the ruler to focus on governance and let the translators handle translation.
The earliest bit of translation theory may be the phra "names should follow their bearers, while things should follow China." In other words, names should be transliterated, while things should be translated by meaning.
In the late Qing Dynasty and the Republican Period, reformers such as , and began looking at translation practice and theory of the great translators in Chine history.
Zhi Qian (3rd c. AD)
(支謙)'s preface (序) is the first work who purpo is to express an opinion about translation practice. The preface was included in a work of the . It recounts an historical anecdote of 224AD, at the beginning of the period. A party of Buddhist monks came to . One of them, Zhu Jiangyan by name, was asked to translate some passage from scripture. He did so, in rough Chine. When Zhi Qian questioned the lack of elegance, another monk, named Wei Qi (維衹), responded that the meaning of the Buddha should be translated simply, without loss, in an easy-to-understand manner: literary adornment is unnecessary. All prent concurred and quoted two traditional maxims: 's "beautiful words are untrue, true words are not beautiful" and 's "speech cannot be fully recorded by writing, and speech cannot fully capture meaning".
Zhi Qian's own translations of Buddhist texts are elegant and literary, so the "direct translation" advocated in the anecdote is likely Wei Qi's position, not Zhi Qian's.
Dao An (314-385AD)
focud on loss in translation. His theory is the Five Forms of Loss (五失本):
1.Changing the . word order is free with a tendency to . Chine is .
2.Adding literary embellishment where the original is in plain style.
遗产分配原则
3.Eliminating repetitiveness in argumentation and panegyric (頌文).
4.Cutting the concluding summary ction (義說).
5.Cutting the recapitulative material in introductory ction.
Dao An criticized other translators for loss in translation, asking: how they would feel if a translator cut the boring bits out of classics like the or the ?
He also expanded upon the difficulty of translation, with his theory of the Three Difficulties (三不易):
1.Communicating the to a different audience from the one the Buddha addresd.
2.Translating the words of a saint.
3.Translating texts which have been painstakingly compod by generations of disciples.
描写建筑的成语Kumarajiva (344-413AD)
’s translation practice was to translate for meaning. The story goes that one day Kumarajiva criticized his disciple for translating “heaven es man, and man es heaven” (天見人，人見天). Ku
marajiva felt that “man and heaven connect, the two able to e each other” (人天交接，兩得相見) would be more idiomatic, though heaven es man, man es heaven is perfectly idiomatic.
In another tale, Kumarajiva discuss the problem of translating incantations at the end of sutras. In the original there is attention to aesthetics, but the n of beauty and the literary form (dependent on the particularities of Sanskrit) are lost in translation. It is like chewing up rice and feeding it to people (嚼飯與人).
Huiyuan (334-416AD)
's theory of translation is middling, in a positive n. It is a synthesis that avoids extremes of elegant (文雅) and plain (質樸). With elegant translation, "the language goes beyond the meaning" (文過其意) of the original. With plain translation, "the thought surpass the wording" (理勝其辭). For Huiyuan, "the words should not harm the meaning" (文不害意). A goo d translator should “strive to prerve the original” (務存其本).个性微信昵称
Sengrui (371-438AD)
investigated problems in translating the names of things. This is of cour an important traditional co
ncern who locus classicus is the exhortation to “rectify names” (正名). This is not merely of academic concern to Sengrui, for poor translation imperils Buddhism. Sengrui was critical of his teacher 's casual approach to translating names, attributing it to Kumarajiva's lack of familiarity with the Chine tradition of linking names to esnces (名實).
南非帝王花
双灯Sengyou (445-518AD)
Much of the early material of earlier translators was gathered by and would have been lost but for him. Sengyou’s approach to translation rembles Huiyuan's, in that both saw good translation as the middl e way between elegance and plainness. However, unlike Huiyuan Sengyou expresd admiration for Kumarajiva’s elegant translations.
Xuanzang (600-664AD)
’s theory is the Five Untranslatables (五種不翻), or five instances where one should transliterate:
1.Secrets: 陀羅尼, Sanskrit ritual speech or incantations, which includes .
手机安全模式
2.: bhaga (as in the ) 薄伽, which means comfortable, flourishing, dignity, name, lucky, esteemed.
3.None in China: tree 閻浮樹, which does not grow in China.
4.Deference to the past: the translation for anuttara-samyak-sambodhi is already established as
愿意做某事英语
Anouputi 阿耨菩提.
5.To inspire respect and righteousness: 般若instead of “wisdom” (智慧).
Daoxuan (596-667AD)
Yan Fu (1898)
is famous for his theory of fidelity, clarity and elegance (信達雅), which some believe originated with . Yan Fu wrote that fidelity is difficult to begin with. Only once the translator has achieved fidelity and clarity should he attend to elegance. The obvious criticism of this theory is that it implies that inelegant originals should be translated elegantly. Clearly, if the style of the original is not elegant or refined, the style of the translation should not be elegant either.
Liang Qichao (1920)
put the three qualities of a translation in the same order, fidelity first, then clarity, and only then elegance.
Lin Yutang (1933)
stresd the responsibility of the translator to the original, to the reader, and to art. To fulfill this responsibility, the translator needs to meet standards of fidelity (忠實), smoothness (通順) and beauty.
Lu Xun (1935)
's most famous dictim relating to translation is "I'd rather be faithful than smooth" (寧信而不順).
Ai Siqi (1937)
described the relationships between fidelity, clarity and elegance in terms of Western , where clarity and elegance are to fidelity as qualities are to .
Zhou Zuoren (1944)
assigned weightings, 50% of translation is fidelity, 30% is clarity, and 20% elegance.
Zhu Guangqian (1944)
wrote that fidelity in translation is the root which you can strive to approach but never reach. This formulation perhaps invokes the traditional idea of returning to the root in philosophy.
Fu Lei (1951)
held that translation is like painting: what is esntial is not formal remblance but rather spiritual remblance (神似).
Qian Zhongshu (1964)
wrote that the highest standard of translation is transformation (化, the power of transformation in nature): bodies are sloughed off, but the spirit (精神), appearance and manner (姿致) are the same as before (故我, the old me or the ol
