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本文以曾朴在翻译中对雨果戏剧抒情性的传递为核心,考察了十几年间曾朴的翻译实践。文章指出,由于曾朴民初翻译的两部雨果剧作《银瓶怨》和《枭欤》以旧白话为语言媒介,而旧白话抒情功能的缺乏以及中西戏剧抒情模式的差异使曾朴在翻译中大量删减了原作的抒情对白,弱化了雨果剧作的抒情性。新文化运动后,时代翻译规范、曾朴翻译策略的改变以及现代白话的逐渐诞生与成熟则使雨果剧作中的抒情性在曾朴后期的译文中得到了比较完整的呈现。
This paper focuses on the lyricism of Hugo’s plays in Zeng Pu’s translation and examines Zeng Pu’s translation practice over a decade. The article points out that due to the early translation of Zeng Pu-ming’s two Hugo plays, “Silver Bottle Resentment” and “Liliao”, the old vernacular as the language medium, the lack of vernacular lyrical function and the differences between Chinese and Western lyric modes make Zeng Pu A large number of cut in the original lyric dialogue, weakening the lyricism of Hugo drama. After the New Culture Movement, the norms of the times, the changes of Tseng’s translation strategies and the gradual birth and maturity of modern vernacular make the lyricism in Hugo’s plays be more completely presented in Zeng Pu’s later translation.