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《西游记》是中国古代四大名著之一，不仅在中国长盛不衰，也是世界文学的瑰宝。最近，瑞士人林小发（Eva Lüdi Kong）凭借其翻译的《西游记》首个德文全译本，获得第十三届莱比锡书展奖翻译类大奖。这是德语地区图书行业重要奖项。书展主办方在颁奖理由中写道，作为中国最脍炙人口的文学作品，在此之前，《西游记》没有以德文的形式出版过，最多也只出版过一个简略的节译本。“现在它全部的丰富性和多样性能得以呈现，这是林小发的功绩。”主办方评价她“不仅仅是把一种语言翻译成另一种，更在不同时代和不同思维方式的峭壁中搭起了一座桥。这正是‘世界文学’的真意，一种来自全世界、面向全世界的文学。”
林小发1968年生于瑞士比尔，曾在中国生活超过25年，2004年毕业于浙江大学人文学院中国古代文学硕士专业，导师是楼含松教授。
翻译了17年，被认为像《魔戒》
引起更多中国读者关注的是，译林出版社的编辑王蕾将德语版《西游记》的开头部分回译成现代汉语，发在微博上：“有一首诗说：太初混沌不分/天地晦暗地混淆在一起/万物模糊，横无际涯/谁都没有见过那时的景象……”
中文版《西游记》的原文是“诗曰：混沌未分天地乱，茫茫渺渺无人见。……”
“不小心当了网红”，王蕾说，微博里的这篇回译之作，浏览量高得不同寻常。很多读者看回译，觉得是类似《魔戒》的史诗。
王蕾认为，回译的《西游记》，有些像《魔戒》作者托尔金的作品《精灵宝钻》。
学者李天飞也被王蕾的回译触动。在他眼中，《西游记》本有市井小说的特征，带着戏谑。德译，再回译，文本带有了西方文学的壮美和悲剧感。
中国读者的反应，林小发根本没料到，“但现在想想当然也不奇怪”。
林小发翻译这部中国古典名著，足足花了17年。对她来说，漫长翻译过程中的成长与挫折，恰恰应和了《西游记》的主题——取经。
在自述中，林小发写道，她在翻译过程中尽量读了一些构成明代文人常识的经典，包括四书五经、佛经，还有与《西游记》相关的一些道教经典，如此一边阅读一边调查研究，“翻译过程也就成为了一个独特的‘取真经’的过程。”
她还到处走访寺庙、道观，向大德高僧请教书中一些深层涵义的解释；大量阅读18和19世纪的德国文学，从歌德等人的诗歌中感悟修辞技巧。
“与其说牺牲了长达17年的时间，不如说是在不知不觉地挖掘一个莫大的宝藏，一个不朽的精神世界。”林小发写道，“译本出版了之后，我从许多读者的反馈得知，小说在这些方面的寓意得到了有效的传达，对此我深感欣慰。”
在浙江大学的硕士论文写的是《西游记》
林小发对中国文化的兴趣来得很突然。1983年，中国广西的一个杂技团访问比尔，林小发被介绍册上的中国字迷住，开始自学中文。
有网友激动地认出了她：“这是我读研究生时的老师呀，瑞士人，當年她是坐着火车哐哧哐哧穿越欧亚大陆来到中国。读的是中国美院版画系。特别淳朴，特别不物质，我们经常看她骑着那种后座带娃的二轮上下班，眼神特别干净。”
上世纪90年代，林小发来到中国，在中国美院书法系和版画系学习。偶然的机会，她在上海古籍书店读到了《西游记》，其中蕴含的中国古代世界观深深吸引了她。
1999年，读过原著和两种德文译本的林小发自己动手翻译《西游记》。
翻译越深入，林小发越察觉自己的不足。她特地去浙江大学学习中国古典文学，硕士论文主题是《西游记》的“正路”思想。
林小发在浙大的导师楼含松说，林小发其实还有一个中文名，叫林观殊：“她读研究生的目的也是很强的，就是为了做好《西游记》的翻译工作。”
因为楼含松写过《西游记》的研究文章，林小发拜他为师。楼含松回忆，林小发的中文水平很好，完全称得上是中国通。“我不懂德文，跟她都是汉语交流，我们讨论《西游记》多一点。她毕业论文探讨《西游记》的主题，硕士论文答辩的时候，老师们对她评价都蛮高的。”
“她终于完成了这项艰巨的工作，真的非常了不起！我为她感到高兴和骄傲！”楼含松说。
林小发非常低调，对获奖之事不愿多说。对于《西游记》又翻回中文一事，远在瑞士的林小发表示：“若能激起中国人重读原版兴趣的话，我很开心。译回中文有趣，能读原著是福！”
在德语国家文坛，《西游记》原来是不存在的
因为不懂德文，楼含松还没看过《西游记》的德文版。
德语世界原来有《西游记》的两种译本。一种是1962年翻译出版的《西方朝圣》，依据是中文原版及一百回俄文译本，但采取总结性的翻译方式，诸多的诗词、回目、对话等均被删除。另一种转译自1942年出版的英文节译本《猴子：中国民间小说》。《猴子》由英国汉学家阿瑟·韦理英译，胡适作序，翻译了原书100回中的30回。英译本主角名叫“猴子”，没有回目，也未翻译诗词。
因此，在去年的法兰克福书展上，林小发曾对媒体说，“我所翻译的是完全未删减的，因此可以算是第一本完整的德译本。我用的中文原版是中华书局出版的《西游记》，这个版本以清代的《西游证道书》为底本。相对于更常见的明版本，这个版本经过了一些文笔润色，也删掉了一些描述性的诗歌。比如，师徒三人取经路上遇到一座山，这座山怎样怎样。如果把这种描述性的诗全都翻译成德语，会占很大的篇幅，而且也不太符合德国读者的阅读习惯。”
在亚马逊上，林小发译的《西游记》定价88欧元。据悉，德国图书普遍在20多欧元。
“在德国，知道《西游记》的人非常少。练气功，学太极拳，对中医感兴趣的人可能听说过《西游记》的一些片段。”林小发说，“但是，作为文学作品却鲜为人知。对于这么伟大的一部文学作品来说，实在是非常可惜。”
所以，在林小发的印象里，“在德语国家的文坛，这本书原来是不存在的。” 书里的神仙鬼怪有了德文名字
《西游记》人物繁多，同一人物还可能有别名。主角孙悟空，就另有美猴王、齐天大圣和行者等诸多称谓。林小发的处理是：孙悟空音译，其余意译。
北京外国语大学德语系的毕业生告诉记者，在林小发翻译的《西游记》里，行者、悟空、大圣间隔出现。而书中出现的南海观音，是用梵语里的菩萨概念+中文拼音（Guanyin）翻译的。
“唐僧”怎样译，林小发犹豫好久，先用汉语拼音“Tangseng”，后来改译为“来自中国的高僧”。原文里的“唐”，她翻译成“China”，这样读者很容易联想到古代中国。
神灵和妖精名的译法，需要想象力，比如，麒麟山小妖有来有去，译为“又来又去的那个”。
“出现在回目和诗词中的一些道教术语，如金公木母、婴儿姹女等，直接字面翻译成德语很容易，但这不是我的翻译方式。”林小發认为，翻译之前必须理解透彻，否则无法把真正含义传达给读者。
人名、习语之外，小说涉及的专有名词，是贯穿整个翻译过程的最大困难。
最初译出了10回后，林小发曾把译稿和小说简介寄给几家出版社，都遭婉拒。大约有10年，她都没找到愿意出版德译《西游记》的机构。是否继续翻译，她也踌躇过，但终究没有放弃。在林小发的印象里，除个别人略知一二，德国人与瑞士人对《西游记》几乎一无所知。
去年的法兰克福书展上，林小发译《西游记》首发，黄色封面，封面上美猴王手搭凉棚眺望。
小说有50多页后记，其中18页是详细的神仙列表。林小发还介绍了神仙的世界、《西游记》故事的形成等。
Eva Lüdi Kong received Leipzig Book Fair Prize for Translation in 2016. Her translation in German was （Travel into the West）. It is a complete translation of an at least 400 year old Chinese novel known as .
The translator’s honor was made widely known to Chinese people by a retranslation of the first chapter of the German book back to Chinese， done by Wang Lei， na editor with Yilin Books specialized in translated foreign literary books. The retranslation went virile in Chinese social media. Many commented that it read like by English author and scholar Tolkien. The original Chinese story， its authors unknown， entertained grassroots people living in cities across China during its slow evolution into a classical novel. It offers fun and satire. When it was translated back from the German version， the text offered a touch of magnificence of western classics and tragedies， commented Li Yunfei， a scholar specialized in the study of the Chinese masterpiece.
Eva Lüdi Kong wasn’t prepared for this kind of response from Chinese readers. But on second thought， she didn’t find it surprising.
It had taken her a good 17 years to translate the Chinese novel. The translating is somewhat aptly compared the journey of hardships and trials the four pilgrims takes in the novel.
In China， the translator is known as Lin Xiaofa， her Chinese name， with her real name largely unknown. Her Chinese name is easy to read and remember.
She is a citizen of Switzerland. She fell in love with the Chinese language in 1983 when a troupe of Chinese acrobats from Guangxi， China visited her hometown. The Chinese words printed on a show program took her fancy. The 15-year-old girl began to study Chinese.
She has spent 25 years in China and a big part of the 25 years she spent in Hangzhou， the capital city of Zhejiang， a province south of Shanghai. In the 1990s， she studied calligraphy and printmaking at China Academy of Art in the city. She ran into in a bookstore in Shanghai. The ancient Chinese worldview as revealed in the novel fascinated her. In 1999， she began to translate the book after reading the Chinese original and the two German translations. Pretty soon she ran into problems she wasn’t able to solve. She enrolled into a graduate course at Zhejiang University where she studied ancient Chinese literature. “She knew exactly what she wanted from the graduate course. She wanted to get her translation right，” recalls Lou Songhan， the graduate supervisor at the university. Her graduation paper was about the Chinese novel.
Lou recalls that Lin Xiaofa was pretty good at Chinese. “I don’t know a word of German. I communicated with her in Chinese. We mainly talked about . Teachers thought highly of her at her defense of the graduation paper，” remembers Lou. “I feel proud of her. She is great！ The work she did was extremely challenging.”
Before Eva Lüdi Kong’s translation， there had been two abridged translations of the Chinese book in German. One was done in 1962 based on the Chinese original and a 100-chapter Russian version. The other was translated from a 1942 English translation by Arthur Waley （1889-1966）. There are only 30 chapters in this English translation titled . Eva Lüdi Kong’s translation was based on a Chinese edition published by Zhonghua Book Company. This somewhat “sanitized” edition， based on a text of the Qing Dynasty （1644-1911）， is shorter than the most popular edition created in the Ming Dynasty （1368-1644）， with the deletion of some poems that describe landscape and with the removal of some vulgar words and expressions.
Before Eva Lüdi Kong’s translation， very few people in Germany knew about . In Germany， Chinese Qigong or Taiji enjoyed better popularity； those who took interest in traditional Chinese medicine may have heard of some excerpts from the novel. It was a pity that such a great literary masterpiece was so little known in the world of the German language， commented the translator.
That probably explains why she wasn’t able to find any publisher who took interest in her translation after she had finished the first ten chapters. She hesitated whether she should continue with the translation project. She was under the impression that few people in Germany and Switzerland had ever heard of the ancient Chinese novel. For most people in these countries， the Chinese novel simply didn’t exist， she commented succinctly.
What she studied in Hangzhou certainly appears in the book， as teied by the 50-plus-page notes in the rear part of the book eventually published in German. The notes include a list of gods in Taoism and Buddhism as occurred in the novel. Also among the notes are a brief introduction to the provenance of the novel and how it became popular in China and spread to foreign countries in history.
林小发1968年生于瑞士比尔，曾在中国生活超过25年，2004年毕业于浙江大学人文学院中国古代文学硕士专业，导师是楼含松教授。
翻译了17年，被认为像《魔戒》
引起更多中国读者关注的是，译林出版社的编辑王蕾将德语版《西游记》的开头部分回译成现代汉语，发在微博上：“有一首诗说：太初混沌不分/天地晦暗地混淆在一起/万物模糊，横无际涯/谁都没有见过那时的景象……”
中文版《西游记》的原文是“诗曰：混沌未分天地乱，茫茫渺渺无人见。……”
“不小心当了网红”，王蕾说，微博里的这篇回译之作，浏览量高得不同寻常。很多读者看回译，觉得是类似《魔戒》的史诗。
王蕾认为，回译的《西游记》，有些像《魔戒》作者托尔金的作品《精灵宝钻》。
学者李天飞也被王蕾的回译触动。在他眼中，《西游记》本有市井小说的特征，带着戏谑。德译，再回译，文本带有了西方文学的壮美和悲剧感。
中国读者的反应，林小发根本没料到，“但现在想想当然也不奇怪”。
林小发翻译这部中国古典名著，足足花了17年。对她来说，漫长翻译过程中的成长与挫折，恰恰应和了《西游记》的主题——取经。
在自述中，林小发写道，她在翻译过程中尽量读了一些构成明代文人常识的经典，包括四书五经、佛经，还有与《西游记》相关的一些道教经典，如此一边阅读一边调查研究，“翻译过程也就成为了一个独特的‘取真经’的过程。”
她还到处走访寺庙、道观，向大德高僧请教书中一些深层涵义的解释；大量阅读18和19世纪的德国文学，从歌德等人的诗歌中感悟修辞技巧。
“与其说牺牲了长达17年的时间，不如说是在不知不觉地挖掘一个莫大的宝藏，一个不朽的精神世界。”林小发写道，“译本出版了之后，我从许多读者的反馈得知，小说在这些方面的寓意得到了有效的传达，对此我深感欣慰。”
在浙江大学的硕士论文写的是《西游记》
林小发对中国文化的兴趣来得很突然。1983年，中国广西的一个杂技团访问比尔，林小发被介绍册上的中国字迷住，开始自学中文。
有网友激动地认出了她：“这是我读研究生时的老师呀，瑞士人，當年她是坐着火车哐哧哐哧穿越欧亚大陆来到中国。读的是中国美院版画系。特别淳朴，特别不物质，我们经常看她骑着那种后座带娃的二轮上下班，眼神特别干净。”
上世纪90年代，林小发来到中国，在中国美院书法系和版画系学习。偶然的机会，她在上海古籍书店读到了《西游记》，其中蕴含的中国古代世界观深深吸引了她。
1999年，读过原著和两种德文译本的林小发自己动手翻译《西游记》。
翻译越深入，林小发越察觉自己的不足。她特地去浙江大学学习中国古典文学，硕士论文主题是《西游记》的“正路”思想。
林小发在浙大的导师楼含松说，林小发其实还有一个中文名，叫林观殊：“她读研究生的目的也是很强的，就是为了做好《西游记》的翻译工作。”
因为楼含松写过《西游记》的研究文章，林小发拜他为师。楼含松回忆，林小发的中文水平很好，完全称得上是中国通。“我不懂德文，跟她都是汉语交流，我们讨论《西游记》多一点。她毕业论文探讨《西游记》的主题，硕士论文答辩的时候，老师们对她评价都蛮高的。”
“她终于完成了这项艰巨的工作，真的非常了不起！我为她感到高兴和骄傲！”楼含松说。
林小发非常低调，对获奖之事不愿多说。对于《西游记》又翻回中文一事，远在瑞士的林小发表示：“若能激起中国人重读原版兴趣的话，我很开心。译回中文有趣，能读原著是福！”
在德语国家文坛，《西游记》原来是不存在的
因为不懂德文，楼含松还没看过《西游记》的德文版。
德语世界原来有《西游记》的两种译本。一种是1962年翻译出版的《西方朝圣》，依据是中文原版及一百回俄文译本，但采取总结性的翻译方式，诸多的诗词、回目、对话等均被删除。另一种转译自1942年出版的英文节译本《猴子：中国民间小说》。《猴子》由英国汉学家阿瑟·韦理英译，胡适作序，翻译了原书100回中的30回。英译本主角名叫“猴子”，没有回目，也未翻译诗词。
因此，在去年的法兰克福书展上，林小发曾对媒体说，“我所翻译的是完全未删减的，因此可以算是第一本完整的德译本。我用的中文原版是中华书局出版的《西游记》，这个版本以清代的《西游证道书》为底本。相对于更常见的明版本，这个版本经过了一些文笔润色，也删掉了一些描述性的诗歌。比如，师徒三人取经路上遇到一座山，这座山怎样怎样。如果把这种描述性的诗全都翻译成德语，会占很大的篇幅，而且也不太符合德国读者的阅读习惯。”
在亚马逊上，林小发译的《西游记》定价88欧元。据悉，德国图书普遍在20多欧元。
“在德国，知道《西游记》的人非常少。练气功，学太极拳，对中医感兴趣的人可能听说过《西游记》的一些片段。”林小发说，“但是，作为文学作品却鲜为人知。对于这么伟大的一部文学作品来说，实在是非常可惜。”
所以，在林小发的印象里，“在德语国家的文坛，这本书原来是不存在的。” 书里的神仙鬼怪有了德文名字
《西游记》人物繁多，同一人物还可能有别名。主角孙悟空，就另有美猴王、齐天大圣和行者等诸多称谓。林小发的处理是：孙悟空音译，其余意译。
北京外国语大学德语系的毕业生告诉记者，在林小发翻译的《西游记》里，行者、悟空、大圣间隔出现。而书中出现的南海观音，是用梵语里的菩萨概念+中文拼音（Guanyin）翻译的。
“唐僧”怎样译，林小发犹豫好久，先用汉语拼音“Tangseng”，后来改译为“来自中国的高僧”。原文里的“唐”，她翻译成“China”，这样读者很容易联想到古代中国。
神灵和妖精名的译法，需要想象力，比如，麒麟山小妖有来有去，译为“又来又去的那个”。
“出现在回目和诗词中的一些道教术语，如金公木母、婴儿姹女等，直接字面翻译成德语很容易，但这不是我的翻译方式。”林小發认为，翻译之前必须理解透彻，否则无法把真正含义传达给读者。
人名、习语之外，小说涉及的专有名词，是贯穿整个翻译过程的最大困难。
最初译出了10回后，林小发曾把译稿和小说简介寄给几家出版社，都遭婉拒。大约有10年，她都没找到愿意出版德译《西游记》的机构。是否继续翻译，她也踌躇过，但终究没有放弃。在林小发的印象里，除个别人略知一二，德国人与瑞士人对《西游记》几乎一无所知。
去年的法兰克福书展上，林小发译《西游记》首发，黄色封面，封面上美猴王手搭凉棚眺望。
小说有50多页后记，其中18页是详细的神仙列表。林小发还介绍了神仙的世界、《西游记》故事的形成等。
Eva Lüdi Kong received Leipzig Book Fair Prize for Translation in 2016. Her translation in German was （Travel into the West）. It is a complete translation of an at least 400 year old Chinese novel known as .
The translator’s honor was made widely known to Chinese people by a retranslation of the first chapter of the German book back to Chinese， done by Wang Lei， na editor with Yilin Books specialized in translated foreign literary books. The retranslation went virile in Chinese social media. Many commented that it read like by English author and scholar Tolkien. The original Chinese story， its authors unknown， entertained grassroots people living in cities across China during its slow evolution into a classical novel. It offers fun and satire. When it was translated back from the German version， the text offered a touch of magnificence of western classics and tragedies， commented Li Yunfei， a scholar specialized in the study of the Chinese masterpiece.
Eva Lüdi Kong wasn’t prepared for this kind of response from Chinese readers. But on second thought， she didn’t find it surprising.
It had taken her a good 17 years to translate the Chinese novel. The translating is somewhat aptly compared the journey of hardships and trials the four pilgrims takes in the novel.
In China， the translator is known as Lin Xiaofa， her Chinese name， with her real name largely unknown. Her Chinese name is easy to read and remember.
She is a citizen of Switzerland. She fell in love with the Chinese language in 1983 when a troupe of Chinese acrobats from Guangxi， China visited her hometown. The Chinese words printed on a show program took her fancy. The 15-year-old girl began to study Chinese.
She has spent 25 years in China and a big part of the 25 years she spent in Hangzhou， the capital city of Zhejiang， a province south of Shanghai. In the 1990s， she studied calligraphy and printmaking at China Academy of Art in the city. She ran into in a bookstore in Shanghai. The ancient Chinese worldview as revealed in the novel fascinated her. In 1999， she began to translate the book after reading the Chinese original and the two German translations. Pretty soon she ran into problems she wasn’t able to solve. She enrolled into a graduate course at Zhejiang University where she studied ancient Chinese literature. “She knew exactly what she wanted from the graduate course. She wanted to get her translation right，” recalls Lou Songhan， the graduate supervisor at the university. Her graduation paper was about the Chinese novel.
Lou recalls that Lin Xiaofa was pretty good at Chinese. “I don’t know a word of German. I communicated with her in Chinese. We mainly talked about . Teachers thought highly of her at her defense of the graduation paper，” remembers Lou. “I feel proud of her. She is great！ The work she did was extremely challenging.”
Before Eva Lüdi Kong’s translation， there had been two abridged translations of the Chinese book in German. One was done in 1962 based on the Chinese original and a 100-chapter Russian version. The other was translated from a 1942 English translation by Arthur Waley （1889-1966）. There are only 30 chapters in this English translation titled . Eva Lüdi Kong’s translation was based on a Chinese edition published by Zhonghua Book Company. This somewhat “sanitized” edition， based on a text of the Qing Dynasty （1644-1911）， is shorter than the most popular edition created in the Ming Dynasty （1368-1644）， with the deletion of some poems that describe landscape and with the removal of some vulgar words and expressions.
Before Eva Lüdi Kong’s translation， very few people in Germany knew about . In Germany， Chinese Qigong or Taiji enjoyed better popularity； those who took interest in traditional Chinese medicine may have heard of some excerpts from the novel. It was a pity that such a great literary masterpiece was so little known in the world of the German language， commented the translator.
That probably explains why she wasn’t able to find any publisher who took interest in her translation after she had finished the first ten chapters. She hesitated whether she should continue with the translation project. She was under the impression that few people in Germany and Switzerland had ever heard of the ancient Chinese novel. For most people in these countries， the Chinese novel simply didn’t exist， she commented succinctly.
What she studied in Hangzhou certainly appears in the book， as teied by the 50-plus-page notes in the rear part of the book eventually published in German. The notes include a list of gods in Taoism and Buddhism as occurred in the novel. Also among the notes are a brief introduction to the provenance of the novel and how it became popular in China and spread to foreign countries in history.