马君武翻译的《哀希腊歌》是拜伦该诗的第一个全译本,影响深远;但各评论家认为译文“失之粗豪”、“失之讹”、“重达而薄信”。一百年来,译界莫不以此为定评。然而,这些评论不仅属于感性印象,而且是非历史化的抽象批评;其理论前提是原作有一个恒定不变的意义,翻译者必须忠实地再现原作的意义。马君武的“讹”可以分为三类,均是有意识选择的结果,其合理性和有效性,应该由当时的社会文化关系未界定。清末民初翻译的功利性、翻译内涵和外延的泛化、马君武试图表现的政治寄托,他使译诗本土化的努力,以及流行翻译规范要求的归化表现策略等,使以译文中的“讹”成为可以理解和接受的选择。 The “sad Greek songs” translated by Ma Junwu is the first full translation of Byron’s poem, which has far-reaching implications. However, all the critics consider the translation as “lost pride”, “lost error”, “weight” Thin letter “. For a hundred years, the translation industry can not be a comment. However, these comments are not only perceptual impressions, but also non-historical abstract criticism; the theoretical premise is that the original works have a constant meaning and the translator must faithfully reproduce the meaning of the original works. Ma Junwu’s ”Errors“ can be divided into three categories, all of which are the result of conscious choice. Their rationality and effectiveness should not be defined by the then social-cultural relations. The utility of translation in the late Qing Dynasty and the early Republic of China, the generalization of connotation and denotation of translation, the political pinpointing Ma Junwu attempted to show, his endeavor to localize translation poetry and the domestication tactics required by popular translation norms, ”Corruption" has become an understandable and acceptable choice.