Shanghai foreign language education press
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| THE LEVEL OF NATURALNESS
With all that, for all texts (except the ones you know- are *udiT or badly written but authoritative, innovatory or 'special 1 , e.g., where a writer has a peculiar way of writing which has to be reproduced - so for philosophy, Heidegger, Sartre, Husserl; so for fiction any surrealist, baroque, and certain Romantic writers) - for the vast majority of texts, you have to ensure:: a; thai your translation makes sense; ■b^ that it reads naturally, that it is written in ordinary language, the common grammar, idioms and words that meet that kind of situation. Normally, vou can only do this by temporarily disengaging yourself from the SL text, by reading your own translation as though no original existed. You get a piece like: Vne doctrine nee dans une fraction dtt cierge de VAmenque latine qui fotwnrte sous diver ses plumes et dans diverses chapelles el qui connait dejd un debut d application autontatre sous la tutelle de I'Etat. and vou can reduce it to sense bv gradually eliminating all the primary senses ijraction, THE ANALYSIS OF A TEST 25 nee, plumes, ckapelles, connaii) to: L A doctrine originating amongst a fraction of the clergy of Latin America which proliferates among various writers and in various coteries and which already experiences the beginnings of an authoritarian application under the tutelage of the State'. Now you still have to make that passage sound natural, which will usually depend on the degree of formality (see p. 14) you have decided on for the whole text. But you might consider: l A doctrine originating in a group of Latin American clergy and proliferating among various writers and coteries, which is now just beginning to be put into practice in an authoritarian fashion under the auspices of the State' (note that dtija often translates as 'now'), A word on 'naturalness 1 . A translation of serious innovative writing (maybe Rabelais, Shakespeare, Thomas Mann, maybe Hegel, Kant, maybe any authority) may not sound natural, may not be natural to you, though if it is good it is likely to become more so with repeated readings: The funnel unravels an enormous mass of black smoke like a plait of horsehair being unwound, La ckeminie dfrvide une enormefumee noire, paredle a une tresse de cnn qu'on detord. (G. F. Ramuz/Leretourdumort\fromM?u^/te$,i A still new patient, a thin and quiet person, who had found a place with his equally thin and quiet fiancee at the good Russian Table, proved, just when the meal was in full swing, to be epileptic, as he suffered an extreme attack of that type, with a cry whose demonic and inhuman character has often been described, fell heavily on to the floor and struck around with his arms and legs next to his chair with the most ghastly contortions. Ein noch neuer Patient, ein magerer und sailer Mensch, der mil seiner ebenfalls mageren und stillen Braut am Guten Russentisch Platz gefunden hatte, envies sich y da eben das Essen in vollem Gang war t ah epileptisch indent et einen krassen An/all dieser Art erlitt, mil jenem Schrei dessen ddmonischer und aussermenschlicher Charackier oft geschildert warden ist> zu Boden siiirzte undneben seinem Stuhl unterden scheusslichsten Verrenkungen milArmen und Beinen um sick schlug. fThomasMann, Der Zauberberg. < You may find both these sentences unnatural- Yet, in spite of numerous lexical inadequacies (we have no word for mager nor any as vivid as schildern, and few parallel sound effects) this is what Ramuz and Thomas Mann wrote, and we cannot change that, When you are faced with an innovatory expressive text, you have to try to gauge the degree of its deviation from naturalness, from ordinary language and reflect this degree in your translation. Thus in translating any type of text you have to sense 'naturalness', usually for the purpose of reproducing, sometimes for the purpose of deviating from naturalness. In a serious expressive text, in the sentence: ilpromenait son regard bleu sur la petite pelause, tải về 2 Mb. Chia sẻ với bạn bè của bạn:
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