2. 外语
  3. Is a translation meant for readers who do not understand the original? This would seem to explain adequately the divergence of t

Is a translation meant for readers who do not understand the original? This would seem to explain adequately the divergence of t

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问题   Is a translation meant for readers who do not understand the original? This would seem to explain adequately the divergence of their standing in the realm of art. Moreover, it seems to be the only conceivable reason for saying "the same thing" repeatedly. For what does a literary work "say"? What does it communicate? It "tells" very little to those who understand it. Its essential quality is not statement or the imparting of information. Yet any translation which intends to perform a transmitting function cannot transmit anything but information -- hence, something inessential. This is the hallmark of bad translations. But do we not generally regard as the essential substance of a literary work what it contains in addition to information -- as even a poor translator will admit -- the unfathomable, the mysterious, the "poetic", something that a translator can reproduce only if he is also a poet? This, actually, is the cause of another characteristic of inferior translation, which consequently we may define as the inaccurate transmission of an inessential content. This will be true whenever a translation undertakes to serve the reader. However, ff it intended for the reader, the same would have to apply to the original. If the original does not exist for the reader’s sake, how could the translation be understood on the basis of this premise?
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答案文学作品的基本特性并不是陈述事实或发布信息。然而任何执行传播功能的翻译所传播的只能是信息，也就是说，它传播的只是非本质的东西。这是拙劣译文的特征。但是人们普遍认为文学作品的实质是信息之外的东西。就连拙劣的译者也承认，文学作品的精髓是某种深不可测的、神秘的、“诗意的”东西；翻译家如要重现这种东西， 自己必须也是一个诗人。事实上，这带来了劣质翻译的另一特点，我们不妨称之为不准确地翻译非本质内容。只要译作迎合读者，这种情况就会发生。其实要是原作是为读者而写的话，它也会陷入同样的境地。可是，如果原作并不为读者而存在，我们又怎样来理解不为读者而存在的译作呢?
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