A Study of Zhang Guruo’s Translation of ThomasHardy’s Works： on Stylistic Features

劉林玲

【Abstract】As a distinguished translator， Zhang Guruo had spent all his life in teaching English literature and translating. Since the 1930s， he had translated “Tess of the dUrbervilles”， “Jude the Obscure” and “The Return of the Native”. Thus， he was honoured as “the expert of Thomas Hardy”. This paper will summarize Zhangs translation thoughts and practices and their significance in the translation field.

【Key words】Zhang Guruo； literary translation； idiomatic； Hardy

【中圖分類號(hào)】H315.9 【文獻(xiàn)標(biāo)識(shí)碼】A 【文章編號(hào)】2095-3089（2014）05-0023-02

1.Introduction

Thomas Hardy was a world？鄄famous British novelist and poet. Whats impressed readers most were his “wessex” novels. Zhang Guruo was an expert in the study and translation of classic English literature. With a profound Chinese foundation and the appreciation of Hardy， he translated Hardys major works which made a tremendous splash in China. His success was because that he idiomatically transferred both the style and thoughts of the original language.

2.Zhang Guruos translation thoughts

Though Zhang attached importance to the translation practice in his life， he didnt publish many translation theories intentionally. As he said， “It is better to do translation practically than to speak emptily”（王壽蘭，1989：452）. However， based on rich practical experience， his translation theories are insightful and convincing. Generally， Zhangs translation thoughts can be summarized into two aspects：idiomatic translation for idiomatic original text； literary translation： both a science and an art.

3.Zhang Guruos Choice of Hardys Works

It is common that translators selected adaption actively in the translation history. The other value orientation is the character， life experience， aesthetic taste， even the mood or circumstances in a period of a translator. Both of the two value orientations reflect and strengthen the translators subjectivity.

On one hand， Hardys masterpieces like “The Return of the Native”， “Tess of the DUrbervilles” were corresponded with the social mainstream ideology in China at that time. Filled with a strong sense of responsibility， Zhang chose Hardys works as the beginning of his translation career. On the other hand， With a similar living environment of countryside， both of Zhang and Hardy were particularly close to farmers and understood their deep feelings. This mutual adaption was a foundation to Zhangs selection of Hardys works to a great extent.endprint

4.Stylistic Features of Zhang Guruos Translation of Thomas Hardys Works

4.1 The local flavor of Zhangs translation of Hardys works

Dialect was one of the main reasons that his novels had a strong local color. To make the characters vivid and hearty， Hardy applied Wessex dialect in the southeast of England. The use of dialect presented the translator a great challenge. Zhangs creative employment of Shandong dialect to translate Wsssex dialect successfully represented the local color and images of characters in the original works.

For example：

Example A：

a “Since Ive been away？” Tess asked.

“Ay！”

“Had it anything to do with fathers making such a mommet of himself in thik carriage this afternoon？ Why dider？ I felt inclined to sink into the ground with shame！”

（Tess of the DUrbervilles Thomas Hardy， 1992：18）

“是俺不在家的時(shí)候，抖摟出來(lái)的嗎？”

“可不是！”

“今兒過(guò)晌兒，俺看見(jiàn)俺爹坐在大馬車?yán)铮瞿菢拥难笙啵鞘窃趺蠢?？是不是叫這檔子事折騰的？那陣兒把俺臊的，恨不得有個(gè)地縫兒鉆進(jìn)去！”

（張谷若譯，1957：35）

Example B： “And so mother said we ought to make ourselves be known to you—as weve lost our horse by a bad accident， and are the oldest branch o' the family.”

（Tess of the DUrbervilles， Thomas Hardy， 1992：37）

“所以我母親說(shuō)，我們應(yīng)該來(lái)告訴告訴你——因?yàn)樾陆覀兗以獾搅艘粓?chǎng)災(zāi)難，把匹馬的命要了，我們又是德伯家的長(zhǎng)房?！?/p>

（張譯， 1957：64）

Having received some education in a National School， Tess was able to use relatively standard English. However， her family members and people around used to speaking Wessex dialect. Thus her language was not so standard when she spoke to her family members. In Example A， nonstandard pronunciation appeared in Tesss words because she was talking with her less educated mother. Zhang demonstrated her dialect with “俺”， “俺爹” and “抖摟”， “一檔子事兒”， “折騰”， “臊的” which were mainly dialects of Shandong or in North China. However， In Example B， when Tess talked to Mr. Alec who was more educated， Tess used relatively formal and complete sentences. In the translation， Zhang employed polite words like “我母親”， “我們”. Here， the original social relationship between speakers was revealed in the translation. Meanwhile， the image of a village girl with a little education was successfully represented to the readers.

4.2 Idiomaticness of Zhangs translation of Hardys works

The employment of four—character phrases is a distinct manifestation of the advantage of the target language when translating English into Chinese. Having an excellent command of written Chinese， Zhang used to employ poetic and brilliant words and phrases. We can frequently find examples that Zhang translated a simple English adjective or adverb into Chinese four—character phrases. For example： It was less a reform than a transfiguration. The former curves of sensuousness were now modulated tolines of devotional passion. …Those black angularities which his face had used to put on when his wishes were thwarted now did duty in picturing the incorrigible backslider who would insist upon turning again to his wallowing in the mire.endprint

（Tess of the DUrbervilles， Thomas Hardy， 1992：330）

他這時(shí)候與其說(shuō)是洗心革面，不如說(shuō)是改頭換面，從前他那臉上的曲線，表現(xiàn)一團(tuán)色欲之氣，現(xiàn)在貌是神非，卻表現(xiàn)一片虔誠(chéng)之心了…… 從前他那只眼睛溜溜轉(zhuǎn)，看她的時(shí)候光芒逼人，現(xiàn)在那雙眼睛奕奕有光，講道的時(shí)候卻狂熱可怕了。從前他臉上常有一種陰沉橫厲、棱角顯露的樣子，本是表示事不順手、事不如愿的憤怒，現(xiàn)在他臉上也有那種樣子，卻是怨恨甘入下流、不可救藥的人了。

（ 張譯，1957：448 ）

This is the description of Alec when he and Tess met for the second time. Hardy made a contrast between Alecs past and present with a great many words in order to depict his malicious and hypocritical personality. In the target language， all those description was expressed by four？鄄character phrases like “洗心革面”， “改頭換面”， “色欲之氣”， “虔誠(chéng)之心” and so on.

Moreover， the translator repeatedly adopted four？鄄character phrases and made the target language both expressive and elegant although the antithesis did not exist in the original sentences. He used “陰沉橫厲、棱角顯露”， “事不順手、事不如愿”， and “甘入下流、不可救藥” respectively. Taking the advantage of Chinese language， the translator recreates the comprehensive style which made his translation more elegant and precise than the original text.

4.3 The Reproduction of artistic ideorealm

Recreation of implicature in conversations is another important feature of artistic ideorealm. As Fu Lei stated，“As far as the effect is concerned， like painting， translation should pursue spirit likeness rather than shape likeness.”（傅雷， 1951：559） At the same time， Zhang mentioned two requirements for translation： word for word translation is not advisable； translate the original idiomatically. We can experience Zhangs great talent in recreation of implicature in his version of The Return of the Native：

“Where are you going to next？ To join your dear husband ？”She could not bear the humiliating reminder.

“O—I dont know ！”she said bitterly. “I have no husband！”“It is quite true—in the sense you mean. But youhave a friend； and I have determined that you shall be comfortable in spite of yourself .”

（The Return of the Native， Thomas Hardy， 1922：337）

“你打算以后要到什么地方去？ 去找你那親愛(ài)的丈夫嗎？”她聽(tīng)了這種難堪的話， 簡(jiǎn)直受不了。

“哦——我哪兒知道！”她辛酸激憤地說(shuō)。“我還有丈夫嗎？”

“實(shí)在不錯(cuò)， 沒(méi)有丈夫——照你那種意思， 一點(diǎn)兒不錯(cuò)， 沒(méi)有丈夫。不過(guò)你雖然沒(méi)有丈夫， 你可有朋友； 我已經(jīng)打定了主意， 非讓你過(guò)個(gè)舒服日子不可。”

（張譯，1991：510）

Zhang explicited the implication of “in the sense you mean” by adding“沒(méi)有丈夫”. Besides， he conducted necessary implement in meaning from the relationship of sentences in order to enphasize Alecs nature of blandishment. With his addition of the omitted clause of “不過(guò)你雖然沒(méi)有丈夫” before “but you have a friend”， the translation is more in line with the habit of expression in Chinese. Thus， readers can have a better understanding and appreciation of the artistic ideorealm. Meanwhile， it is fully represented that Zhang always keeps his readers in mind and paid much attention to readers response in his translation.endprint

5.Conclusion

Zhangs three translations of Hardys works were so distinguished that any mention of Hardy could remind people of his versions. This is not only because his profound Chinese capacity， but also for his conscientious attitude on translation. Insisting on his translation attitude of “idiomatic translation for idiomatic original text”， his translations had a deep aesthetic feeling based on the appropriate reproduction of the original style. The author hopes that this paper may help readers have a better understanding of Professor Zhang Guruos translation practices and thoughts.

參考文獻(xiàn)：

[1]Hardy， Thomas. Jude the Obscure[M]. Beijing： Foreign Language Teaching and Research Press， 1994.

[2]Hardy， Thomas. The Return of the Native[M]. Beijing： Foreign Language Teaching and Research Press， 1922.

[3]Hardy， Thomas. Tess of the Durbervilles[M]. Beijing： Foreign Language Teaching and Research Press， 1992.

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[7]張谷若譯. 《德伯家的苔絲》，[英]哈代著，北京：人民文學(xué)出版社，1957年版.

[8]張谷若譯. 《還鄉(xiāng)》，[英]哈代著，北京：人民文學(xué)出版社，1957年版.

[9]張谷若譯. 《無(wú)名的裘德》，[英]哈代著，北京：人民文學(xué)出版社，1995年版.endprint