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

刘林玲

【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

【中图分类号】H315.9 【文献标识码】A 【文章编号】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”（王寿兰，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）

“是俺不在家的时候，抖搂出来的吗？”

“可不是！”

“今儿过晌儿，俺看见俺爹坐在大马车里，出那样的洋相，他那是怎么啦？是不是叫这档子事折腾的？那阵儿把俺臊的，恨不得有个地缝儿钻进去！”

（张谷若译，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）

“所以我母亲说，我们应该来告诉告诉你——因为新近我们家遭到了一场灾难，把匹马的命要了，我们又是德伯家的长房。”

（张译， 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 “抖搂”， “一档子事儿”， “折腾”， “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 “我母亲”， “我们”. 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）

他这时候与其说是洗心革面，不如说是改头换面，从前他那脸上的曲线，表现一团色欲之气，现在貌是神非，却表现一片虔诚之心了…… 从前他那只眼睛溜溜转，看她的时候光芒逼人，现在那双眼睛奕奕有光，讲道的时候却狂热可怕了。从前他脸上常有一种阴沉横厉、棱角显露的样子，本是表示事不顺手、事不如愿的愤怒，现在他脸上也有那种样子，却是怨恨甘入下流、不可救药的人了。

（ 张译，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”， “改头换面”， “色欲之气”， “虔诚之心” 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 “阴沉横厉、棱角显露”， “事不顺手、事不如愿”， and “甘入下流、不可救药” 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？ 去找你那亲爱的丈夫吗？”她听了这种难堪的话， 简直受不了。

“哦——我哪儿知道！”她辛酸激愤地说。“我还有丈夫吗？”

“实在不错， 没有丈夫——照你那种意思， 一点儿不错， 没有丈夫。不过你虽然没有丈夫， 你可有朋友； 我已经打定了主意， 非让你过个舒服日子不可。”

（张译，1991：510）

Zhang explicited the implication of “in the sense you mean” by adding“没有丈夫”. 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 “不过你虽然没有丈夫” 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.

参考文献：

[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.

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[7]张谷若译. 《德伯家的苔丝》，[英]哈代著，北京：人民文学出版社，1957年版.

[8]张谷若译. 《还乡》，[英]哈代著，北京：人民文学出版社，1957年版.

[9]张谷若译. 《无名的裘德》，[英]哈代著，北京：人民文学出版社，1995年版.endprint