房慧穎

摘要：莎劇《麥克白》運(yùn)用多種意象以求加強(qiáng)悲劇藝術(shù)效果，和其他莎劇相比，《麥克白》更能引發(fā)讀者的想象力。意象的內(nèi)涵應(yīng)盡量保留，但是為了避免誤解，增加譯文的可讀性，譯者也要針對(duì)具體的情況靈活翻譯。梁實(shí)秋和朱生豪在處理劇中的意象時(shí)運(yùn)用了不同的翻譯策略：前者保留大量源語(yǔ)意象，采用異化策略，重點(diǎn)介紹傳達(dá)作者的審美取向；后者則轉(zhuǎn)化很多源語(yǔ)意象，選擇歸化策略，重視目的語(yǔ)讀者的審美需要。由此我們可以看出，朱生豪在翻譯過(guò)程中更加注重譯文與原文的“神似”，而梁實(shí)秋則更加注重忠實(shí)原文。

關(guān)鍵詞：意象；歸化譯法；異化譯法；《麥克白》

Abstract：In Macbeth， Shakespeare made use of various images to enhance the tragic effect. Compared with his other plays， the images in Macbeth are richer and more imaginative. Liang Shiqiu and Zhu Shenghao adopted different methods to translate the images： the former adopted foreignization， retaining the original images； the latter translated from the perspective of domestication， emphasizing TL readersneeds of appreciation of beauty. In conclusion， Zhu attached importance to spiritual resemblance， but Liang gave his top priority to faithfulness.

Key words：Image；Domestication；Foreignization；Macbeth

一、Introduction

Macbeth is popular in China for many years and it continues to attract innumerable scholars and readers to explore. Shakespeare made use of rich images. Zhu Shenghao， the first Chinese translator that attempted to translate The Complete Works of William Shakespeare，adopted domestication. Liang Shiqiu， who contributed most to the study of Shakespeare，translated Macbeth from the perspective of foreignization.

二、Translating the Images

1、Characteristics of the Images.Liu Miqing， a Chinese translation researcher，also established a definition of image. He wrote in the book Introduction to Translation Aesthetics that， image refers to an integration of emotion and objects， or the form of emotion in words； he believed that images are carrier of subjective spirit， which is indefinite， and can lead to infinite poetic associations. Of all Shakespeares tragedies， Macbeth is the most successful one for its richness in application of images.[2]

2、Image Translating Strategies.According to what is mentioned above， Macbeth occupies a very important position in Shakespeares plays and enjoys a great popularity in China. As an instructive play， Macbeth is very much worth translating into Chinese for Chinese readers. During the past century， many scholars have tried to translate Macbeth.

三、A Comparison between Zhus and Liangs Strategies

1、Analysis of Zhu and Liangs Respective Strategies.

（1）Zhus Spiritual Resemblance. When Zhu Shenghao had finished translating a paragraph， he would revise it in the readersshoes， to ensure that there were no ambiguities in the paragraph， and then read it aloud to check that the version reads smoothly.[3]

After comparing the existing translation of Shakespearean plays， Zhu Shenghao observed that there had been more cases of translators rendering ”rigid” translations of Shakespeare than of more careless work and noted：

“…the result of sticking to the grammar will produce a translation without any of the originals spiritual flavor. And worse still， the translation is so abstruse and obscure that nobody can understand it. It is the translator but not Shakespeare that should be to blame.”

Zhu Shenghaos attitude towards translation is quite serious and conscientious. I feel that I have quite a good understanding of the spirit in the original plays.”[4]

（2）Liangs Faithfulness .Liang once pointed out in his essay that a translation faithful but unsmooth was no better than the one fluent but unfaithful.[1]According to Liang， a good translation should be one with sound unification of “faithfulness” and “smoothness”. In other words， Liang thought that faithfulness was not only a matter of content but also a matter of style.

四、Conclusion

Images， as the essence of human wisdom and imagination， are endowed with profound cultural connotations and reflect the cognition of different peoples.

This paper presents its opinions after comparing two translated versions of Macbeth； the one by Zhu Shenghao mainly adopts domestication both in linguistic level and cultural level， while the other by Liang Shiqiu mainly adopts foreignization. Therefore， theres no definite boundary between them， and translators need to make a right choice when they translate literary works.

Works Cited[1] 朱生豪，《莎士比亞戲劇全集》，文津出版社，2012.

[2] 羅新璋，《翻譯論集》，商務(wù)印書(shū)館，1984.

[3] Baker， Mona， Routledge Encyclopedia of Translation Studies Shanghai： Shanghai Foreign Language Education Press， 2004.

[4] 梁實(shí)秋，《梁實(shí)秋文集（第七卷）》，鷺江出版社，2002.