英语翻译（四）译者情感的投入人类表达情感的方式有多种,其中语言是最总要、最有效、最直接的一种反映,二翻译,作为语言活动的

英语翻译
（四）译者情感的投入
人类表达情感的方式有多种,其中语言是最总要、最有效、最直接的一种反映,二翻译,作为语言活动的一种,自然也离不开情感,尤金.奈达从翻译原则的角度,将语言的交际功能分为9种,其中有2种都与情感有关,即“移情功能”和“交感功能”
,所谓语言的移情功能是指作品能使读者产生什么样的感情反应,如何使读者感到高兴、幽默、满足、厌倦、恼怒、痛苦等等“；“交感功能”是指“所用语言的目的不是为了交流思想,而是为了在说者和听者之间沟通感情.译者作为翻译语言实践活动的中介者,自然要涉及到自身的情感问题,即如何将原作“移”给他的“情”砸“移”给译文读者”在此过程中,在此过程中,译者该不该将个人的情感输出到翻译中呢?对这一问题,我国翻译史上一直都在讨论.遗憾的是,很多翻译学家的译学理论虽然论及译者的情感问题,但较少对这一问题进行深入讨论.
林纾是一位主张译者应当输入自己主观感情的翻译家,他认为译者须与原作者及作品中的任务进行心灵交流.他本人在译书过程中也总是投入很深的感情.正是因为这位“译界之王”包醮浓情的笔,使他的译著感人肺腑,动人心魄,不少当代翻译家在其译学理论中也对此问题有所探讨,从郭末若到成仿吾,从矛盾到闻一多,傅雷等,都肯定了译者的主观感情输入的重要行.就连强调“精神模仿”、“传神”“神似”“风韵”“化境”及“译味”等的译学理论也都暗含译者的情感问题.
在中国新文学史上郭末若最早指出和强调了这一点.他在《小引》中说道：
译学莱的诗,是要使我成为雪莱,是要使雪莱成为我自己.译诗不是英武学话,不是模仿.男女结婚是要先有恋爱,先有共鸣,先有心声的交感,我爱雪莱.我能听到他的心声,我能和他共鸣,我和他啊结婚了—我和他合而为一了.他的诗便如象我自己的诗.我译他的诗,便如象我自己在创作的一样.
这些话尽管有些夸张,却生动表现了他重视译者主观感情融入的译论特点.当然他也坦言译者也有最原作不确切的感应.如他在翻译尼采的作品时说：“我是一面镜子,我的译文只是尼采的虚象；但我的反射率不免有乱反射的时候,……我是对不住作者和读者多多了.”不错,译者的确应该象一面镜子如实反映原作的面貌,然而,镜子种类繁多,品质良莠不齐,好镜子如实地反映人的真实面貌,而差镜子就会歪曲原有的形象.译者,作为翻译活动的一面镜子,必须重视地反映原作的精神面貌,而不能凭借主观意想“乱反射”.毕竟,“思想和情感与语言是一致的,相随而变的,一个意思只有一个精确的说法,换个说法,以为就不完全相同.由此可见,一方面,译者受到原作的感染而产生各种情感并自然而然地将它们融入翻译活动中；另一方面,他又必须谨遵忠信的原则,原原本本地传达原作者想要表达的思想情感.那么,译者在翻译过程中如何处理个人的情感呢?
笔者认为,处理译者情感投入问题须先考虑文本类型,鲁迅先生在1933就提出要“区别译著的内容”,彼德.纽马克教授也要求翻译工作者注意将翻译内容分门别类,区别对待.那么在讨论译者感情输入与翻译之间的关系时,我们究竟该怎样就翻译内容进行分类呢?1929年,陈西莹针对曾虚白的“诗、书（散文）”的分法.将翻译内容分为“文学与非文学”我们不妨借用陈先生的这种分法来讨论关于译者情感输入的问题.
【说了 GOOGLE类的在线或者软件翻译就不要发了】

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楼上几个全是机翻,哈哈,标点符号都完全一样,居然还有个家伙说什么“打了半天”...自欺欺人.

(4)The emotional devotion from translator
There're ways for people to transfer their deep emotions. Language is defined as a main, effective and direct measurment for such tranfer. When tranlation is concerned, the influence from personal emotion won't be easy to get rid of, as translation itself is part of language. Upon the principle of translation, Eugene and Nida divided language's applications for communication into 9 parts , and two of them, known as "application in communicating emotion"and the other, "application in communicating feelings", have something to do with emotion. The conception of application in communicating emotion means what reactions readers might response, will the articles bring readers the feeling of happiness, humor, satisfaction, annoyance, affliction or anything else, While the conception of application in communicating feelings means the purpose of language is not to exchange ideas in people, but to exchange feelings. As the intermedia, translators will undoubtfully involve their own emotion into their work, so, the direction followed should be transfer of such emotion from original works to readers. Then come the question that whether it's suitable for translators to show their own emotion in their translation? We got much controversy on what exactly it should be, and unfortunately, though many experts paid attention to such problem in their theory, few investigation were devoted into.
The famous translator Lin Shu suggested to attach translators' own emotion to their translation, as he believed both translator and original auther as well as the content in their works need interior communication. Such principle were followed by himself in his work. Precisely, it is the heavy emotion from such a translating master that brought his works feelings of effecting and engaging. Many current translators arranged from Guo Moruo to Cheng Fangwu, from Mao Dun to Wen Yiduo as well as Fu Lei discussed this problem in their theory, they all agreed on the importance of emotional attachment. Even conceptions like "spiritual imitation", "manner imitation", "similar in spirit", "charming expression", "integrated surrounding" and "flavor in translation" seems like refuse to have any relation with translation are in actual staying in the atmosphere of emotion.
Such idea was firstly proposed by Guo Moruo in Chinese new literary history. Within his forewords for Shelley Poem, he said the translation of Shelley's poem is to make myself be him, is to make him be myself, and poem translation doesn't mean parrot,doesn't equal to imitation, like the marriage between man and woman, all need to be erected upon the foundation of mutual attraction, upon the foundation of communication deep in minds, and I love Shelly. So I could hear his heart, I could gain mutual attraction with him, I even got marriage with him, we both have been an integrated one. This made his poem be similar to mine, and made me feel that I was creat poems all by myself.
Although it seems exaggerated, the opinion of injecting emotion to translation was shown vividly. Certainly, he experssed the undeterminated feeling that might occur to translators, like he evaluate the translation of Nietzsche's works:"I'm a mirror, which reflect a virtual image of Nietzsche; And my reflection would sometimes stay in chaos, is this unfair to lots of authers and readers". It's sure, translators should have been a mirror to show the original image, while due to various of mirorrs and their uncertain profile, qualified ones might show what reality are, and unqualified ones might mistake them. In the process of translation, translator need to express the truth in spirit when playing the role as a mirror, mistakes need to be avoided since ideas and actions should have stayed in uniform with each other, according with this, any idea should be in uniform precisely with their expression, in other words, "thought to be" is not advisible. Basic on this, on the one hand, translators need to be affected by original works and to involve their own emotion into translation naturally, on the other hand, they need to obey to the principles of cautiously, so as to transfer what original authors tried to express. So, how to handle the contradiction related by translator's emotion in translation properly? I believe we need to differentiate the style of articles beyond the consideration on emotional problems, Master Lu Xun proposed his idea to defferentiate the content of original works before translation in 1933, and professor Peter Newmark claimed to pay attention to the style of different articles, this brought us another question in how to differentiate them, according to the measurements taken by Chen Xiying in 1929 to Zeng Xubai's poems and articles, to classify articles into literary and un-literary ones might be suitable for our discussion about emotional devotion.