Translation Analysis (Week 2 extra)

• My daughter's manners and lively actions pleased my wife.
• My wife confirmed that the little imp's steps were all stolen from her.
• Ladies in Beijing tried hard to achieve composure but failed.
• The sentence "struggling for composure" is a significant misinterpretation.

About Translation

• She knew no man she would sooner fix upon
• I smiled to hear her talk in this lofty strain.
• I was never much displeased with harmless delusions that tend to make us more happy.
• She did not know who could make her hurry to look at.
• After this high noble gesture of speaking, I couldn't help but smile.
• I never disliked innocuous fantasies enough to make us happier.
• The translation of the first clause is funny.
• The conclusion is redundant, vague, and unreadable.
• Conscience is a coward, and those faults it has not strength enough to prevent, it seldom has justice enough to accuse.
• Conscience is a coward that has neither the power to prevent these mistakes nor the fairness to accuse them.
• Here, the former is mismatched, and the latter is obscured.
• Qian Zhongshu pointed out: “Some appearances are ugly but can be pleasing, while others are not ugly but not worth seeing; some texts are incomprehensible but lovely, while others are understandable but extremely disgusting.”
• Following the rule, translations are also the same.
• As Mr. Qian points out, "Shi Zhai Poetry is charming and lovely but not necessarily ugly and pleasant.”
• This kind of translation can be found everywhere, so I won't give more examples.
• The above examples show the clear distinction between "incomprehensible but lovely" and "understandable but extremely disgusting."
• From an aesthetic point of view, one needs to understand that "taking everything that isn't beautiful — non-beauty — as ugly is also wrong.”
• Ugliness isn't non-beauty but the negation of beauty.
• The negation of value within the scope of beauty is not a concept applicable outside the scope of beauty.
• Despite the "indiscriminate translation" phenomenon in translation, there are still works lacking a complete text but having good sentences.
• There must be something desirable between "good sentences" and "complete texts.”
• Therefore, even "incomprehensible" translations should be viewed in this way.

Europeanization and Domestication

• Intricate and natural beauty through translation
• Translation is an art of careful characterization
• The debate between literal and free translation continues in China.
• Scholars are often biased, with differing opinions that are hard to define.
• What has followed is the question of “domestication” and retaining “foreign flavor” or “Europeanization” in translation.
• Though not widely debated, it's confusing.
• Chinese translators have varying views on “domestication” and “foreign traits.”

Translation Approaches

• All effective and commonly used methods are based on the target language.
• They avoid literally copying from the source language.
• Once the original is translated, it changes fundamentally while retaining the content.
• Translation is a process of domesticating the original language.
• English-Chinese translation is a process of Sinicization.

Translation Styles

• Viewing translation in a simple way is best.
• Emphasize spirit over form.
• Translation must be purely Chinese to avoid awkwardness.
• Good translations are lyrical and harmonious, with rhythm based on the original.
• The above discussions, being broad strokes, still have many similarities, and more famous discussions are limited by space.

Translation Issues

• Before starting, decide whether to domesticate or keep the foreign flavor
• Seek understanding rather than creation or adaptation.
• If translating, prioritize introducing foreign works, not just moving affections but also benefiting wisdom.
• Translating is like traveling abroad, requiring foreign flavor.
• Complete domestication is impossible; strict scrutiny reveals that it's not translation.
• The views in two discussions: one sees translation as domesticating the original language; the other simplifies, holding that translation must be purely Chinese.

Translation Perspectives

• Many famous Chinese writers and translators hold this view.
• Qian Zhongshu stated that a translation should be so faithful to the original that it doesn't read like one because the original never reads like a translation.
• Zhu Guangqian said that in addition to Western knowledge, those who translate must be proficient in Chinese.
• Many who have Western knowledge but lack knowledge of Chinese create books that are more difficult than the original, which misses translation's point.
• These views show that these understandings are highlighted.
• Later viewpoints stress the need for foreign style.
• This is an inevitable result.
• Translating requires foreign affairs, and no translator can eliminate the foreign touch.
• Complete domestication is impossible; if it exists, it's just a facade.
• These positions never suggest translation cannot be domesticated, nor do they exclude having "not fully domesticated" translations.
• Since they affirm that "there won’t be complete domestication; and if so, it will only be a facade", they did not deny it can reproduce the charm of the original.
• Domestication is possible, the necessary path in translation. To call "domestication" a "translation detour" is excessive.
• First, "domestication's" content should be paid slightly more.

Translation and Transformation

• Translating domesticates the foreignness of the original's vocabulary, grammar, and rhetoric, transferring them into the translation.
• The proponents of domestication insist on authentic Chinese.
• Translators can transplant foreign expressions but must also draw on Chinese strengths to avoid any European traces.
• Translators may recast words and create new sentences while ensuring the result sounds like Chinese.
• Not only did Zheng Zhenduo propose “assimilation”, indicating that diverse text characters impede styles.
• Wang Zongyan believed a translation requires a oneness with the original culture.
• "Oneness," however, has many meanings and comprehensively analyzes the content of "domestication."
• The problem with one-sided arguments is that they viewed "domestication" as "foreign object domestication."
• Those that can be used are that the translation cannot be more than "Europeanization.”
• One must "make the reader read the translation and have the same impression as people from the writer's country read the original."
• See various "domestication" phenomena in the works of many famous translators:
• The "domestication" phenomenon of the names and titles.
• Lu Shuxiang's translations are like flowing clouds, with natural, seamless, and concise elegance, relying on his solid language skills.
• His familiarity with various languages' habits and capabilities allows him to avoid awkward translations.
• I was a Sheffield, and why I ever became a Johns is more than I can imagine. Johns -- I suppose that's camouflage for Jones.
• I am Miss Xue's daughter. How can I come to the Zhong's house to be daughter-in-law? No more than a fake to deceive people.
• The skillful use of Chinese for Johns in translation is quite good.
• It utilizes both the same sound as two words and expresses their equivalent values, making it wonderful, sound and meaning.
• Using "fake” rather than “disguise" to translate camouflage incisively translates original essence.
• At the same time, “fake” echoes Jong’s name. The translator did this to avoid "creating a person and making out a certain thing."
• Mr. Shen Deqian says that "the writer is in two or four words."
• Lu's works are not only closely linked, but "translate the Chinese of this work so it's alive instead of a dead translation."
• These are all just some of the other verses about China.
• That darling baby! I hope he won't have poor Gorddon's quick temper. It runs in the Johns family. I'm afraid.
• I was an Armstrong before I married Gordon's father - I didn't know what temper was until I married
• Be careful, little dear! Don't give my young Deng a bad temper. This is Jong's legacy.

The Domestic Translation

• My father was not married to an Armstrong man.
• I was a Tang - the Tang of the flowers, you know.
• My ancestral home was Rhodes. Family tempers are very angry, at least in any husband's home.
• These people are so smart, even the future mothers-in-law are all caught up in it.
• What did the above verses mean? "The old man had a bad temper. Everyone with a flower like family temper gets angry at all family temper at China.”
• The dialogue showed characters talking down on someone of a different noble origin.
• This is illustrated by "My ancestors were from Rhodes, where all family tempers are very angry.”
• It’s all translated, reaching its full height and most Chinese air.

More Examples

• They talked about each others' houses, and characters, and families; just as the Joneses do about the Smiths.
• Becky's former acquaintances hated and envied her: the poor woman herself was yawning in spirit.
• They talked shop concerning what to reside. The Joneses saw nothing but their own.
• People saw everything as others did and hated her.
• Her soul and spirit were tired.
• The “Jong San Lee See" is used in both translations, borrowed from the rich Chinese, but not specific.
• In the lower sense, it is similar to Jones Smiths in the English texts.
• Phillips saw a man, rough and illiterate, told his case was hopeless.
• This sentence conveys the sense that the case was hopeless.
• Once, Phillip saw a man and told him his sickness was beyond relief.
• Once, he was an idiot to a patient, whom he didn't visit, who said he had a bad disease.
• There wasn't much difference between them.
• His "literacy" and not “without medicines” in the translations indicate that they were bad from then onwards.

Issues In Domestic Translation

• There were words rich with tribal colors.
• When and if can they be translated in the same way?
• The problem doesn't depend on its culture.
• Since the new works are on their way, they should also be translated and viewed.
• 1. no gas, no pantry, no decent help.
• 2. He thought Miss Melia's playing the divinest music ever-performed, and her the finest lady.
• 3. "A poor man's wife," Rebecca replied gaily, "must make herself useful, you know."
• (1) …………………And now that gas and storage have left what they had, all that’s left is their bad side.
• (2) In his heart there was the lady who saw the most wonderful music. His lover. -(3) Lee’s answer was now for the poor man to fight with and say to the godless.
• In the above sentences in this lesson, “servants,” “ladies,” and “imperial concubines” are all richly Chinese words of style that have strengthened the spoken language and left no trace of “Europeanization.".
• In the past works were well done now are bad.
• First and foremost the world's eyes were always set on the beautiful. These words can reach and describe the words!
• Brilliant, and it contained and counted.
• Then it says that there were countless ways.
• Again, the old works are now to be carried on, and there are those examples.
• But it doesn’t cover them all.
• 1. It contained a brilliant account of the festivities and of the beautiful and accomplished Mrs.
• Beautifully describe what the world is.
• Speaking and performing is as fun to see as the sky!

More Phrases

• The best way to learn is from the sun. Even that great way.
• The text says that people should be like the sun’s images: that they should kneel and love people.
• Are there people who hate them as the sky?

Additional Translations

• Once Philip saw a man, rough and illiterate, told his case was hopeless.
• From “human” comes all power! “Humans” come only half, then?
• 1. They relentless tear at the wild roses which one has seen in bud and longed to see in bloom and which for a day have scented the whole island. As soon as they are picked the roses fade and are thrown into the canal.
• There were a lot of wild roses and hope! People like to see and sense things, but those people all get tossed.
• What we are to give we won’t like.
• What about people with the power to feel?
• 1. They relentless tear at the wild roses which one has seen in bud and longed to see in bloom and which for a day have scented the whole island. As soon as they are picked the roses fade and are thrown into the canal.
• It tears through the night so all the roses and hopes never come again. Then no more will come.

On Style

• Good translations need skilled tailors to first cut up long sentences and also sew fragments together.
• Not only do they not have what they were meant to have, but they are not allowed the chance to even say what they needed. The essence they do not have is something from us (The Chinese).
• In the words are what comes alive, for the language is what brings the taste, the essence, to what is there.
• It’s also in each translation on how to speak and be so that nothing ever ends and does wrong." -1.
• Therefore, those translation effects work now like they did then.
• "I feel myself called upon, by our relationship, and my situation in life.
• I wish to say something on something that is bad and hard, so the old works are the way.

Summaries

• Summary of one that gives one’s most, is not what that one wants. One also isn’t meant and then can’t be said to be.
• The above is a sentence from a lesson; as you read what comes of it, you will know.
• There may indeed be no need to go into it. It would be best if not every translated, read book was to follow the world.
• I. The bold and reckless young blood of ten years back was subjugated, and was turned into a torpid, submissive, middle-age, stout gentleman I can only make use of.
• 2. Since the work did not reach, the sky was not there.
• You can not see the old times as each did, and you’ll see the difference.
• There, for the works the new will comes, and you can find them there also. From the heavens words can come, each will have a tale.
• Then if others make them come also and you love it then the work will become, but in the book should not sound too far. And if it isn’t then all is well. The key is the translator’s words, those words should only be in the other.