英语专业翻译实习

A Sure Way of Making Enemies and How to Avoid It

When Theodore Roosevelt was in the white House, he confessed that if he could be right 75 percent of the time, he would reach the highest measure of his expectation.

If that was the highest rating that one of the most distinguished men of the twentieth century could hope to obtain, what about you and me?

If you can be sure of being right only 55 percent of the time, you can go down to Wall Street and make a million dollars a day. If you cannot be sure of being right even 55 percent of the time, why should you tell other people they are wrong？

You can tell people they are wrong by a look or an intonation or a gesture just as eloquently as you can in words and if you tell them they are wrong, do you make them want to agree with you? Never! For you have struck a direct blow at their intelligence, judgment, pride and self-respect, which will make them want to strike back. But it will never make them want to change their minds. You may then hurl at them all the logic of a Plato or an Immanuel Kant, but you will not alter their opinions, for you have hurt their feelings.

Never begin by announcing “I am going to prove so-and-so to you.‟‟ That‟s bad. That is tantamount to saying: “I‟m smarter than you are and I‟m going to tell you a thing or two and make you change your mind.”

That is a challenge. It arouses opposition and makes the listener want to battle with you before you even start.

It is difficult, under even the most benign conditions, to change people‟s minds. So why make it harder? Why handicap yourself?

If you are going to prove something, don‟t let anybody know it. Do it so subtly, so adroitly, that no one will feel that you are doing it. Over three hundred years ago Galileo said: “You cannot teach a man anything; you can only help him to find it within himself.” As a Lord Chesterfield said to his son: “Be wiser than other people if you can; but do not tell them so.” Socrates said repeatedly to his followers in Athens：“One thing only I know, and that is that I know nothing.”

Well, I can‟t hope to be any smarter than Socrates, so I have quit telling people that they are wrong. And I find it pays.

If a person makes a statement that you think is wrong yes, even that you know is wrong，it is better to begin by saying: “Well, now, look, I thought otherwise, but I may be wrong. I frequently am. And if I am wrong, I want to be put right. Let‟s examine the facts.”

There is magic, positive magic, in such phrases as: “I may be wrong. I frequently am. Let‟s examine the facts.”

Nobody in the heavens above or on earth beneath or in the waters under the earth will ever object to your saying: “I may be wrong. Let‟s examine the facts.‟‟

One of our class members who used this approach in dealing with customers was Harold Reinke, a Dodge dealer in Billings, Montana. He reported that because of the pressures of the automobile business, he was often hard-boiled and callous when dealing with customers‟ complaints. This caused flared tempers, loss of business and general unpleasantness.

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He told his class: “Recognizing that this was getting me nowhere fast, I tried a new tack. I would say something like this: „Our dealership has made so many mistakes that I am frequently ashamed. We may have erred in your case. Tell me about it.‟

“This approach becomes quite disarming, and by the time the customer releases his feelings, he is usually much more reasonable when it comes to settling the matter. In fact, several customers have thanked me for having such an understanding attitude. And two of them have even brought in friends to buy new cars. In this highly competitive market, we need more of this type of customer, and I believe that showing respect for all customers‟ opinions and treating them diplomatically and courteously will help beat the competition.”

You will never get into trouble by admitting that you may be wrong. That will stop all argument and inspire your opponent to be just as fair and open and broad-minded as you are. It will make him want to admit that he, too, may be wrong.

Carl Rogers, the eminent psychologist, wrote in his book On Becoming a Person:

I have found it of enormous value when I can permit myself to understand the other person. The way in which I have worded this statement may seem strange to you. Is it necessary to permit oneself to understand another? I think it is. Our first reaction to most of the statements (which we hear from other people) is an evaluation or judgment, rather than an understanding of it. When someone expresses some feeling, attitude or belief, our tendency is almost immediately to feel “that‟ right,” or “that‟s stupid,” “that‟s abnormal,” “that‟s unreasonable,” “that‟s incorrect,” “that‟s not nice.” Very rarely do we permit ourselves to understand precisely what the meaning of the statement is to the other person.

I once employed an interior decorator to make some draperies for my home. When the bill arrived, I was dismayed.

A few days later, a friend dropped in and looked at the draperies. The priced was mentioned, and she exclaimed with a note of triumph: “What? That‟s awful. I am afraid he put one over on you.”

True? Yes, she had told the truth, but few people like to listen to the truths that reflect on the judgment. So, being human, I tried to defend myself. I pointed out that the best is eventually the cheapest, and one can‟t expect to get quality and artistic taste at bargain basement prices and so on and on.

The next day another friend dropped in, admired the draperies, bubbled over with enthusiasm, and expressed a wish that she could afford such exquisite creations for her home. My reaction was totally different. “Well, to tell the truth,” I said, “I can‟t afford them myself. I paid too much. I am sorry I ordered them.”

When we are wrong, we may admit it to ourselves. And if we are handled gently and tactfully, we may admit it to others and even take pride in our frankness and broad-mindedness. But we not if someone else is trying to ram the unpalatable fact down our esophagus.

Martin Luther King was asked how, as a pacifist, he could be an admirer of Air Force General Daniel “Chappie” James, then the nation‟ s highest-ranking black officer. Dr. King replied, “I judge people by their own principles not by my own.”

In a similar way, General Robert E Lee once spoke to the president of the Confederacy, Jefferson Davis, in the most glowing terms about a certain officer under his command. Another

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officer in attendance was astonished. “General,” he said, “do you not know that the man of whom you speak so highly is one of your bitterest enemies who misses no opportunity to malign you?” “Yes，”replied General Lee, “but the president asked my opinion of him; he did not ask for his opinion of me.”

In other words, don‟t argue with your customer or your spouse or your adversary. Don‟t tell them they are wrong, don‟t get them stirred up. Use a little diplomacy.

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如何避免与人为敌

罗斯福执政时期，他说，如果他能75％正确，那么他就达到了自我期望的最高方式。 像这样一位20世纪卓越人才之一的领袖，他承认自己的最高正确率只达75％，那平凡的你我又能达到多少呢？

如果你能确保你有55％的正确率，那你可以去华尔街，一天能挣100万美元。如果你甚至不能确保你有55％的正确率，你何必告诉别人犯错了呢？

你可以通过一个眼神，一种语调，或一个手势来指责别人的过错，这和语言表达一样有力，但是当你通过语言指出过错时，你能让他们真的同意你的观点吗？永远不可能！因为你已经对他们的智力，判断，尊荣和自尊给你重重的一击。他们只会想反击，而永远不会改变自己的想法。然后你可能会给他们讲柏拉图或康德的逻辑理论加以证实你观点的正确性，但是你根本不可能改变他们的观点，因为你已经伤害他们的感情了。

千万不要以这样的话开场：“我将证实我的观点，也将证实你观点的错误。”这样太糟糕了，它等同于说“我比你优秀，我要你改变你的想法。”

那是一个挑战，它不仅会遭到反对，而且很可能在你还没来得及证实的时候，听者已经开始要反驳你的话了。

就是在最和谐的气氛条件下，要改变人们的观点也是极其困难的。那究竟是什么让这个问题变得如此棘手呢？为何自寻麻烦？

如果你想证明某件事情，就千万不要让别人知道它，你可以很细心地熟练地去做，那样就没人会发觉你的初衷了。正如三百年前意大利科学家伽利略所说：“你不可能教会他任何事情，你只能帮助他学会一件事情。”查斯特菲尔德曾对他的儿子说：“要比别人聪明，但你千万别人告诉他们。”苏格拉底也曾告诫他的门徒：“我知道的唯一一件事情，就是我一无所知。”

好了，我从不奢望我比苏格拉底聪明，所以我从来不自责别人他们错了，我知道这样做是要付出代价的。

如果你认为一个人的话有错，或是你确信他的话有错。或许你这样说会更好：“好了，现在我们一起来看看，不过我有不同的观点，或许是我的想法错了。如果我错了的话，希望大家批评指正，让我们大家一起来探讨这个问题。”

很神奇，尤其是这句话：如果我错了的话，希望大家批评指正，让我们大家一起来探讨这个问题。

绝对没有人会反对你说的这句话：希望大家批评指正，让我们大家一起来探讨这个问题。 我的一位学员哈德瑞克就是用这种方法处理顾客纠纷的，他是一个道奇汽车在蒙大拿州比斯林地区的代理商。他在报告中陈述道,因为汽车行业的竞争压力，在处理客户的抱怨投诉时，他经常以一种强硬麻木不仁的态度对待，这必然会引起顾客的愤怒，最终导致生意无法进行，和双方的不愉快。

哈德瑞克告诉他的同学：“我知道，以一种强硬麻木不仁的态度处理客户的抱怨投诉，这样只会让我的工作无法进行下去，所以我尝试了另外一种解决办法。我将对客户说：„我们的代理商出了一些差错，这让我经常感到非常羞愧。也许在您的事情上，我们同样有过错。请您详细地告诉我您的情况。‟”

“使用这个办法足以让客户消气，情绪放松，在解决这个事件时，他会更加理智。事实 上，已经有好几个客户对我这种理解的态度表示感谢。他们其中两位还带他们的朋友过来买

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车，光顾我的生意。在这个竞争激烈的市场，我们需要更多这样的客户，我也相信，尊重客户的意见，周到有礼地对待他们，将是赢得战争胜利地本钱。”

承认你可能有过错将永远不会给你带来麻烦。它将停止所有的争执，使你的对手变得和你一样公平宽容；他将使你的对手承认他自己也有过错。

著名的心理学家卡尔罗杰斯在他的《成为一个人》中写道：

当我允许我自己理解他人的时候，我发现它有巨大的作用。我的措辞可能连我自己都感到陌生。真有必要理解他人的想法吗？我想是有必要的。对于我们从别人那里听到的话，我们的第一反应是评价或判断，而不是理解这些话。当他人试图表现他们的感情，态度或看法时，我们第一反应更倾向于是：„这是对的‟，„这是愚蠢的‟，„那不正常‟，„那不合理‟，„那是错的‟，„那真糟糕‟。我们很少去理解陈述者话语的真正含义。

我曾经雇用一个室内设计师为我的家布置窗帘。等账单送来时，我非常沮丧。 几天后，一个朋友过来来访，他看到了窗帘，问其价格，惊叹道：“什么？那太过分了。我想他是多要了一倍的价格。”

是真的吗？是的，他说了实话，但是很少有人愿意听反映他们判断的话。所以，出于人的本性，我开始反驳他。我指出贵的东西自然有他的价值，便宜的东西不可能有这种高的品质和艺术品味。

第二天另一朋友拜访我，他对窗帘赞不绝口，并且表示他也愿意在自家布置如此精美的窗帘。我的反应完全不一样。“好，告诉你吧，”我说，“我自己付不起这个价格，我花了太多钱，真后悔定它。”

当我们有过错，也许会对自己承认。当然，当别人的态度温和有技巧一些，我们也可能像他人袒露我们的过错，并且会为自己的坦率和宽容感到自豪。但是如果对方想方设法让你为难，情况就不同了。

有人问马丁路德金作为一个和平主义者，为何如此崇拜白人空军将领丹尼尔詹姆士，而非黑人高级。他回答道：“我已别人的原则去判断他们，并非我自己的原则。”

同样，罗伯特李将军有一次和杰斐逊谈论自己指挥下的一名军官，李将军对其称赞不已。另一位军官说：“难道你不知道他就是说无时无刻不说你坏话的人吗？”“是的，”李将军说，“但是总统是问我对他的看法，不是他对我的看法。”

换一句话说，不要和你的客户，配偶或敌人争辩。别指出他们有过错，别让他们生气。如果非要指出，也要用一点点技巧。

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如何避免与人树敌

西奥多罗斯福在入主白宫时，他承认，如果他的判断有75％是正确的，行事便可以达到最高的标准了。

如果像这样一位杰出的领袖都承认自己的判断最高只有75％的正确率，那你我又会怎样呢？

如果你能确信自己的判断有55％是对的，便可以到华尔街去发财。如果你不能确定自己的判断是否有55％是对的，又怎么能指责别人常常犯错呢？

你可以用一个眼神，一种语调，或一个手势来指责别人所犯的错误，这和语言表达一样有力-但是，当你指出对方的错误时，对方会因此同意你的观点吗？绝对不会！因为你直接打击了他们的智慧，判断，尊荣和自尊，这只会造成对方的反击，而不会改变他人的观点。也许你会用柏拉图或康德的逻辑理论予以佐证，但还是没有用，因为你早已伤了他们的感情了。

千万不要这样开场：“我要证明给你看。”这样做太糟糕了，这等于是向他们证明：“我比你聪明，我要使你改变看法。”

那是一种挑战，无疑会引起反感并爆发一场冲突。在你尚未开始之前，对方已经准备好了。

在这样的情况下，要想改变对方的观点很难的。所以，为什么要弄巧成拙？为什么要给自己找麻烦？

如果你想证明什么，别让任何人看出来，而且应不留痕迹，很技巧的去做。正如三百年前意大利科学家伽利略所说：“你不可能教会他任何事情，你只能帮助他学会一件事。”查斯特菲尔德爵士也告诫儿子：要比别人聪明，但不要让他们知道。苏格拉底也一再告诉门徒：我唯一知道的，就是我一无所知。

好了，我不能奢望比苏格拉底更聪明，所以从现在开始，最好不要再指责人们有什么错误，我发现那是要付出代价的。

如果你认为有些人的话不对-不错，就算你确定他说错了-你最好还是这样讲：“啊，是这样的，我有另外一个想法，但也许不对，让我们来讨论一下这件事。”

很奇妙，的确很奇妙，尤其是类似这样的话：“我也许不对，让我们来讨论这件事。” 无论是在天上还是在地下，绝对没有人会反对你说：“我也许不对，让我们来讨论一下这件事。”

我的一位学员哈罗德 雷恩克就曾用这种方式处理顾客纠纷，他是道奇汽车在蒙大拿州比林斯地区的代理商。雷恩克在报告中指出，由于汽车市场面临巨大的竞争压力，在处理顾客投诉案件时，我们常常显得冷酷无情，这就很容易引起顾客愤怒，失去生意，或造成不愉快。

他告诉班上的其他学员：“后来我仔细想了一下，我意识到这样确实于事无补，我试着改变策略。我转而向顾客这么说：„我们公司犯了不少错误，我实在感到非常羞愧。请你把碰到的情况告诉我，我们会努力解决。‟”

“这种方法显然消除了顾客的怒气。情绪放松，顾客在处理事情的过程中就容易讲道理了。许多顾客对我的谅解态度表示感谢，其中两个人甚至后来还带自己的朋友买车。在竞争激烈的市场上，我们很需要这样的顾客。而我相信尊重顾客的意见，周到有礼地对待顾客，都是赢得竞争的本钱。”

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我发现认错永远不会给你带来麻烦。只有如此才能平息争论，使对方也能同你一样公正宽大，甚至也承认他自己错了。著名心理学家卡尔 罗杰斯在他的《成为一个人》一书中写道：

“能体会别人的想法，你会获益很大。也许你会觉得古怪，真有必要去体会别人的想法吗？我想是对的。我们对许多„陈述‟的第一反应常常是„估量‟或„判断‟，而不是去了解。每当有人表达自己的感受，态度或者想法时，我们通常即刻做出的反应是：„这是对的‟，„这是愚蠢的‟，„这是不正常的‟，„那毫无道理‟，„那是错的‟，„那个不好‟。我们很少让自己去了解陈述者话中的真正含义。

有一次，我请了一位室内装潢师为我家布置一些窗帘。等账单送来时，价钱着实让我吓了一跳。

隔了几天，有个朋友来访，看到了那些窗帘。她问起价格，然后以夸张的态度宣称：“什么？太过分了！我想你是受骗了！”

我想她说的很对。但很少有人听得到他人讲出的这种真话，这样的判断。于是，我为自己辩解说贵的东西毕竟有贵的价值，不可能以便宜的价格买到高品质又有品位的东西。

第二天，另一个朋友来访，对那些窗帘赞不绝口，还说希望她也能买得起这种漂亮的东西。我的反应与前一天大不相同：“啊，说实在的，我也差点付不起。我买贵了，真后悔没先问好价格。”

当我们犯错的时候，也许会对自己承认。当然，假如别人的态度温和一些，或做的有些技巧，我们也会向他们认错，甚至以自己的坦白，心胸宽大而自豪。但是，假如对方有意让你为难，情况又不同了。

有人问马丁路德金，作为一个和平主义者，为何如此崇拜白人空军将领丹尼尔詹姆士，而非黑人高级。金博士回答：“我已别人的原则去判断他们，而非用我的原则。”

相同的，罗伯特李将军有次同南方联邦总统杰斐逊戴维斯谈麾下的一名军官。李将军对其称赞有加。另一位军官很诧异，他问李将军：“难道你不知道那个人无时不刻不在恶毒攻击你，诽谤你吗？”“是的，”李将军回答，“不过总统是问我对他的看法，不是问他对我的看法。”

换一种说法，不要与顾客，配偶或敌人发生冲突。别指责他们的错误，别引起他们的怒气，如果非得与人发生对立，也得运用一些技巧。

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英译汉翻译心得

1.任何一个词都有它的字面意思和它在特定上下文中的实际意思。一个词汇的字面意思就是它“看上去\"的意思。在一般情况下，这个词就用作这个意思，在辞书中通常也是这么定义的。但是，由于某些作者的个人用语习惯，却不在这个意义上使用该词，而用这个词指其他的意思。比如在第三段“you can go down to Wall Street and make a million dollars a day.”在这里译文是“挣大钱”，而我是按照字面意思翻译的，虽然我的翻译没错，但相比之下，还是觉得译文翻译的比较好，毕竟作者在这里说的挣一百万也是一个估计值，实际上就是挣大钱的意思。还有第一段“he confessed that if he could be right 75 percent of the time, he would reach the highest measure of his expectation.”我的翻译是：“他说，如果他能75％正确，那么他就达到了自我期望的最高方式”。在这里，将“measure”翻译成“方式”显然不合适，因为75％是一个数值，一个标准。所以对词义的了解要靠在英语学习中积累的词汇知识，也要靠对上下文的融会贯通。

2.异化和归化是对两种翻译策略的称谓。异化是指刻意打破目的语的行文规范而保留原文的某些异域特色的翻译策略；归化是指译者采用透明，流畅的风格以尽可能减弱译入语读者对外语篇的生疏感的翻译策略。在第一段我将“in the white House”译成“执政时期”，译文是“入主白宫”，在这里我就是运用了同化的策略，易于读者接受和信息传达。

3.英语长句句子结构错综复杂，盘根错节，脉络难找，长句翻译，首先应从分析理解下手，找出主句，从句，修饰成分，搞清各部分的语法关系，逻辑关系。比如“It is difficult, under even the most benign conditions, to change people‟s minds.”这句话在主语从句中穿插了地点状语，这个简单的例子也告诉我们，在翻译长句时，可以采用变序法或重组法 ，根据句子结构在形式上适当变通，使行文更加流畅。

4.英语多用被动，汉语多用主动。英语重物称，常采用无生命词汇做主语，所以多被动句，汉语重人称，大都以主动句的形式出现。比如在这句话中“if we are handled gently and tactfully, we may admit it to others。”译文是：“当然，假如别人的态度温和一些，或做的有些技巧，我们也会向他们认错。”这里中文没有翻译成被动，主要是根据汉语特点确定的。

5.英译汉过程中，原文的有些词在译成汉语时其词类需要转换，使表达更为地道，自然，句意更加简洁，清楚，语言更加精彩，有趣。在翻译“you have struck a direct blow at their intelligence, judgment, pride and self-respect,”时，我的翻译是“你已经对他们的智力，判断，尊荣和自尊给你重重的一击。”译文是“你直接打击了他们的智慧，判断，尊荣和自尊。”在原文中blow是名词，译者在译成汉语时将其转为动词。之前老师讲过的这句话：“Rockets have found applications for the exploration of the universe.”翻译成：火箭已用于探索宇宙。虽然不改变词性翻译也不算错，但是在适当的情况改变词义进行翻译会影响整个翻译作品质量的优劣。

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华中师范大学武汉传媒学院

我所见到的司徒乔先生

我第一次见司徒乔先生，是在半个世纪以前。记得约在一九二三年，我刚到北京的第二年，带着我的那份乡下人模样和一份求知的欲望，和燕京大学的一些学生开始了交往。最熟的是董景天，可说是最早欣赏我的好友之一人。常见的还有张采真、焦菊隐、顾千里、刘潜初、韦丛芜、刘廷蔚等等。当时的燕京大学校址在盔甲厂。一次，在董景天的宿舍里我见到了司徒乔。他穿件蓝卡机布旧风衣，随随便便的，衣襟上留着些油画色彩染上的斑斑点点，样子和塞拉西皇帝有些相通处。这种素朴与当时燕京的环境可不大协调，因为洋大学生是多半穿着洋服的。若习文学，有的还经常把一只手插在大衣襟缝中作成拜伦诗人神气。还有更可笑处，就是只预备写诗，已印好了加有边款“××诗稿”信笺的这种诗人。我被邀请到他的宿舍去看画。房中墙上，桌上，这里，那里，到处是画，是他的素描速写。我没受过西洋画训练，不敢妄加评论。静物写生，我没有兴趣，却十分注意他的人物速写。那些实实在在、平凡、普通、底层百姓的形象，与我记忆中活跃着的家乡人民有些相象又有些不同，但我感到亲切，感到特别大的兴趣，因为他“所画”的正是我“想写”的旧社会中所谓极平常的“下等人”。第一次见面，司徒乔给我的印象就极好。我喜欢他为人素朴，我还喜欢他墙上桌上的那些画。

不久，一九二四年大爆发，燕京中熟人不少参加去了武汉、广州。我却仍在北京过那种不易生活的“职业作家”的生活。他们来信邀我去武汉，我当时工作刚刚打下基础，以为去上海或许更合适一些。到一九二八、二九年间，因国共破裂，武汉局势动荡极大，不少熟人没有在这种白色大恐怖中牺牲的，多陆续来到上海聚合了。在重聚的人中，除董景天、张采真等，还有司徒乔。这位年青的画家，仍然是那个素朴的样子，他为我们带回了不少作品。对他的人和画，一九二八年我在《司徒乔君吃的亏》一文中曾写道：

“此时的中国，各样的艺术，莫不是充满了权势，虚伪，投机取巧的种种成分，哪里容得下所谓诚实？”

“在一种无望无助中，他把每一个日子都耗费到为长于应世的“高明人”所不为的实际努力下了。没有颜料则用油去剥洗锡管中剩余红绿，没有画布则想法子用所有可当的衣物去换取，仍然作成了许多很好的作品，这傻处是我想介绍给大家知道的。我们若相信一个好的时代会快来，要这时代迈开脚步走近我们，在艺术上就似乎还需要许多这样傻子，才配合得上时代需要！”

“一种了解，一种认识，从了解与认识中产生出一点儿真实同情，从了解与认识中得到一点儿愉快，这在他，是已算很满意了！”

因为那时的上海“艺术家”，多流行长头发、黑西服、大红领结，以效仿法国派头为时髦乐事。艺术家还必须得善交际，会活动，才吃得开。司徒乔的素朴与这种流行风尚不免格格不入。我却推崇他的实践态度，以为难得可贵。在我看来，文学与绘画是同样需要的。这种素朴诚实，不装模作样，不自外于普通人的生活，才能取得应有进展的。我对司徒乔已不仅是喜欢，而是十分钦佩了。

一九三三年我从青岛大学到北京工作，又有机会见到了司徒乔先生。当时他住在什刹海冰窖胡同，已经结婚。经过社会的大动荡，重又相见，彼此感觉格外亲热。谈话间自然要欣 赏他的新作。生活虽从无安定，他的画却已愈见成熟。不久他就主动提出要为我画张像，留个纪念，约好在北海“仿膳”一个角落作画。到时他果然带了画具赴约，一连三个半天，他 极认真地为我画了张二尺来高半身肖像。是粉彩画。朋友们都说画得好，不仅画得极象，且

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华中师范大学武汉传媒学院

十分传神。他自己也相当满意，且说，此生为泰戈尔画过像，为周氏兄弟画过像，都感到满意，此像为第四回满意之作。他的热情令我感动，这幅肖像成为一件纪念品，好好保存在我的身边。

芦沟桥事变后，清华、北大、南开组成西南联大，在昆明集中。司徒乔先生为我画的肖像随同我到了昆明，整整八年，抗战胜利后，我随北大迁回北京，仍旧带着这幅十分珍贵的画像。听说司徒乔先生也回到了北京，在西郊卧佛寺附近买了所小小的画室。我和家中人去拜访他，见到了相隔十多年的老友和他这段时期的许多作品。给我印象最深处，是他还始终保持着原来的素朴、勤恳的工作态度。他不声不响的，十分严肃的把自己当成人民中的一员去接近群众，去描绘现实生活中被压迫的底层人物，代他们向那个旧社会提出无言的控诉。他依旧保留着他的诚实和素朴。这诚实，这素朴，却是多年来一直为我所钦佩和赞赏的。而在同时“艺术家”中，却近于希有少见的品质。

司徒乔先生经历了无数挫折，到了可以好好为他热爱的祖国人民作画的新社会，却过早地被病魔夺去了生命。他为我画的肖像，在中也失去了！永远不会失去的，将是许多崇敬喜爱他的人对他的记忆！他的工作态度既曾经影响到我的工作，也还必将为更多的人所学习。他在世时从没有过什么得意处，也没有赫赫显要的名声，但他虽死犹生。他给我的最初印象至今还不曾淡漠，永远不会淡漠的！

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华中师范大学武汉传媒学院

Mr. Situ Qiao That I Have Met

It was half a century ago that I first met Mr. Situ Qiao. About in the year of 1923, the second year my stay in Beijing, with an appearance of rural village people and the inspiration for knowledge, I started to communicate and make contact with the Yanjing University students. Dong Jingtian, the most familiar one with me, could be said to be the one who showed the earliest appreciation to me among my friends, such as Zhang caizhen, Jiao Juyin, Gu Qianli, Liu Qianchu, Wei Congwu and Liu Tingwei. Yanjing University located in an armor factory at that time. In Dong Jingtian’s dormitory I first met Mr. Situ Qiao. Wearing a blue old trench coat on which spotted with oil-painting colors, he looked like the late Emperor Selssie. His simple dressing style was really out of place from that in Yanjing in that most foreign college students preferred foreign clothes. When it came to literature, they would always have half a hand crabbing into the trench coat and created a vivid image of the English poet Byron. What was more ridiculous was that they had already well prepared the printed envelopes before they completed the poem. On the wall, on the table, here and there, the dormitory was totally surrounded by paintings and sketches. Because of lack in western painting training, I dared not make any comment on them. Still-life paintings did not interest me while his character sketches were undoubtedly to my taste. Those images of honest, ordinary, down-to-earth people had certain resemblance to people that I have remembered in my hometown and they differentiated in other ways. These images aroused soft warmth in my heart and great interest because what he drew was definitely what I wanted to write about—that was the commonest low-class people. The first meeting with Situ Qiao left a good impression on me. I liked his dressing style simplicity and those paintings on the wall and tables.

Very soon, with the revolution in 1924 breaking out, some of my friends in Yanjing University went to Wuhan and Guangzhou and joined the battle, while I was still working in Beijing as a professional writer. They sometimes wrote to me for inviting me to Wuhan, but my job just settled and I thought shanghai would be more suitable for me to stay. Until 1929, the collapse of the corporation between KMT and CCP resulted in Wuhan a turbulent revolution city. Some my friends survived the white terror and they returned to shanghai. In the reunion, I again saw Dong Jingtian, Zhang Caizhen and Situ Qiao. The young simple painter returned, with many new artistic painting works. Early in 1928, I had written a book entitled “The Unfairness Situ Qiao had suffered”. In this book, I talked about his personality and works.

“In the present China, various arts are rampant with power, hypocrisy, and opportunist motives. There is nowhere for honest to grow.”

“Under the hopeless and desperate condition, he devotes his every day to tackle the existing problem that the smart people know how to eliminate and take advantage

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华中师范大学武汉传媒学院

for themselves. He will make full use of the painting fragments in the tin tube when the paint is insufficient; he will sell out all his possessions for the sake of painting materials. Even under the tough circumstances, his works eventually become a big hit. Such commitment and dedication to the art is what I want to inform the world of. If we believe a good era is approaching to us, it seems that art is in need of numbers of this kind of dedicators to push forward the wheels of the new era.”

“What he had struggled for was understanding and an awareness, from which he desired to obtain true compassion and joy.”

Long hair, black suits and dark red ties in France were recognized to be a fashion for artists in Shanghai to follow. They had to be sociable and communicative to get their way around whereas Situ Qiao’ simplicity greatly diverged from the popular fashion trend. I admired his realistic attitude which was hard to find in those days. To my view, both literature and painting need simplicity and honesty. The writers and artists should not put on airs and shed off ordinary people’ life, or no progress will be achieved. To me, Admiration is more appropriate to highlight my special feeling to Situ Qiao.

In 1933 my job location changed from Qingdao University to Beijing, and it provided a good chance for me to have another chance to meet Situ Qiao. He was already married, residing in what was named as the Lcehouse Lane near Shi Chahai. Having gone through the great social turbulence, we reunited together and felt exceedingly delightful to see each other. We talked for a long time and our conversation drifted into appreciation of his new works. Though he had never been blessed with peacefulness of his life, his paintings had shown signs of growing maturity. Soon he offered to draft a painting for me as a symbol of our friendship. So we made an appointment in Fangshan. On that day he arrived with his painting materials .For the following three days, he worked half a day for one day. He devoted all his attention to the work and finally completed it with a half-length pastel portrait of me. Our friends said it was wonderful because of striking resemblance and spiritual representation. Situ Qiao himself was happy too. He had painted for the Indian Tagore, and the Chinese brothers—Zhou Shuren and Zhou Zuoren, and he was satisfied with them four. I was impressed by his enthusiasm and I had been keeping the portrait along with me in memory of him.

After the occurrence of the Lugou Bridge Incidence in 1937, the three universities, Qinghua, Beijing and Nankai, moved to Kunming in Yunnan province and formed the South-east Associated University there. The portrait with me spent the whole eight revolution years. When the War of Resistance against Japanese Aggression was over, I returned to Beijing with the staff of Beijing University, carrying the precious portrait back with me. I learned Situ Qiao also returned to Beijing and he bought a small painting house at the Sleeping Buddha Temple in the western suburb. I took my family to visit Situ Qiao, the old friend of mine whom I had not seen for more than ten years. What he had adhered to was his enduring simple lifestyle and

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华中师范大学武汉传媒学院

hard-working attitude. Quietly and seriously, he mixed himself with the ordinary people and described the miserable life of these people at the bottom of the world to make silent protests to the old society. His unchangeable simplicity and honesty won my approval and admiration. And such traits were hard to find in his temporary artists.

Mr. Situ Qiao had suffered numerous setbacks in his early life. But when it was the time for him to work with the art for the country and his loved people, the crucial illness deprived him of the life. And the portrait he did for me was incidentally lost in the Cultural Revolution. But the encouraging impression of him will always be cherished by the people who love and admire him. His hard-working attitude will encourage me in the work and is worthy to be learnt by more people. While he was alive, he had nothing to take pride in, nor fame to make him someone of renown. Though he is dead, he is more alive than dead. The primary impression he left for me never faded away, and it will never fade away.

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华中师范大学武汉传媒学院

Mr. Situ Qiao as I Knew of

I first met Mr. Situ Qiao a good fifty years ago. Along about 1923, the year after I came to Beijing, I remember, with the look of someone from the country, and driven by a keen desire to learn, I began to rub elbows with some Yanjing University students. Among the students there was a Dong Jingtian with whom I got on very well. He was one of the earliest friends to appreciate me, so to speak. The others I often met with were Zhang Caizhen, Jiao Juyin, Gu Qiaoli, Liu Qiaochu, Wei Congwu and so on. I had a chance to encounter with Situ Qiao in Dong’s dormitory on the campus. He wore an old khaki windbreaker in a casual fashion, its front dabbed with accidents of paints, looking in a way like the late Emperor Selassie of Ethiopia. His simple wear was quite out of tune with the ambience of Yanjing, for in those days most students wore western-style suits. Some of the literature majors would put a hand half inside their overcoat through the joint of the front, striking a posture with the air of the English poet Byron. Some were even more ridiculous, trying to pass off as a poet by equipping themselves with letter paper marked with the words ”poems by so and so” on the margin when they had hardly composed anything at all. Situ Qiao invited me to see his paintings in his dorm which was strewn with paintings and sketches hanging on the walls, lying on the table, here, there and everywhere. As I had had little education in western art, I refrained from risking any comments. I was not interested in still lives, but I was drawn by his figure sketches. The images of the ordinary and down-to-earth people at the bottom of the society resembled in some ways the folks of my hometown still alive in my memory, and different in other ways. They evoked a surge of warmth in my heart and I felt a tremendous interest in them, for they were the commonest“low class” of the old society I had been wanting to write about. The first meeting with Situ Qiao made a wonderful impression on me. I liked his simple ways and I liked his paintings on the walls and on the table.

Soon, the revolution of 1924 broke out and a good number of my Yanjing friends went to Wuhan and Guangzhou for the revolution. I stayed in Beijing, struggling as usual with my existence as a professional writer. They wrote and asked me to join them in Wuhan, but as I was just beginning to take hold on my career, I thought shanghai would be a more suitable place for me to go. However, somewhere between 1928 and 1929,the cooperation between KMT and CCP broke up and the situation in Wuhan was hanging in the balance, and quite a few of the people I knew who had survived the white terror came to Shanghai, one after another. It was like a reunion of friends. Among the people who had come to Shanghai there was Dong Jingtian, Zhang Caizhen and Situ Qiao as well. The young artist, maintaining his sense of simplicity all the same, brought many new paintings with him.

Early in 1928, I had written an article about the artist and his works entitled “The Unfairness Mr. Situ Qiao has suffered”:

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华中师范大学武汉传媒学院

“In China, arts are being manipulated by power, hypocrisy, and opportunistic motives. As for honesty, it is nowhere to be found.”

“In a hopeless and helpless situation, he spent his every single day trying to cope with such practical problems as sneered at and shrugged off by those smart people who knew how to maneuver to their best advantage. When he was running out of the paints, he would wash out the oil the paint fragments left in the tin tubes; when he was short of canvas, he would pawn all his clothes pawn able for it and was able to produce many wonderful paintings nevertheless. Such was his sense of commitment and dedication to art and I think I must make it known to the world. If we really believe that a new era is dawning and if we really want it to advance toward us as soon as possible, we must have many more artists like Situ Qiao to meet the need of our times.”

“What Situ Qiao sought after was the understanding, an awareness, that he hoped could move him to some true compassion, to some joy and then he would feel content with nothing more.”

In those days, “artists” in Shanghai took great delight in following the French fashion, growing long hair and wearing black suits accented with a red bow. Artists had to be sociable and skillful in taking advantages of relations in order to make their ways around. Situ Qiao’s simplicity in this trend, however, was like a square peg in a round hole. I admired his realistic attitude which, I believe, was hard to come by in those days. I’d think that literature and art call for the kind of simplicity and honesty as we witnessed in Situ Qiao, that writers and artists should not put on airs, nor should they shun the ordinary people if they expect any progress to be made. To me, Situ Qiao was not only likeable, but, to be more exact, admirable.

In 1933 I left Qingdao for Beijing where I had the opportunities to see Situ Qiao again. He was already married, residing in what was known as the Icehouse Lane near Shichahai. When we met again, having both survived the social turbulence we felt great warm feelings toward each other. We talked and talked and soon our conversation drifted into appreciation of his new works. Though he had never been blessed with peacefulness in his life, his paintings had shown signs of growing maturity. Not long after the meeting he offered to paint a portrait of me as a memento of our friendship. So we made an appointment and the portrait was to be done at a corner near Fangshan Restaurant in Beihai Park. He came at the appointed time, carrying paints, brushes, an easel and all things with him. We went there three times in a row, each time working for half a day. He worked with his heart in it and finally rounded in off with a half-length pastel portrait of me. Our friends all said it was a wonderful portrait for its striking resemblance and spiritual representation. The artist himself was happy about it, saying he had done portraits of the Indian poet Tagore, and the Chinese writers-the Zhou brothers(Zhou Shuren, whose pen name is Lu Xun, and Zhou Zuoren) and he was satisfied with them all and the one he did of me was the fourth he was satisfied with, he said. I was touched by his enthusiasm and I kept the portrait all along as a gift to remember him by.

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华中师范大学武汉传媒学院

After the Lugou Bridge Incident that occurred in 1937,the three universities, Tsinghua, Beida and Nankai, moved to Kunming in Yunnan Province and formed the South-West Associated University there. I went there too, taking the portrait with me. I worked and lived there for eight long years. When the War of Resistance against Japanese Aggression was over, I returned to Beijing with the staff of Beijing University, carrying the precious portrait back again. I learnt that Situ Qiao had also returned to Beijing and had bought a small studio at the Sleeping Buddha Temple in the western suburb. I took my family to see this old friend whom I had not seen for the past ten years, and I was happy to see many of the paintings he had produced during that time. But what struck me most was that he still maintained his simple lifestyle and hard-working attitude. Quietly and earnestly, he missed up with the ordinary people as one of them, depicting the opposed at the bottom of the world, filing silent protests on their behalf against the old society. He kept up his simplicity and honesty, the simplicity and honesty from which I had never swerved in approval and admiration. And such traits and qualities were hard to find in his contemporary artists.

Mr. Situ Qiao had suffered countless setbacks. But when it was time for him to work with his art for the country and the people he loved, he lost his life to a mortal illness. And incidentally the portrait he did for me was also lost-it was lost during the Cultural Revolution. But never to be lost is the memory of him cherished by the people who love and admire him. His working attitude has had a significant impact on me in my career and will be modeled on by many more people still. While he was alive he had never had much of anything to take pride in, or any fame to make him someone of eminence. Though he is dead, he is more alive than dead. The initial impression I got of him has not faded a bit till this day, and it will never do, I am sure.

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华中师范大学武汉传媒学院

汉译英翻译心得

1.本文属于文学作品，不同于应用文和科技文献。文学翻译是一种在原作严格下的再创作，不仅要译出原作的词句，而且要翻译出原作的思想情感与精神。在翻译之前，本人理解和领悟了本文作者的思想情调主要从他对朋友的怀念中流露出来，本人认为这个体悟是确立译文叙事语气和行文风格的基础。

2.翻译要注意选词。从写作技巧看，简洁和准确的词语产生美和力。在有的情况下，汉语的动词不一定要英语的动词来表达，英语的介词或介词短语和分词可以表达汉语动词的意思。如第二段，“不久，一九二四年大爆发„参加去了武汉广州。”这里“爆发”译文为broke out,我用的是with.. breaking out。“参加”译文为for the revolution，我用的是join the revolution。在这里译文选择的词更简单自然。但是在对“到一九二八、二九年间，因国共破裂，武汉局势动荡极”翻译时，译文用“..broke up and. .was hanging in the balance”我的翻译是“.. the collapse of the corporation between KMT and CCP resulted in Wuhan a turbulent revolution city.”在这里我觉得我的翻译中collapse 和result in短语的使用让整个句子比译文更加简洁准确且生动有力。

3.注意语篇的逻辑关系。逻辑分析贯穿于翻译的全过程，运用与翻译的各个层次。该参考译文用soon, and, as, but, for, however, though等等体现了该译者说话的逻辑关系，这些逻辑词体现了译者对顺序关系，因果关系，让步与转折关系的准确把握，体现了整体的连贯性。

4.要注意语境增词。比如译者在翻译“卢沟桥事变时”，写到“the Lugou Bridge Incident that occurred in1937”,还有在翻译“抗战”写到“the War of Resistance against Japanese Aggression”。在这里译者增加一些必要的解释性文字，补充说明，完善表达，使文章在意思上更为明确，具有语义完整之美。

5.重复是语言衔接的一个重要修辞手段，起着强调和加强语气的作用。重复显得累赘，所以语言应避免重复，但在特定的语境中，能起到非常有力的修辞效果。译文在最后一段将原文里的“夺去”和“失去”都译成lost，使其感情色彩更加强烈。

6.在翻译文章时不仅仅要注意句子的表达，更要注意句子与整个段落，整篇文章的联系及表达。整句话虽然在表达上无误，但是结合段落来看，并不是很连贯。

7.在翻译文章时，应根据不同的文体采取不同的翻译方法，保证译文和原文的文体风格相适应。同时，对于不同的文体，在词汇，修辞，句式，结构方面肯定会有不同，这就要求我们平时掌握大量的英语词汇，丰富的语言知识，广博的文化知识，要熟悉各种问题及语言特点和翻译方法。

8.在翻译时，要忠实原文信息，信息表述完全。我在翻译“他穿件蓝卡机布旧风衣”时我不知道怎么翻译“卡布”，就没有翻译这个词，译文是“He wore an old khaki windbreaker”。虽然我在这里不翻译它无伤大雅，但是我应该时时牢记，在翻译其他文章时，必须做到忠实原文，就应该掌握好适度原则，即把原文的内容准确完整的表达出来。

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