PartIsheisafamous

writer,critic,translatorandscholar.

YangJiangbelongstoanuniqueandbeautifulexistenceinChineseliteratureofthe20thCentury.

In1910s,YangJiangwasborninBeijing,originallynamedYangJikang.

In1930s,Shegrauduatedfromuniversityand

wentto

TsinghuaUniversityasapostgraduate.ThereshemetQianZhongshu,theyfellinloveandmarried.

In1940s,sheworkedintheChineseAcademyofSocialSciences.In1950s,sheworkedforPekingUniversityandotherimportantresearchinstitutions.In1960s

,shestartedtotranslateDonQuixote,堂吉柯德andin1978,theChineseversionof"Quixote"waspublished.In1980s,Shebegantowriteshortnovels.In1990s,afterherhusbandanddaughterpassedaway,shealmoststoppedallthework.

PartII

HerTranslations

Hertranslations最出名的是翻譯的西班牙作品《堂吉訶德》，她還翻譯了西班牙流浪漢小說《小癩子》。法國文學(xué)名著《吉爾·布拉斯》（AlainReneLeSage:）古希臘散文柏拉圖(plato)的“對話錄”《斐多》(Phaedo)等。1938楊絳先生翻譯了《1939年以來的英國散文選》

PartIII

HerTranslationsFeaturesandThoughts楊絳文學(xué)語言的特點(diǎn)

其沉淀簡潔的語言，看起來平平淡淡，無陰無晴。然而平淡不是貧乏，陰晴隱于其中，經(jīng)過漂洗的苦心經(jīng)營的樸素中，有著本色的絢爛華麗。干凈明晰的語言在楊絳筆下變得有巨大的表現(xiàn)力。有時把詞序變換一下，不符合常規(guī)，反倒更顯別致耐讀。有時明凈到有些冷，但由于滲入詼諧幽默，便平添幾分靈動之氣。因而使靜穆嚴(yán)肅的語言自有生機(jī)，安靜而不古板，活潑而不浮動，靜中有動，動還是靜。沉靜詼諧中有沉著老到、雍容優(yōu)雅的氣派，鋒芒內(nèi)斂后的不動聲色，有種靜穆超然的中和之美。1960

Embodiedinherworksishersenseofhumor,areflectionofherwisdom,herviewoftheworldandherattitudestowardlife.Herworksareacombinationofdeepfeelingandintelligence,expressingakindofcaringandrespectforliterature.FeaturesofhertranslationsThestyleofhertranslations:humorousandironical.Herworkspenetratethetranslator'shumanisticthoughtand

payattentiontothesocialreality.Emphasizetheacceptabilityofthetranslation.SheputChinesetraditionalcultureintoherworkstohelpthereaderunderstandmoreeasily.翻譯確也追求這么一個標(biāo)準(zhǔn)：不僅能信faithfulness,能達(dá)expressiveness，還要“信”得貼切，“達(dá)”得恰當(dāng)----稱為“雅”elegance。

Hertranslationwashonoredthere-creationoftheoriginalworkonthebasisofloyalty.翻譯思想Shesaidthattranslationisliketheservantwhohastoservetwomasters,whichistosaythattranslationshouldbeloyaltobothcultures.

楊絳把翻譯比做一仆二主，譯者同時有兩個主人，一個主人是原文作品，另一個主人是譯本的本國讀者。譯者一方面得徹底了解原著，不僅了解字面意思，還要領(lǐng)會字里行間的韻味。另一方面，譯文的讀者要求從譯文里領(lǐng)略原文。譯者得用讀者的語言把原作內(nèi)容用原樣表達(dá)。TheAppreciation

ofHerTranslationsPartIVLifeanddeath----WalterSavageLandor

Istovewithnone,fornonewasworthmystrife,NatureIloved,andnexttoNature,Art;Iwarmedbothhandsbeforefireoflife,Itsinks,andIamreadytoart.

不與人爭，也無人值得我爭，愛的是自然，其次是藝術(shù)。生命之火前我把雙手烘烤，火焰低落了，我準(zhǔn)備離去。---王佐良譯我和誰也不爭，和誰爭我都不屑；我愛大自然，其次是藝術(shù)；我雙手烤著生命之火取暖，火萎了，我也準(zhǔn)備走了。----楊絳譯

讀書鉆研學(xué)問，當(dāng)然得下苦功夫。為應(yīng)考試、為寫論文、為求學(xué)位，大概都得苦讀。

--《讀書苦樂》

Reading

and

studying

regularly

calls

for

a

painstaking

effort,

whether

it

is

meant

for

passing

an

exam,

writing

a

thesis

or

pursuing

an

academic

degree.

--TheBitter-SweetnessofReading壺公懸掛的一把壺里，別有天地日月。每一本書——不論小說、戲劇、傳記、游記、日記，以至散文詩詞，都別有天地，別有日月星辰，而且還有生存其間的人物。我們很不必巴巴地趕赴某地，花錢買門票去看些仿造的贗品或“栩栩如生”的替身，只要翻開一頁書，走人真境，遇見真人，就可以親親切切地觀賞一番。

--《讀書苦樂》

For

Hu

Gong

(or

Master

Gourd),

a

master

herbalist

in

ancient

China,

a

magical

gourd

of

his

contains

the

entire

world.

Likewise,

every

book,

be

it

a

novel,

a

play,

a

biography,

or

a

book

of

traveling

notes,

of

journals,

and

of

even

essays

or

of

poems,

contains

a

world

of

its

own,

with

its

own

sun,

moon,

and

stars

and

its

own

live

characters

between

heaven

and

earth.

There

is

really

no

need

trotting

all

the

way

to

places

and

paying

admission

fees,

merely

to

view

imitations

or

vivid

"substitutes",

when

we

can

simply

open

a

book

and

find