Create trouble out of nothing

Author: Shakespeare
Publisher:
Publication Date: 2001-06-01
Features: Shakespeare is one of the most creative writers in Western literary history, and his influence still reaches far and wide, enduring and profound. His comedies are lively and boisterous, his tragedies are sincere and helpless, and the life observationsed in his dialogues indeed grasp the clarity and weakness of human nature. Shakespeare was a successful playwright, captivating audiences of his time, and his works have become timeless literary treasures. "To talk about Shakespeare, perhaps we can never be entirely correct." In the history of world literature, those who can dominate an era, transcend the ages, and stand out as masters of the word and crowns of poets are only Homer of Greece, Dante of Italy, Shakespeare of England, and Goethe of Germany. These four great figures, in their different eras and environments, have sung immortal songs. However, the heroes in Homer's epics are too far removed from our real lives; Dante's (Heaven and Hell) also echoes many whispers of modern thought; Goethe, closer to us, is indeed an outstanding representative of modern spirit. But in terms of transcending spatial limitations, Shakespeare's achievements are far superior to the other three. For though the characters in Shakespeare's works are mostly from the ancient aristocracy, what he uncovers is the universal human nature shared by people of all classes, rich and poor, past and present. Therefore, even after three hundred years, not only are his books read by literary scholars worldwide, but his plays also remain popular on stages and screens across countries. This is because his works possess timelessness and universality, allowing them to resonate deeply with readers. Chinese readers have long been familiar with Shakespeare's name, and renowned literary figures have translated many of his works. However, upon reviewing the various translations available, those that are rough and hasty are few, while those that are rigid and unnatural are numerous. The result of clinging too closely to the original words not only strips the original work of its spirit but also makes it obscure and difficult to read, like an indecipherable book. This is the fault of the translators, not Shakespeare's. I have a deep fondness for Shakespearean plays and have thoroughly studied his complete works at least ten times, feeling I have a profound understanding of his original intent. In the spring of 1944, encouraged by my senior colleague Mr. Zhan, I began the attempt to translate the complete works. The following year, war broke out, and the collection of various editions of Shakespeare's works and books on annotations, translations, commentaries, and critiques that I had painstakingly gathered over the years—more than two hundred volumes—were all destroyed in the bombings. In a rush, I could only carry out one volume of the Oxford edition and several drafts. Afterward, I wandered and struggled for a living, with no time to continue my unfinished work. By the spring of 1946, witnessing the worsening of the world's situation, I shut myself at home, rejecting external affairs, and finally devoted myself wholeheartedly to the translation. Despite poverty and illness pressing upon me, I (buried myself at the desk) and never stopped writing. It took ten years to complete the entire manuscript. Given the arduous nature of translating Shakespeare, ten years is not long, but it has consumed nearly my entire life. The purpose of my translation is to preserve as much as possible the original spirit of the work; if that is not possible, I must also convey the original meaning in clear and natural language. I do not approve of the rigid, word-for-word translation method. Whenever the original text does not align with Chinese grammar, I often reread it and make significant changes to the structure to ensure the author's intent is revealed clearly, without being obscured by obscure wording. After translating each passage, I always imagine myself as a reader to check for any ambiguity. I also imagine myself as an actor on stage to judge whether the tone is natural and the rhythm is harmonious. Suffering over days for every word that does not satisfy me. Yet, limited by my abilities, I have not fully achieved my ideal. Living in a remote village, I lack reference materials and few teachers or friends to consult. I am aware of inevitable errors. I sincerely hope that scholars at home and abroad will correct them. How fortunate it would be!
The original complete works are not well-organized in their arrangement. Therefore, I have divided them into four categories based on the nature of the plays: "Comedies," "Tragedies," "Romances," and "Histories," each forming its own system. Readers following this order will find it easy to grasp the full scope of Shakespeare's works. Once, Carlyle said, "We would rather lose a hundred Indias than lose one Shakespeare." Shakespeare is a poet of the world, not the exclusive possession of any single country. If the publication of this collection allows the works of this great poet to reach Chinese readers, then the efforts of the translator will not have been in vain. Whether I am praised or criticized depends solely on the readers.