"Enter for a newline does not need to be translated, return as is, all other Chinese should be translated into English: Seeing difficulty as skill -- Discussion on translation experience of famous translators

Author: Yu Guangzhong, Yang Jiang, Xiao Qian, Liu Shaoming, etc.
Editor-in-Chief: Luo Jinde
Publisher:
Publish Date: 1998-08-01
Features: Yu Guangzhong, Lin Wen Yue, Jin Di, Gao Ke Yi, Yang Jiang, Yang Xian Yi, Ye Jun Jian, Liu Shaoming, Xiao Qian, Luo Xin Zhang, Jin Sheng Hua, Huang Guo Bin, and other renowned translators share their insights.
Excerpt: I have been reading The Importance of Being Earnest for over ten years. In translation classes, I have frequently used this book as a textbook for oral translation exercises, and it has been very well-received by my students. In fact, not only do students enjoy it, but the teachers are also becoming increasingly captivated by it. Eventually, I realized that keeping such a wonderful book locked in its original language meant that Chinese readers would never have the chance to share in its beauty—truly, "the heart understands, but the wonder is hard to convey in words." If I wanted to share it with you, I had no choice but to translate it. Of course, Oscar Wilde is no easy subject to translate. The aphorisms and witty sayings in The Importance of Being Earnest are so rich that they could be described as "a tower every five steps, a pavilion every ten steps"—no, they are more like "a checkpoint every five steps, a fortress every ten steps." On the journey of translation, how can there be only eighty-one trials? As Liang Shiqiu said, English was never designed for translation. Moreover, Wilde wrote it with such enthusiasm and vigor back then—how could he possibly leave a way out for future translators? As a translator, one can only rely on oneself to find a way out in a tight spot. I have always followed a principle in translation: convey the original meaning, not just the original text. Focusing only on the surface of the original text while ignoring its deeper meaning leads to literal, rigid, and lifeless translations. The ideal translation should both convey the original meaning and preserve the original text. If preserving the original text is difficult, one must prioritize conveying the original meaning, even if it means deviating from the surface-level phrasing. Let me illustrate with two examples:
Algernon. How are you, my dear Ernest? What brings you up to town?
Jack. Oh, pleasure, pleasure! What else should bring one anywhere?
This is a dialogue from the early stages of the play. Jack’s reply, if translated literally, becomes, "Oh, pleasure, pleasure! What other things should bring a person anywhere?" On the surface, it may seem faithful to the original, but it fails to capture the intended meaning, making it disloyal to the text. This kind of literal translation is truly "hypocrisy in disguise." My translation is, "Oh, seeking pleasure! Why would anyone go out for anything else?"
Lady Bracknell. Where is that baby?
Miss Prism. Lady Bracknell, I confess with shame that I do not know. I only wish I could.
This is an exchange near the end of the third act, which is crucial to the entire plot. The second part of the reply, if translated as "I only wish I could know," is grammatically correct and understandable, but it lacks the nuance and impact. I translated it as, "If only I knew." While not the original text, it captures the original meaning. If Wilde knew Chinese, he would have said it this way too.
I have translated poetry, novels, essays, and academic papers before, but translating a play is a different challenge. Of course, novels also contain dialogue, which is somewhat similar to plays. However, the dialogue in novels does not need to be as sharp or witty. The soul of a play lies entirely in its dialogue, and the soul of dialogue lies in its conciseness and impact. Satirical romantic comedies like this one are particularly so. In novels, dialogue is for reading, and if it’s not understood, one can reread it. In plays, dialogue is for listening, and if it’s not understood, the opportunity passes—there’s no second chance. When translating this play, I did so not only for Chinese readers but also for Chinese audiences and actors. Therefore, my translation principle this time is: the text should be smooth for readers, the dialogue should flow for audiences, and the lines should roll off the tongue for actors. (Actually, audiences should be called listeners, or perhaps "view-listeners." English makes this term more convenient.) I hope my translation is a lively stage play, not a stiff academic one. That’s why the style of this translation differs greatly from my translations of other genres. Readers of my translated poetry may themselves be poets or scholars. But the audience in the theater will be the general public—or at least a small audience. My translation must be adjusted to a moderate level of colloquialism to sound natural. Even the same words, especially nouns, and particularly abstract nouns, must be translated to be clear and resonant. Otherwise, the audience will find it boring, and the actors will have nothing to shine with. For example, here is a passage:
Gwendolen. Ernest has a strong upright nature. He is the very soul of truth and honor. Disloyalty would be as impossible to him as deception.