英語翻譯的技巧如何正確的進(jìn)行表達(dá)

英語翻譯中文的表達(dá)階段要注意哪些方面的技巧和方法哪？

表達(dá)錯誤，肯定是理解錯了，或似懂非懂（這種情況占很大比例）。但理解正確，卻也未必能充分地表達(dá)出來。這說明，表達(dá)要講究一定的方法。

翻譯重視上下文，避免孤立處理詞句

初做翻譯的人，往往容易看-一個句子譯一個句子，遇有生詞, 也只是在句子的語境下考慮詞義。譯到后面，才發(fā)現(xiàn)前面的翻譯有問題，得重來，浪費(fèi)了時間，自信心也受到打擊。也有人逢山開路，遇水搭橋，篳路藍(lán)縷地翻譯下來，結(jié)果卻前言不搭后語，也渾然不知。正確的方法，應(yīng)考慮詞與詞、詞與句、句與段、段與段、段與篇章的關(guān)系。因此，開譯之前，通讀全文是最緊要的，往往通讀一遍還不夠。只有這樣，才能從大處著眼，小處著手，前后貫通。在譯完之后，還應(yīng)從詞、句、段中跳出來,通讀幾遍譯文。比如，看看選詞用字是否有失分寸?詞句表達(dá)是否合乎習(xí)慣?敘事狀物是否有違情理?起承轉(zhuǎn)合是否圓通自然?有時,從單個的詞或句子看，譯文似乎不錯，但從整體上看，卻顯得貌合神離，或“不夠味兒”。正所謂“只見樹木，不見森林”。因此，在精打細(xì)敲之后，進(jìn)行全盤的加工潤色是十分必要的。好比畫家作幅巨畫，畫上幾筆，總要抬起頭來，或是退后幾步，審視整個畫面，然后再在什么地方添加幾筆。如果一味低頭描繪，畫中的草木可能惟妙惟肖，但最后的作品很可能并不動人，因為畫面缺乏總的氛圍。試看下面一個英語片段：

On a cold gray morming of last week I duly turned up at Euston Station, to see off an old friend who was starting for America.

Overmight, we had given him a farewell dinner, in which sadness was well mingled with festivity. Years probably would elapse before his return. Some of us might never see him again. Not ignoring the shadow of the future, we gaily celebrated the past. We were as thankful to have known our guest as we were grieved to lose him ; and both these emotions were made evident. It was a perfect farewell.

And now, here we were, stiff and self-conscious on the platform ；and, framed in the window of the railway-carriage was the face of our friend； but it was like the face of a stranger,一a stranger anxious to lease，an appealing stranger， an awkward stranger,... ( Max eerbohm: Yet Again , Chapter 2 Seeing People Off)

這篇節(jié)選的英語曾出現(xiàn)在多年前自學(xué)考試的翻譯試卷里。表面上看，前兩段沒有什么理解方面的問題，只是最后一段有點(diǎn)費(fèi)解，但有過類似的經(jīng)歷，或發(fā)揮一想象，也不是不可以對付的。作者曾把它翻譯成漢語，并在課堂給學(xué)生講評過，當(dāng)時暗自得意，將“It was a perfect farewel” 譯成“那真是個令人難忘的送別”，而沒有將其中的“perfect”照字面譯成“完美的”。這次寫人書稿，找出了整篇原文，原來是Max Beerbohm 的小說Yet Again里描寫“送別”的情景。但待我讀完它之前的幾個段落，我就怎么也得意不起來了。請看：

Iamnotgoodatit.Todoitwellseemstomeoneofthemost ificult things in the world, and probably seems so to you, too. To see a friend off from Waterloo to Vauxhall were easy enough.  But we are never called on to perform that small feat. It is only when a friend is going on a longish joumey, and will be absent for a longish time, that we tum up at the railway station. The dearer the friend, and the longer the joumey , and the longer the likely absence, the earlier do we turn up, and the more lamentably do we fail. Our failure is in exact ratio to the seriousness of the occasion, and to the aepth of our feeling.

至此，相信讀者也在改變看法，而且對原文最后一段的措辭也會更有信心，比如怎樣翻譯“self-conscious”.

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