英语换词及其在翻译中的应用Elegant variation and its application in translation外文翻译资料

ELEGANT VARIATION

WE include under this head all substitutions of one word for another for the sake of variety, and some miscellaneous examples will be found at the end of the section. But we are chiefly concerned with what may be called pronominal variation, in which the word avoided is either a noun or its obvious pronoun substitute. The use of pronouns is itself a form of variation, designed to avoid ungainly repetition; and we are only going one step further when, instead of either the original noun or the pronoun, we use some new equivalent. Mr. Gladstone, for instance, having already become he, presently appears as that statesman. Variation of this kind is often necessary in practice; so often, that it should never be admitted except when it is necessary. Many writers of the present day abound in types of variation that are not justified by expediency, and have consequently the air of cheap ornament. It is impossible to lay down hard and fast rules, but two general principles may be suggested: (1) Variation should take place only when there is some awkwardness, such as ambiguity or noticeable monotony, in the word avoided. (2) The substitute should be of a purely pronominal character, a substitute and nothing more; there should be no killing of two birds with one stone. Even when these two requirements are satisfied, the variation is often worse, because more noticeable, than the monotony it is designed to avoid.

The examples in our first group do not offend against (2): how far they offend against (1), and how far they are objectionable on other grounds, we shall consider in detail.

Mr. Wolff, the well-known mining engineer, yesterday paid a visit to the scene of the disaster. The expert gave it as his opinion that no blame attached...

The expert is gratuitous: He would have done quite well.

None the less Mrs. Scott [Sir Walters mother] was a motherly comfortable woman, with much tenderness of heart, and a well stored, vivid memory. Sir Walter, writing of her, after his mothers death, to Lady Louisa Stewart, says...—Hutton.

His mothers is not only unnecessary, but misleading: there is a difficulty in realizing that her and his mother, so placed, can be meant to refer to the same person.

Mr. J. Hays Hammond, a friend of President Roosevelt, lecturing before the American Political Science Association, quoted a recent utterance of the President of the Japanese House of Peers.That dignitary said:...—Spectator.

That dignitary said might have been omitted, with the full stop before it.

Mr. Sidney Lees study of the Elizabethan Sonnets, the late Mr. Charles Eltons book on Shakespeares Family and Friends, and Professor Bradleys on Shakespearean Tragedy—a work which may be instructively read with Professor Campbells Tragic Drama in Aeschylus, Sophocles and Shakespeare—remind us that the dramatist still holds his own with the publishers. The last two or three weeks have seen two new editions of him.—Times.

The writer has thoroughly puzzled himself. lie cannot call Shakespeare Shakespeare, because there is a Shakespeare just before: he cannot call himhe, because six other persons in the sentence have claims upon he: and he ought not to call him the dramatist, because Aeschylus and Sophocles were dramatists too. We know, of course, which dramatist is meant, just as we should have known which he was meant; but the appropriation is awkward in either case. The dramatist is no doubt the best thing under the circumstances; but when matters are brought to such a pass that we can neither call a man by his own name, nor use a pronoun, nor identify him by means of his profession, it is time to remodel the sentence.

If Mr. Chamberlain has been injured by the fact that till now Mr. Balfour has clung to him, Mr. Balfour has been equally injured by the fact that Mr. Chamberlain has persistently locked his arm inthat of the Prime Minister.—Spectator.

Elegant variation is the last thing we should expect here. For what is the writers principal object? Clearly, to emphasize the idea of reciprocity by the repetition of names, and by their arrangement. Mr. Chamberlain, Mr. Balfour: Mr. Balfour, Mr. Chamberlain. It is easy enough, so far: If Mr. Chamberlain has been injured by the persistent attachment of Mr. Balfour, Mr. Balfour has been equally injured by that of Mr. Chamberlain. But that is not all that is required: there is to be the graphic touch; arm is to be locked in arm. Now comes the difficulty: in whose arm are we to lock Mr. Chamberlains? in his? in his? in his own? in Mr. Balfours? in that of the Prime Minister? As the locking of arms is perhaps after all only an elegant variation for clinging, remodelling seems again to be the best way out of the difficulty. Perhaps our simplified form above might serve.

On Thursday evening last, as a horse and cart were standing at Mr. Browns shop, the animal bolted.

The horse.—An unconscious satirist, of tender years but ripe discernment, parsed animal in this sentence as a personal pronoun; it replaced the subject of the sentence. Journalists (it was explained to her) are equipped with many more personal pronouns than ever get into the grammars.

Th

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为了文章的用词的多样性，我们经常采用换词求雅的方法。在这一章中有各种各样的例子，我们平时主要关注的是代词。代词是换词求雅的一种，主要是因为重复会让文章显得单调。但我们现在要更近一步，我们采用一种新的代替方式，而不是单单的用原来的名词或者代词。举个例子，“肉食者”就是政治家的一种替换方法。像这样的换词求雅在实际写作中是非常有必要的，也经常用到。当今的作者大量的使用这种方式，他们这样不只是为了方便，还是为了修饰文章。改变目前的这种现状是非常难的，有两个一般性的原则可以遵循，一、当会产生明显的模糊不清和什么明显的单调时，采用换词。二、这种换词的代替应该仅仅充当一个代词的作用，不能产生其他的效果（不能产生一石二鸟的作用）。当这两种要求都符合的情况下，换词也可能会产生更坏的影响。

我们的第一个例子违反了原则1，并没有违反原则2.第一个例子是令人感到难过的，所以我们要仔细考虑细节。

Mr. Wolff, the well-known mining engineer, yesterday paid a visit to the scene of the disaster. The expert gave it as his opinion that no blame attached...

“expert”是非常模糊的，这时可以用 ”he”来代替。

None the less Mrs. Scott [Sir Walters mother] was a motherly comfortable woman, with much tenderness of heart, and a well stored, vivid memory. Sir Walter, writing of her, after his mothers death, to Lady Louisa Stewart, says...—Hutton.

“His mothers ”是可以的，但是会导致误解，所以为了指代同一个人，可以用”her”来代替”His mothers ”

Mr. J. Hays Hammond, a friend of President Roosevelt, lecturing before the American Political Science Association, quoted a recent utterance of the President of the Japanese House of Peers.That dignitary said:...—Spectator.

权贵说 可能被省略，用句号之前。

Mr. Sidney Lees study of the Elizabethan Sonnets, the late Mr. Charles Eltons book on Shakespeares Family and Friends, and Professor Bradleys on Shakespearean Tragedy—a work which may be instructively read with Professor Campbells Tragic Drama in Aeschylus, Sophocles and Shakespeare—remind us that the dramatist still holds his own with the publishers. The last two or three weeks have seen two new editions of him.—Times.

作者彻底迷惑了自己。谎言不能叫莎士比亚莎士比亚，因为有莎士比亚在：他不能打电话给他， 因为句子中的其他六人都声称在 他： 他不应该打电话给他 剧作家， 因为剧作家埃斯库罗斯和索福克勒斯也是剧作家。我们知道剧作家和他的含义。 剧作家在毫无疑问的情况下，是可以使用的；但当我们不能说他的名字，不能说他的职业，不能使用代词的时候，句子就得被改写。

If Mr. Chamberlain has been injured by the fact that till now Mr. Balfour has clung to him, Mr. Balfour has been equally injured by the fact that Mr. Chamberlain has persistently locked his arm inthat of the Prime Minister.—Spectator.

优雅的变化是我们应该期待的最后一件事。作者的主要目标是什么？很显然，通过重复的名字来强调对等的思想，并通过他们的安排。写出张伯伦先生，贝尔福先生：贝尔福先生，张伯伦先生，这样不容易发生指代错误。到目前为止：张伯伦受伤因为贝尔福先生紧挨着他，贝尔福也因为张伯伦紧锁他的手臂而受伤。但所有的名字的都是需要的吗？想象一副图片，双方的胳膊彼此锁着。那么问题来了，谁的手臂锁着张伯伦的手呢？是他的？是他自己的？是贝尔福的手，还是首相的手 。这个时候，换词就不好使了 ，应该重新构造句子。找出一个更简单的句子。

On Thursday evening last, as a horse and cart were standing at Mr. Browns shop, the animal bolted.

“马”，一个无意识的讽刺作家，嫩年但成熟的洞察力，解析“动物”这句话作为人称代词；它取代了句子的主语”。记者（对她的解释是）用了更多的称呼代词。

The King yesterday morning made a close inspection of the Cruiser Drake at Portsmouth, and afterwards made a tour of the harbour on board the Admirals launch. His Majesty then landed and drove to Southsea, where he inspected the Royal Garrison Artillery at Clarence Barracks. The King returned to London in the course of the afternoon.—Times.

毫无疑问，这是一个艰难的案例。皇家的代名词（陛下）不适合重复：另一方面，如果一直用 HES，又显得不太尊重；因此 王 在第三句。我们可以通过阅读”he””hellip;在克拉伦斯军营；回来了hellip;”。当然，解决方法并非总是可行的。

The Emperor received yesterday and to-day General Baron von Beck... It may therefore be assumed with some confidence that the terms of a feasible solution are maturing themselves in His Majestys mind and may form the basis of further negotiations with Hungarian party leaders when the Monarch goes again to Budapest.—Times.

If the Emperor of Austria should disappear from the scene, war, according to this authority, is to be feared, as the Emperor Francis Joseph alone controls...—Times.

没有任何解释是 君主 或为 弗兰西斯皇帝约瑟夫。 ”he”几乎被曲解甚至在后面的句子。

Sir Chartes Edward Bernard had a long and distinguished career in the Indian Civil Service... Five years later Sir Charles Bernardwas appointed Commissioner of Nagpur... In 1876 Sir Edward Bernard returned to Nagpur.—Times.

这是很自然的， 应该说全名查尔斯爱德华伯纳德 ；自然，缩写应选择工作的目的。但为什么缩写？如果 查尔斯爵士 和 他 是明智的，他们能坚持的最长的文章结束，没有任何帮助 爱德华爵士。

在这里给出的实例中，有一些麻烦是我们在用换词中不可避免的。有一些，事实上，它不是无偿的；如果这些作者对读者的意图是消极的，那就没什么可抱怨的。但它不是，艺术隐藏的艺术总是要付出代价，这些笨拙的转移分散我们的注意力从目前的事情；我们不能跟随陛下的动作，对于想知道国王会被称为下一次；将平原爱德华七世？或者说，有什么事情可以做，也许，“印度皇帝”？当选择谎言重复单调的一方面和另笨拙的变化之间，它可以放下，两不良选择自然是首选的 人工。

但是这种替换更多的是用来传递幽默，活泼的气氛，很小程度上违反了第二条原则。

When people looked at his head, they felt he ought to have been a giant, but he was far from rivalling the children of Anak.—H. Caine.。

实际上，应该是”far from it”

写作是表达我们所看到的事物的一种方式，我们感觉，我们认为，我们永远保护这些无形的，但美好的事物。当诗人死了，这首诗还将告诉爱，当一个朋友离开了永远，这条线将仍然赞美他的道德从一代到另一代。这就是我们写的目的：让人们享受我们快乐的时刻，和我们一起分享我们的眼泪，聆听我们的苦难。为了得到这个目的，我们需要表达的准确，因为我们可以用最恰当的词来形容我们得到的，特别是我们的感觉。

中东市场是一个完美的有组织的文章。作者向我们展示了一个典型的、生动的、美丽的集市。在这篇文章中，他试图复制的场景，噪声，运动，甚至气味通过语言。然而，正如我们所知，语言是表达感情的最基本方式。音乐，舞蹈和绘画可以表达我们无法通过语言来表达的东西。为了达到这个令人难以置信的目标，作者用了各种各样的修辞，例如，优雅的变化。

换词求雅是这篇文章中广泛使用的修辞之一。意思是用不同的词来表达几乎相同的意思，如“大”。在语言学领域，我们总是把单词意义相同份额近同义词和少有相同的同义词。

在这篇文章中，作者提到很多关于意义的“大”的时代，像“大脚趾”、“大洞”，“大广场”、“巨大的风箱”、“大包”、“石轮”等。他们与彼此和显示图片的老，庄严而活泼的在中东的集市。用不同的词语来表达同样的意思，这个集市的画面似乎更生动，更美丽。

在这篇文章中，作者首先用“大”这个词来形容广场。“你从热量和眩光的大，露天广场，然后走进一个凉爽、黑暗的洞穴延伸至于眼睛可以看到，消失在远处的阴影里。”“大”描述的是大面积的基本词。它的目标。通过这个词，我们可以想象的洞穴是如此之大，人们可能会觉得它延伸到一些未知的地方。浅谈铜史密斯市场，提出对学徒的关注。“在背景下，一个小学徒吹着一个巨大的皮革波纹管一个巨大的皮革波纹管工作的字符串连接到他的大脚趾。”根据作者的西方背景，我们可以理解他觉得当他看到这样一个小学徒做这么重的工作是多么的震惊。“小”和“大”两个字是一对解剖，在这里，他们一起工作，表达的痛苦生活的贫困人口在中东，通过其有趣的表面。“大”这个词强调了这种痛苦。想象一下，一个小男孩坐在那里，旁边有一个大的火，并拿着一个更大的波纹管作更大的火。所有他所用和创造的东西似乎都比他自己大，这意味着男孩的生活，他正在做一些超越他的能力的工作。男孩和他的伙伴“不恰当的工作使铜史密斯市场繁荣刺激了西部片的好奇心。这两句话表明作者对男孩们的可怜。在这里，通过使用“巨大”，“大”来形容相同的含义，语言似乎更美丽，更生动，更真实的画面。当作者写石油市场时，他用另一个词来表达这个意思。“亚麻籽浆压榨油是一个摇摇欲坠的梁、绳索和滑轮装置完成。”“绝”清楚地表明该装置的体积，这给了我们关于听觉图像线索时油的提取。这也意味着，这个市场的繁荣，通过其庞大的设备。另一方面，这个词给了我们一个传统的，甚至原始的图像，这幅图像显示了我们国家的经济状况。由于原始的方式，这个集市似乎对外国人很有吸引力。也正是因为原始的方式，经济没有发展成一个先进的水平，集市可以生活在历史上。

上面的例子只是几个例子，优雅的变异的意思是“大”。通过这些例子，我们可以感受到作者给我们的信息感，通过使用这种修辞的形式。就这样，语言变得生动，我们的想象力，跟随作者离开我们的线索，终于看到和感觉到这些场景，他希望我们看到和那些感觉，他希望我们感觉

优雅的变化是不必要的，有时具有误导性，利用同义词来表示一个事物，由一个不平衡的组合音，试图通过避免重复单调降低清晰度和无意中介绍了一种不同的音调的问题保持谐音（如意想不到的幽默或吸引注意力的偏心）。亨利Watson Fowler（1858–1933）创造这种现象变化的名字优雅。他在现代英语用法词典（第一版，1926），福勒写道：

这是二流的作家，而对那些故意地传达自己的意思不是清楚地表达自己，和更多的那些观念的风格是基于一些误导人的拇指规则，这主要是开放给优雅的生活变化hellip;很少有文学的缺点因此广泛流行，与这本书不会被写在此生如果本文要医治他的疾病的任何人。

致命的影响是给年轻作家

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