Examples of jokes or bad influences when literary translation does not attach importance to the original text? In the debate, we are sure. "Literary translation needs to be faithful to the original te

Examples of jokes or bad influences when literary translation does not attach importance to the original text? In the debate, we are sure. "Literary translation needs to be faithful to the original text." Lin Yutang, Lu Xun

At the beginning of the 20th century, two great writers in China, Lu Xun and Lin Yutang, had great differences in translation theory and practice. Lin Yutang accused the unknown translator of his responsibility to readers, while Lu Xun thought it ridiculous to tell two humors every month. So why are two people who have been in love twice, experienced the New Culture Movement, and stood in the same position in the debate between the Silk School and the Modern Criticism School, facing each other in the field of translation studies? What's their difference? How to treat it? In fact, the debate about translation has existed since ancient times. In the west, translation theory has experienced a long traditional stage, which can be described as various schools and climaxes. Especially since 1970s, with the vigorous development of interdisciplinary subjects, an endless stream of new ideas and theories have broken through from all aspects, which is refreshing. German functional translator Hans Vermeer discovered the first criterion of translation theory: the purpose of the text. According to this theory, "the purpose of translation determines the whole process of translation". [1] The purpose has been promoted to an unprecedented height. In the 1990s, under the impetus of various ideological trends, translation took a cultural turn, and scholars such as Lefevere and Basnet began to "study translation under the political and cultural background, emphasizing historical awareness and cultural views". [2] Linking translation with power, ideology and system has touched the political and economic foundation of translation. At the same time, with the death of the author, the dominant position of the translator began to appear, overcoming its position as a marginal culture, and people began to pay more attention to the choice and creation of the translator in the creative process.

In a word, this situation of a hundred schools of thought contend provides us with a broader vision and urges us to re-examine the translation phenomenon from all angles. Based on these new viewpoints, this paper makes an overall investigation and comparison of Lu Xun's and Lin Yutang's translation views, and discusses the purpose factors, cultural factors and personal factors that prompted them to embark on different paths.

1. Comparison of translation theory and practice between Lu Xun and Lin Yutang

1. Text selection. In terms of text selection, Lu Xun did not go beyond the scope stipulated by Liang Qichao in the early period, and was still limited to science novels and political novels. Starting from 1909 Collection of Foreign Novels, Lu Xun abandoned the strong culture concerned by ordinary people and introduced more works from weak countries, such as Russia, Poland and Czech Republic. His later works accepted Marxism through Trotsky, plekhanov, Luna Charles and others, and translated revolutionary literary works such as Destruction, Liu Tie and The Silent Don.

Lin Yutang, who is a little later than him, has a completely different style of translation, and Lin Yutang is committed to creating a popular world. On the one hand, he introduced western humor into China culture, and collected many satirical works from Britain, France and the United States in The Analects of Confucius, such as Shakespeare's Seven Chapters of Life, Nietzsche's The Fly in the Market, and the French folk story The Nun. On the other hand, he introduced China's profound Confucian classics to the West with the strategy of popularization and popularization. "Starting from the expected function of the translation, he put aside the structure of the original text and adopted necessary flexible measures that he thought appropriate" [3] and combined with his own understanding of Confucius, Laozi and Zhuangzi, he translated The Analects of Confucius and Tao Te Ching into his Wisdom of Confucius and Wisdom of Laozi. If Lu Xun chose the fighting spirit of the text, then Lin Yutang chose culture and aesthetics.

2. About loyalty. Before 1909, Lu Xun's translation failed to shake off the influence of Yan Fu and Lin Shu in the late Qing Dynasty and the early Republic of China, and drastically abridged, revised and supplemented the original text. Lu Xun put forward the idea of "literal translation" in 65438-0909 Preface to Foreign Novels, which was enriched and developed in later practice and formed its unique style.

First of all, the most prominent thing is "faithfulness and disobedience". Even literary translation should be literal translation, retaining the charm of the original. Therefore, Mr. Lu Xun advocated alienation and opposed domestication. "It is better to understand than to create" [4] His translation is to make readers spend a lot of time chewing words with their teeth. In addition, not only in content, but also in form, the characteristics of the original text should be preserved, that is, the so-called Europeanization of grammar and vocabulary. Lu Xun aims to introduce new expressions. For example, he gave an example himself: "The sun went down". Although it is not smooth, it will never be changed to "sunset on the western hills", because the original intention is to give priority to mountains, and it will become the sun if it is changed. [5]

Lin Yutang also put forward three criteria of "faithfulness, smoothness and beauty" in On Translation. But the degree of loyalty has great flexibility with him. He put forward four meanings of letters: (1) Letters are not translated word for word, but sentences, which are based on the "approximate image" of sentences, not the meaning. (2) the impossibility of absolute loyalty. (3) Faithfulness not only seeks to convey meaning, but also conveys meaning, that is, loyalty to the moral of the original text. (4) Faith means that you can't speak Chinese, that is, you should talk about domestication, and make psychological translation according to the writing style of China people. This is the meaning of "Shun". In addition, Lin Yutang also pursues beauty, style and content, demanding that the translation can arouse readers' aesthetic impulse. Under this principle, Lin Yutang allowed language drift. In other words, Lin Yutang's "loyalty" has become extremely flexible and tense under the adjustment of "smoothness" and "beauty", and he has given the translator great freedom in content and form. Lu Xun, on the other hand, demanded that "trust" be the highest standard in both aspects. Their views are diametrically opposed.