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The Significance of Creative Treason in Literary Translation--Comment on Two Translations of Jane Eyre
資源天下 2013/2/3 10:43:34
（接上頁）y and historical environment. But, the creativeness of translation differs from the creativeness of the original. It is the second time creation, namely re-creation. It’s hard to say which is good and which is bad between creation and recreation. They all have their own specialty and unchangeable independent value .The practice of translation reveals that both good translation and bad translation exist. Even some translations are better than the original, for example, Alan Poe’s poems translated by Nevarl in French etc.. In terms of the essence of translation, this argument should not be tenable. Because translation should be faithful to the original, of course the bad translation is not worth mentioning, but the translation that is better than the original is also inconsistent with translation principles. English translation research worker George Stainer says: Ideal translation should be neither worse nor better than the original, but we all know it is “ideal translation”, which is actually impossible ever to be achieved.
In literary translation, either the translation is better than the original or worse than the original is depending on the creativity and rebellion of literary translation. Supposing the creativity of literary translation indicates a kind of subjective efforts that translators try to copy or reproduce the original by their own artistic creative talent; then the rebellion of literary translation reflects a kind of objective deviation of the translation from the original when translators want to achieve a certain goal in the process of translation. This is only theory, whereas in the practices of literary translation, it is hard to separate creativity from rebellion, because they are one unified organism. So French literary sociologist Robert Escarpit proposes a new terminology-“Creative treason”, and says “translation is a kind of creative treason all the time”.
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