在中译翻译公司，要知道文学翻译并不简单，为什么这么说呢?下面详细为大家介绍：

　　In the Chinese Translation Company, it is not easy to know that literary translation is not easy, why do you say so? The following is a detailed introduction to you:

　　周克希，可能大部分翻译行外人都不知道这位如今已然年达73岁高龄的老先生，可在翻译这行里做的行内人，却少有不知道这位半路出家的，我国的著名的法语文学翻译家的老先生。

　　Zhou Kexi, perhaps most translators do not know this 73-year-old gentleman, can be done in the translation industry insiders, but few do not know this half-way monk, China's famous French literature translator of the old gentleman.

　　是的，和不少即使在全球范围内都十分有名的知名翻译家一样，我们的周克希老先生也是一名可以说是半路出家的翻译——他是数学专业毕业的，却意外的喜欢上了文学翻译，并在自己的爱好和当时的市场需求的共同驱使下，走上了法语——中文两种语种转换之中的文学翻译这一路途，并令人惊讶的，做的不但不比自己大学数学教授这一职位差不说，从某个角度来说，甚至更为优秀也说不一定。

　　Yes, like many well-known translators around the world, our old Mr. Chou Kexi was a half-baked translator - a math graduate who accidentally fell in love with literary translation and was driven by his hobbies and the needs of the market at the time. On the way to literary translation in the French-Chinese linguistic transformation, it is surprising that not only is it not inferior to my position as a college math professor, but, in some ways, even better.

　　笔者不知道大家有没有阅读过周克希老先生的文学翻译作品但笔者自己是真正读过的。而在笔者阅读的那些文学翻译之中，周克希版的《基督山伯爵》对于笔者的吸引力可谓是最大的——无论是该部经典著作本身就具备的紧凑而刺激感满满的剧情，还是经周克希老先生翻译后，行文非常流畅，不会令人产生什么晦涩难懂之类的不那么好的评价的经典翻译版的《基督山伯爵》。当然，笔者是在高中时期阅读的那本周克希译本的中文版《基督山伯爵》。那时的笔者仅仅是出于一个纯粹的阅读者的角度评价，感觉这部书本身的内容非常棒，只觉得这本书不愧是享誉全球的经典文学作品，压根儿就没考虑过这和翻译有多大的关系——因为，在那时的笔者看来，一本中文版本的文学作品的好坏，只和这本书本身有关系，和其他影响因素并没有什么关联。

　　I do not know if you have read Mr. Zhou Kexi's literary translation works, but I really read them. Among the literary translations I have read, the Count of Monte Cristo by Zhou Kexi is the most attractive to me - whether it is the compact and exciting plot of the classic itself, or the fluency of the text after Mr. Zhou Kexi's translation, which does not produce anything. The classic translation version of the count of Monte Cristo is obscure. Of course, I am the Chinese version of the count of Monte Cristo in the high school reading of Zhou Kexi. At that time, the author just out of a purely reader's point of view, feel that the book itself is very good, just feel that the book is a world-renowned classical literary works, at all did not consider how much the relationship with translation - because, in my opinion, at that time, a Chinese version of the text. The quality of learning works is only related to the book itself, and has nothing to do with other factors.

　　当笔者无意间走入翻译这一行，并可以预期会一辈子走下去的现在，再回头看看。实际上，《基督山伯爵》这部世界名著确实非常的经典，非常的优秀，可是，它的译本却也着实不少，但在大多数的中国《基督》迷眼中，承认的经典译本也就那么一两部。而这，其实是因为，不但文学作品的创作本身是一种艺术，文学作品的翻译，它也是另一种艺术，一种从传播学的角度来讲，完全不逊色于文学作品的创作的艺术。

　　When the author inadvertently entered the translation industry, and can be expected to go on for a lifetime now, look back. In fact, the Count of Monte Cristo is indeed a very good classic of the world, very good, but it is also a lot of translation, but in the eyes of most of China's "Christ" fans, the recognition of the classic translation is so one or two. In fact, this is because, not only is the creation of literary works an art, the translation of literary works, it is also another art, a kind of communication from the point of view, is not inferior to the creation of literary works of art.

　　到这里，可能很多人会问了，那么，什么样的文学创作才叫做真正优秀的文学创作呢?实际上，对于这点，即使是全球范围内都没有绝对权威的答案。要知道，翻译也算是文学范畴之类的分支，而我们向来都说武无第二，文无第一。因为，文学的评价本身就拥有极大的主观因素在里面，本就没有那么的绝对，没有所谓的真正最优者。但同时，我们又可以从从古至今的文学中选出绝对的精品文学作品，为什么?自然是因为，时间最后能够证明，什么才是契合绝大多数的受众的作品，而这种作品，本身就是一种精品。这，放在文学作品中可行，放在文学翻译中，自然也可行。

　　So what kind of literary creation is called really good literary creation? In fact, there is no definitive answer to that, even globally. You know, translation is also a branch of literary category and so on, and we have always said that there is no second, no first. Because the evaluation of literature itself has a great subjective factor in it, there is no such absolute, there is no so-called real optimist. But at the same time, we can choose absolute works of literature from ancient times to the present. Why? Naturally, time can finally prove what works fit the overwhelming majority of the audience, and this kind of work itself is a fine work. It is feasible to put it in literary works, and it is also feasible to put it in literary translation.

　　而何谓优秀的文学翻译作品，对于这一点，不同的人有不同的看法，我们的法语文学翻译家周克希老先生自然对此也有着自己的读到见地。在周老先生看来，在文学翻译中，只要我们翻译的文字足够的准确、传神，那么翻译出来的文学作品的译本，也就有了独属于自己文采。可能有人会觉得周老先生说的不够形象，不用着急，笔者接下来会慢慢的和大家解释一番。

　　Different people have different opinions on what is an excellent literary translation. Our French literary translator, Mr. Zhou Kexi, naturally has his own views on it. In Mr. Zhou's opinion, in literary translation, as long as we translate the text accurately and vividly, the translated literary works will have their own literary style. Perhaps some people will feel that Mr. Zhou said not enough image, do not worry, the author will slowly explain to you next.

　　其实，周老先生的意思非常的简单，也就是我们在文学翻译中，第一，要做到足够的准确，不能罔顾文学作品的原文，自己在那儿想当然的翻译;第二，优秀的文学翻译，还得在翻译之时，注意做到“传神”——亦即不能机械化的一字一句逐词翻译，还得在翻译之时，做到适当的带入自己的语言，将原作翻译成为目标语种的受众更习惯的表达模式;第三，真正厉害的文学翻译，还得是拥有自己的“风格”的文学翻译，是让读者既能完全读懂原著的表达意思的同时，还能从译本中看出这是谁谁谁翻译的。

　　In fact, Mr. Zhou's meaning is very simple, that is, in literary translation, first, we should be accurate enough to ignore the original text of literary works, their own translation there for granted; second, excellent literary translation, but also in translation, pay attention to "vivid" - that is, not mechanized. Word by word translation, but also in the translation time, to achieve appropriate into their own language, the original translation into the target language audience more accustomed to the mode of expression; third, really strong literary translation, but also has its own "style" of literary translation, so that readers can fully understand the original expression. Meaning, at the same time, we can see from the translation who and who translated.

　　以上三点，实际上第一点是最为好做到的，因为，当词汇量累积的足够大之时，十有八九的翻译都能做到准确的翻译文学作品。当然，这也是一部文学作品的翻译达标的最为基础的要求，毕竟，翻译出来的作品就是要让人看得懂的，如果连准确的翻译都做不到，那么这种翻译出来的译本就不是优秀，而是连达标的水准都没到了。

　　In fact, the first of the three points is the best, because when the vocabulary is large enough, nine out of ten translations can achieve accurate translation of literary works. Of course, this is also the most basic requirement for a literary work to reach the target. After all, the translated work is to be understood. If even accurate translation can not be done, then the translated version is not excellent, but even the standard has not been reached.

　　而第二点，适当的带入自己对于原著的理解，进行一定程度的创作式翻译，则需要那些真正肚中有刚货的译者才能做到。为什么这么说呢，是因为这种自我创作式的翻译，需要译者能够准确的把握两种转换语言的对应国家的文化、思想上的不同，能够做到将某些直译过去，可能会让目标受众产生难以理解的感觉，亦或直接就会产生误解的语句，经过自己的转化，变成对方能够一看就明白文中想表达的真实意义的语言。而这一点的把握，可谓是非常的难，因为一不小心就可能会造成反效果，使译本直接前后风格不同，令读者读起来产生一种很要不得的违和感，这可以说是大多数意译的文学作品都会遇到的一个难题。

　　The second point is that the proper introduction of their own understanding of the original, a certain degree of creative translation, it is necessary for those who have a real belly in the translator can do. Why do you say so? This kind of self-creative translation requires the translator to grasp accurately the cultural and ideological differences between the two languages, and to translate some literally into the past, which may make the target audience feel difficult to understand, or directly produce misunderstanding sentences. Through their own transformation, the other side can understand the real meaning of the text in a glance. But it is very difficult to grasp this point, because carelessness may cause adverse effects, so that the translation directly before and after the style is different, so that readers read a very bad sense of violation, which can be said to be most of the literary works will encounter a difficult problem.

　　最后一点，让译本保持住译者的风格，却又不失了文学作品本身的风味。这一点，恐怕也就只有大神级的翻译家能够实现了。因为，这两点其实本身就有一些自相矛盾的意味，其中的度的掌握，可以说非常的困难，一不小心就可能让译本变得风格十分奇怪——譬如一会儿语言轻快，一会儿语言又十分的带有古韵。无论哪种论调，翻译出来其实都可以，但是一旦凑到了一起，那么绝对是场灾难。所以，这一点，可以说是区分大神级文学翻译家和普通的文学翻译家的分水岭。

　　The last point is to preserve the style of the translator without losing the flavor of the literary works. I am afraid that only the great God translators can achieve this. Because, in fact, these two points in itself have some contradictory meanings, the degree of mastery can be said to be very difficult, inadvertent translation may become very strange style - for example, a while the language is light, a while the language is very ancient rhyme. Either way, it can be translated, but once it comes together, it's a disaster. Therefore, this point can be said to be a watershed separating the great divine literary translators from the ordinary literary translators.