10號(hào)正在香港玩的時(shí)候，逮著商場(chǎng)的WIFI蹭了會(huì)兒網(wǎng)，忽然看到一翻網(wǎng)的站長(zhǎng)告訴我，他把我的公眾號(hào)掛到他網(wǎng)站上了。

每個(gè)人都有惰性，我也不例外。但面對(duì)無(wú)條件支持、關(guān)注自己的人，不免汗顏。最近寫(xiě)的多是八卦文章，和翻譯走得有些遠(yuǎn)了。感謝這位先生，把我又拉回來(lái)一點(diǎn)（此時(shí)好想來(lái)個(gè)拱手禮啊）。

今天呢，就來(lái)說(shuō)說(shuō)譯入語(yǔ)用詞的靈活性。

廢話(huà)少說(shuō)，且看筆者舉例。今天的例子關(guān)乎dominate及其形容詞形式dominant和名詞形式dominance。

1.However, 150 years ago it was something far more specific: a new and exciting revival of medieval architecture which displaced the foreign Classical styles as the?dominant?form of building.

但在150年以前，哥特一詞有了更多特殊的內(nèi)涵：它是中世紀(jì)建筑風(fēng)格的全新震撼復(fù)興，取代了異國(guó)的古典式風(fēng)格而成為最主要的建筑形式。

Comment：這里的dominant，不需要作發(fā)揮性的解釋?zhuān)闷浔玖x“主要的”即可。

2. Despite the relatively short?dominance?of this High Victorian Gothic Revival from the late 1840s through to the early 1870s, the ideals of many of its leading lights and the new approach to architecture it initiated were to inspire the next generation of designers and sow the seeds for the later Arts and Crafts movement.

盡管這一在維多利亞女王時(shí)代達(dá)到鼎盛的哥特復(fù)興藝術(shù)只經(jīng)歷了從1840年代后期到1870年代早期一段短短時(shí)間的輝煌，但它所激發(fā)的許多引領(lǐng)性的思潮和建筑新方法卻鼓舞了下一代的設(shè)計(jì)師們，為之后的工藝美術(shù)運(yùn)動(dòng)（19世紀(jì)下半葉起源于英國(guó)的一場(chǎng)設(shè)計(jì)改良運(yùn)動(dòng)）播下了種子。

Comment：此處的dominance轉(zhuǎn)譯成了“輝煌”。

3.However, when his generation of architects studied the buildings of Europe built from the 12th through to the 16th century they were inspired by more than just this more flexible form of arch. The fact that structural elements like buttresses were left exposed on the exterior of medieval churches and, in many cases,embellished with carvings, was an honesty in construction in stark contrast to the Classical style of buildings which was?dominant?in the early 19th century.

然而，當(dāng)他那一代的建筑師對(duì)12世紀(jì)到16世紀(jì)之間修建的歐洲建筑作了仔細(xì)的研究之后，他們從中得到啟發(fā)的，并不僅僅是這種形式更為靈活的拱。像飛扶壁等構(gòu)成要素都露在中世紀(jì)禮拜堂的外面，而且，許多時(shí)候只用雕刻圖案加以美化——這一現(xiàn)實(shí)情況，是對(duì)建筑本真的禮敬，它與19世紀(jì)早期風(fēng)頭無(wú)兩的古典式風(fēng)格建筑真正形成了鮮明的對(duì)比。

Comment：“風(fēng)頭無(wú)兩”，沒(méi)有誰(shuí)能比得上，不就是它占優(yōu)勢(shì)地位？

4.Despite the?dominance?of the Gothic Revival in church building during the 1840s and '50s, the Ecclesiologists were rather elitist and cut off from the main flow of architecture and, although some designed large houses, commercial structures and schools, Classical-based styles still?dominated?secular buildings.

盡管在1840年代到1850年代之間，哥特復(fù)興式在教堂建筑中獨(dú)領(lǐng)風(fēng)騷，教堂建筑師更為有勢(shì)，切斷了主流的建筑風(fēng)格，但還是有些人設(shè)計(jì)了宏大的住宅、商業(yè)建筑和學(xué)校，以古典為基礎(chǔ)的風(fēng)格依然占據(jù)著世俗建筑的半壁江山。

Comment：dominance譯成了“獨(dú)領(lǐng)風(fēng)騷”，同上，沒(méi)有誰(shuí)可與之相比的意思。但選用了和例3不同的詞語(yǔ)來(lái)表達(dá)，避免了重復(fù)用詞的乏味感，而多了一份變化的美。后一個(gè)動(dòng)詞dominate“占據(jù)著半壁江山”，自我感覺(jué)如神來(lái)之筆，因?yàn)榻ㄖ謨煞N：教堂建筑和世俗建筑，用在兩種建筑上的風(fēng)格分別為哥特復(fù)興式和古典式，各占一半，所以腦子里自然蹦出了“半壁江山”一詞。

5. Sir Richard Norman Shaw and Philip Webb created a number of houses inspired by these sources which merged with the landscape rather than?dominating?it,their clever designs appearing as if they had developed over centuries while their plan reflected the demands of a modern family.

靠著這些草圖的靈感，理查德·諾曼·肖爵士和菲利普·韋伯爵士建造了大量的與風(fēng)景相得益彰、而不是在風(fēng)景中顯得獨(dú)樹(shù)一幟的房屋，他們巧妙的設(shè)計(jì)看上去好像它們已經(jīng)演變了幾個(gè)世紀(jì)，同時(shí)，他們的設(shè)計(jì)也反映了一個(gè)現(xiàn)代家庭的需求。

Comment：這里的動(dòng)詞dominate譯成了“獨(dú)樹(shù)一幟”。獨(dú)樹(shù)一幟，顯得突出，不剛好和dominate吻合么？

6.The Gothic style remained?dominant?for church building although the forms were simplified and structures only bore a loose resemblance to their medieval counterparts.

哥特式風(fēng)格依然占據(jù)著教堂建筑的重頭，不過(guò)樣式被簡(jiǎn)化了，各構(gòu)件也與他們同類(lèi)的中世紀(jì)構(gòu)件只有一點(diǎn)點(diǎn)相似之處。

Comment：“占據(jù)著重頭”，占主要的意思。

7.Now this Classical?dominance?had been broken by more flexible asymmetrical plans with gables, roofs and chimneys all on prominent display.

現(xiàn)在這種占據(jù)一統(tǒng)江山地位的古典風(fēng)格已經(jīng)被外觀(guān)突出的山形墻、屋頂和煙囪的更靈活不對(duì)稱(chēng)設(shè)計(jì)所打破。

Comment：“占據(jù)一統(tǒng)江山地位”，一方面說(shuō)到了古典風(fēng)格的重要性，一方面說(shuō)到了它的應(yīng)用之廣。這個(gè)譯法也是頗有些竊喜的。

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估計(jì)做過(guò)翻譯的人經(jīng)常會(huì)有這種感覺(jué)，看著原文完全能理解它的意思，但輪到要組織語(yǔ)言表達(dá)成中文時(shí)，卻又總感覺(jué)茶壺里煮餃子——有話(huà)說(shuō)不出，搜腸刮肚，但形諸筆端的文字似乎總感覺(jué)有點(diǎn)辭不達(dá)意。

原因在何？在源語(yǔ)言和譯入語(yǔ)的對(duì)接不流暢，譯入語(yǔ)中文玩得還不順溜。要把譯入語(yǔ)中文玩得出神入化，須得我們多閱讀本國(guó)語(yǔ)中文的書(shū)籍和文章。許多人以為做翻譯的，要多接觸外國(guó)語(yǔ)，卻沒(méi)想到，本國(guó)語(yǔ)一樣重要、不可忽視。對(duì)譯入語(yǔ)為本國(guó)語(yǔ)的翻譯，本國(guó)語(yǔ)方面的素養(yǎng)甚至要遠(yuǎn)遠(yuǎn)高于外國(guó)語(yǔ)。

不知各位以為然否？