审美翻译风格操控

    其实，所有的翻译的形式之变的基本间题是意义以及由于意义的调节变化而引起的形式之变，此外.形式之变也就必然引起审关上的调节。可见体式操控也就是在语义、形式和审美等三个平面上的在这个间题上，目前中外译论界意见仍有很大分歧，而且分歧呈现两极化趋势:有翻译公司认为既然是翻译就应该尽且少改写，目的在于保持原味;另一些人认为为考虑交流效果，可以尽力改写不惜面目全非.并举出Charles Budd之改写(木兰辞)为例:

     And then before the sun began his journey steep,She kissed her parents in their troubled sleep,Caressing them with fingers soft and light,She quietly passed from their conscious sight,And mounting horse she with her comrades rode,Into the night to meet what fate forebode;And as her secret not a comrade knew,Her fears soon vanished as the morning dew,That day they galloped westward fast and far,Nor paused until they saw the evening star,Then by the Yellow River's rushing flood,They stopped to rest and cool their fevered blood.The turbid stream swept on the swirl and foam,Dispelling Muh-Lan's dreams of friends and home;Muh-Lan! Muh-Lan! She heard her mother cryThe waters roared and thundered in reply!Muh-Lan! Muh-Lan! She heard her father sighThe river surged in angry billows by!The second night they reach the River Black,And on the range which feeds it, bivouac;Muh-Lan! Muh-Lan! She heard her father prayWhile on the ridge the Tartars' horses neigh;Muh-Lan! Muh-Lan! Her mother's lips let fall!The Tartars' camp sends forth a bugle call!
 

    Budd的这类“改写”，受到不少坚持“翻译的本体论’者的批评。但是据悉，这个译本已先后在美、英、加、澳等国电台、电视台的东方节目中多次朗诵并获得好评。有位反对“翻译要译出原汁原味”的读者著文说:难道严复的改写式译文中的“桐城风韵”也是来自赫晋黎和斯宾塞的“舶来品”吗?
 

风格操控
    风格操控就是把握行文的整体性审美特色。翻译公司英译汉提供了方便的手段这是译文操控中最微妙的部分。