“The "Sense of Incongruity" in Foreign Literary Works

With the development of globalization, we inevitably encounter foreign elements. Chinese culture is profound and rich, while some excellent foreign cultures are subtly influencing us. Language is one of the keys to presenting the connotations of a work, but cultural discounts inevitably arise during the process of cross-cultural communication due to differences in cultural backgrounds. Since the 1980s, two main translation models have been at play: one is the non-profit translation model of university presses, and the other is the commercial translation model operating under market mechanisms. The former has lower sales but stable revenue, with high-quality translations; the latter is influenced by market demands and readers, resulting in thin profits and varying quality due to differences in translator competence. Theodore Savory mentions two opposing translation approaches in his book The Art of Translation: first, the translated text should read like the original; second, the translated text should read like a translation (1957:50). These two methods have coexisted for a long time, and the choice depends on the translator's preference. However, both approaches have certain flaws. Translating too closely to the original may create a sense of incongruity for readers who speak different native languages, making it difficult for them to grasp the true meaning of certain lines. The widely criticized "translationese" arises from this issue; phrases commonly used in English-speaking countries, such as "Oh my God" or "For God's sake," do not align with Chinese conversational habits, indicating a lack of localization.

Translating too much like the original text can leave readers feeling confused. In this process, due to linguistic and cultural differences, as well as existing language issues within the original work, translators may make certain adaptations to satisfy audience needs. For example, many people believe that "a large part of the public's fondness for Haruki Murakami's works is due to the translation; in other words, what you enjoy isn't Murakami's lines, but rather the lines of the translator, Lin Shaohua." The author's language in the original text is often a straightforward description when directly translated, while the translator adds specific embellishments. For instance, in *Norwegian Wood*, the direct translation is: "The cold rain of November dyes the earth into a dark hue," whereas the translated version reads: "The skin-piercing cold rain of November paints the earth a somber shade."

The requirements for translating literary works extend beyond mere translation; they also encompass writing style and relevant specialized knowledge. Only with sufficient understanding can translators achieve a "moderate" balance between the two translation methods, allowing the work to be better grasped by readers.

References:

[1]马会娟.英语世界中国现当代文学翻译：现状与问题[J].中国翻译, 2013(1):65-68.

◀️：What is Translation?

▶️：Are you my sweet trouble or my inevitable fate?