“similarity in form” and “similarity in spirit”

【Abstract】When it comes to the effect of translation， the theory of “similarity in form” and “similarity in spirit” is of necessity， especially similarity in spirit exerts influences on one aspect to another. The thesis focuses on both “similarity in form” and “similarity in spirit”， which is aimed at doing research on significance of two elements in translation.

【Key words】translation； similarity in form； similarity in spirit

【作者简介】杨忆晰，山西工商学院国际交流学院。

Introduction

Translation is more than transformation， moreover， it serves as an indication of recreation. But how to recreate remains a question？ When it comes to the effect of translation， the theory of “similarity in form” and “similarity in spirit” is of necessity， especially similarity in spirit exerts influences on one aspect to another.

In Chinese translation theory， a lot of people put forward the theory about“similarity in form” and “similarity in spirit”.Ma Jianzhong（马建忠）was the first one talking about“spirit”（神似），“Similarity in spirit”theory was firstly brought forward and expatiated by Mao Dun（茅

盾）in 1921.After that Guo Momo（郭沫若），Wen Yiduo（聞一多）advanced that the“spirit”and“tone”（“气势”）should be translated when discussing poetry translation.Chen Xiying

（陈西滢）pointed out that the key of achieving“faithfulness”is the pursuit of“similarity in spirit”besides“similarity in form”.He also pointed out that the supreme artistic state of literature translation is “similarity in spirit”，which is the embodiment of the highest level of translated literature.Fu Lei（傅雷） put“form”and“spirit”，“similarity in form”and“similarity in spirit”as a pair of contradiction.He advocated“similarity in spirit” not “similarity in form”.Qian Zhongshu（钱钟书）pointed out“consummating”（化境）theory.While Xu Yuanchong

（许渊冲）put forward“the theory of advantage and the of resemblance”（“优势竞赛论”）.

Definition

In the 20th century， there are several heated arguments about “similarity in form” and“similarity in spirit” in translation circles.In terms of “form” and “spirit”，there are two groups.One group holds that “similarity in form” should come first ； while the other group holds that it is hard to achieve “similarity in form”.So “similarity in spirit” should be relied on.In the translation system， “similarity in spirit” occupies the leading position.

Definitions vary in terms of “form” and “spirit” in discussion.So it is necessary to have a definite definition.On the basis of Xu Juns （许钧）viewpoint，there are three levels of “form”.Firstly， the language level， which refers to the pure “language” defined in linguistics，and the language s systematic structure composed by words and expressions， grammar， syntax and so on.Secondly， the parole level， meaning the subjects creative construction.Thirdly， the style level.Different types of writing have different forms.In terms of popular statement in translation circles，the “spirit” includes not only “romantic charm（神韵）”， “emotional appeal（情调）”， “vigor（气势）”， and “style（风

格）”，also“meaning”，“mind”，and “content” which was said often.In translation， “spirit” can be explained to “similarity in spirit” and “vividness”.

Then whats the relationship between “form” and “spirit” ？ According to Luo Xinzhang（羅新璋），“form” and “spirit” is dialectically united.If there is no“form”， then what does the “spirit” adhere to？ Lin Yutang explained it more concretely.He pointed out that the most important thing in translated literatures is paying equal attention to style and content of the original text. We not only take notice of what it said but how it was said.Every writer has his own style，which is valuable for his works.So the articles beauty depends on its style not content，and style is the central thing of art.So when in the process of translation， we should pay attention to form and spirit all.

To be brief， Lins translation standard call be summed up in one word—lifelikeness. He explained it asword and sentences spirit and implied meaning”.If there is no conflict between”words spirit” and “sentence s spirit”，the exact expression of the main words should be ensured. But if there is conflict between them，what s more important is the expression of the whole sentence.Grasping the meaning of the sentence on the basis of words can convey the original text exactly， namely， lifelikeness，which is the ultimate purpose.Lins translation principle about “lifelikeness” is consistent with his character and the view of “personality”literature.He held that people should have a spirit of not being confined，express their own opinion and literature to display their personalities.Since the articles essence is personalitys representation，if it is lost in translation，the charm will be lost.So in the process of translation，translators should attach importance to convey the romantic charm of the original text，thus to move the readers.In translated literatures，he translated literatures according to his own translation theory to achieve the aim of lifelikeness.

Case Study

Personally， I strongly hold Lin Yutangs point of view， for weve stressed similarity in form for too many years during our English study without “lifelikeness” understanding and recreation. The best case is that I do find some stiff translation which fails to evoke readers interest and emotion. The translation of Sister Carrie is a good example.

Sister Carrie， written by Theodore Dreiser serving as the representative of American naturalistic writers in 19th century， is a penetrating observer of desire in humanity. To catch a glimpse of the novel， Im deeply overwhelmed by its exquisite psychological and environmental picture， which appropriately mirrors the “spirit” of Sister Carrie. In particular， depiction of complicating metropolis is a perfect mixture of a variety of emotions and desire. Therefore， in terms of translation， “spirit in similarity”occupies leading position， for what we want to convey to readers should be perfect picture of emotions and desire as well as much room for senses.

First，lets take a look at the excerpt from the novel Sister Carrie.

The city has its cunning wiles， no less than the infinitely smaller and more human tempter. There are large forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the persuasive light in a wooing and fascinating eye. Half the undoing of the unsophisticated and natural mind is accomplished by forces wholly superhuman. A blare of sound， a roar of life， a vast array of human hives， appeal to the astonished senses in equivocal terms. Without a counselor at hand to whisper cautious interpretations， what falsehoods may not these things breathe into the unguarded ear！ Unrecognized for what they are， their beauty， like music， too often relaxes， then weakens， then perverts the simpler human perceptions.

Here are two versions of translation of the excerpt.

大城市具有自身种种诱人的花招，并不亚于那些教人学坏的男男女女，当然人比社会微小得多，也更富于人情味。社会具有巨大的影响力，能像最老于世故的人才可能想到的甜言蜜语一样乱人情怀。都市的万点灯火比起情人脉脉含情的迷人眼神来，那魅力是不差分毫的呢。可以说，有一半涉世未深的纯洁心灵是被非人为的影响力带坏的。城市里喧闹的人声和热闹的生活，加上鳞次栉比的楼房建筑，在令人惊愕的同时，又令人怦然心动，教给人们模棱两可的生活意义。这种时候，如果没有人在她们身边轻声告诫和解说，又有什么谎言和谬误不会灌入这些不加提防的耳朵里去呢？头脑简单的年轻人看不清生活中的那些虚假外表，而为它们的美所倾倒，就像音乐一样，它们先令人陶醉松弛，继而令人意志薄弱，最后诱人走上岐路。

城市生活所具有的欺骗性可不比那些诱惑人性弱点的小东西少到那里去。它儼然就是一个学识高深之人，浑身四处散发着无穷的魅力。璀璨的点点夜灯就如求爱者的眼神一样令人难以拒绝。这里高楼林立，歌舞升平，人声鼎沸，所有的这些东西无不都在向年轻人隐隐约约散发着诱惑力。有一半年轻人的坠落便是这些超自然力的杰作。如果身边没有人给予必要的警示，那些稚嫩的心灵如何能抗拒得了这些东西啊！他们根本无法对这些东西进行分辨，这些浮华的城市之美就像音乐一样，它首先是让人的警觉松弛下来，然后再进一步将其削弱，最后把人引入歧途。

Its self-evident that the first version inspires us to resonate with writer while the second version， in spite of similarity in form， is far from lifelikeness.In other words， hidden spirit behind words seems to be of great significance. The priority is that the translator should be the one that fully enjoys the similarity in spirit. Take the excerpt for example， the difference of two versions simply lies in details， maybe a few words could tell. In the first version， the translator conveys more desirable feelings and ambiguous atmosphere through words， like 脉脉含情、怦然心动，in comparison， the second version is somewhat similar to exposition which tends to be rigid. Specifically， the expression like 歌舞升平 could hardly reach readers， which appears to be pretentious and out of sympathy with tone of the text.

Besides， according to Lin Yutang， translation is a kind of personality literature. However， the second version is more like a translation assignment without personality. In this way， it leaves a trail of translation instead of literature.

Conclusion

To suffice it， both similarity in form and similarity in spirit should be taken into consideration. However， spirit in similarity is of more significance which tends to be ignored and harder to achieve.

Translation is like the art. Lin Yutang considered that the beauty of translation should be given attention to.An ideal translator should take his work as a fine art.It is obvious that Lin treated translation as a fine art，treated translation with an artistic psychology，and translated works with an artistic skill just like his enjoyment of life and aesthetic psychology.The“beauty”standard advocated by him received perfect unification with his character，temperament and life attitude.

Translation has everything to do with writers and translators spirit. In other words， translation is more about personality than words. The good advice is that we should keep it in mind that form and spirit are inseparable.

References：

[1]竇金明.从“形似”，“神似”两方对<浮生六记>林语堂译本的审美分析.

[2]刘慧梅.小议译诗的“神似”与“形似”[J].外语与外语教学， 2004（8）.

[3]李娜.求真求雅形神兼备[J].湖南文理学院学报（社会科学版）.