时间：2022-07-06 04:01:10
【Abstract】As an master of cultural traditions of classical and modern Chinese and English，Mr.Qian zhongshu presents the“sublimation”theory，which reflects his unique insight into translation theories.It inherits traditional Chinese art philosophy on the one hand and absorbs Western aesthetics on the other.Besides works as a translation criterion，sublimation also reveals the nature of literary translation，i.e.，the unity between original stylistic excellence and the translator's artistic recreation techniques.
【Key Words】Qian Zhongshu；translation theory；sublimation
1 INTRODUCTION
Qian was an advocate of cultural fusion in terms o f translation.He believed in the academic merging of the past and present，and Chinese and Western cultures，and encouraged a dualistic approach.Removing the barriers between the past and the present，between Chinese and Western cultures and between different disciplines of the humanities is a feature of Qian’s translation practice.
2 QIAN ZHONGSHU’S TRANSLATION THEORY
2.1 Sublimation ——The Highest Ideal of Translation.
Qian regards“sublimation”as the ideal of literary translation especially in poetry translation.In Qian’s opinion，“sublimation”has the following connotations：
First，it implies losses and damages，changes and non-changes.What is lost or changed is the original linguistic form，whereas its content，or style and spirit is kept.
Second，a translation should be both“expressive”and grammatical.While changing the form，a translator should try his or her utmost to avoid“any evidence of artifice by virtue of divergences in language and speech habits”.
Third，“sublimation”and“misinformation”are contradictory to each other.A perfect translation should be“transmigration of souls”of the original，so faithful to the original as to be void of any deviance，or，to be more exact，any misinformation.
3 THE APPLICATION OF SUBLIMATION IN QIAN’S TRANSLATION
Qian’s works are usually good embodiment of Chinese and western cultures.He himself did very well in putting the sublimation theory into practice in his own translation works.Take the following sentences translated by Qian for example：
One two three four，/ we don’t want the war！/five six seven eight，/we don’t want the state！
一二三四，战争停止！五六七八，政府倒塌！
Tomorrow come never.明日遥无日。
These translations are full of creativity which is another feature of Qian's translation，so they cannot simply be judged by applying foreignization or domestication.
4 QIAN’S THEORY OF“SUBLIMATION”VERSUS YAN FU’S“THREE DIFFICULUTIES OF TRANSLATION”
In A Chapter in the History of Chinese Translation，Qian talked about Yan Fu，who presented three translation difficulties“faithfulness，expressiveness and elegance”.Qian pointed out that of the three standards the faithfulness is the most important and faithfulness in translation should contain expressiveness and elegance.
Qian’s“sublimation”is filled with creativity.As the highest ideal and ultimate pursuit of literary translation，sublimation is a real breakthrough and further development of Yan Fu’s“three difficulties of translation”.
5 CONCLUSION
As a great translator，Qian Zhongshu enriched traditional translation theories and created new theories.The sublimation theory is the core of the Qian’s translation theories and his work has drawn the attention of the translators for ages.
“Sublimation”prescribes the nature and task of translation，rectifies people’s misconceptions on the relationship between translation and creation as well as between literary study and literary translation，affirms the translator’s creativity and breaks through the traditional paradigm of thinking.Besides the sublimation theory，Qian also contributed much to the development of a translation theory system.His profound and provoking theory has given the Chinese translation circle much inspiration and enlightenment.
References：
[1]Qian，Zhongshu.Chapters of Pipe-awl View[M].Beijing：Zhonghua Shuju，1999：64-1101.
[2]Zhang，Liwen.A History of the Evolvement of Chinese Philosophical Categories[M].Beijing：People’s University of China Press，1988：434.
[3]聂友军.钱钟书翻译实践论[J].中国比较文学，2008（3）：33-46.