淺析《哈姆雷特》朱生豪譯本中的概念隱喻翻譯

ABriefAnalysisofConceptualMetaphorTranslationinZhuShenghao’sVersionofHamlet淺析《哈姆雷特》朱生豪譯本中的概念隱喻翻譯摘要《哈姆雷特》是英國(guó)文學(xué)史上最杰出的戲劇家威廉·莎士比亞創(chuàng)作的四大悲劇之一，在世界文學(xué)史上享有盛名。《哈姆雷特》根據(jù)當(dāng)時(shí)經(jīng)典的丹麥故事改編而成，為了把主人公哈姆雷特塑造成為悲情式的英雄，同時(shí)也為了深刻揭示當(dāng)時(shí)黑暗的社會(huì)現(xiàn)實(shí)，莎翁在作品中使用了大量的概念隱喻。概念隱喻不僅是一種語(yǔ)言形式，也是人類(lèi)體驗(yàn)世界的認(rèn)知和思維方式，它深深根植于人類(lèi)生命，是塑造人物、反映文學(xué)作品主題的重要手段。因此，基于對(duì)《哈姆雷特》的深刻理解，對(duì)朱生豪譯本中概念隱喻的翻譯策略進(jìn)行討論，旨在淺析《哈姆雷特》朱生豪譯本中概念隱喻的翻譯策略的應(yīng)用及其在漢語(yǔ)中構(gòu)建過(guò)程，以期對(duì)存在概念隱喻現(xiàn)象的莎士比亞戲劇及其它文學(xué)作品的翻譯有所幫助。本文首先介紹了概念隱喻的定義和《哈姆雷特》的翻譯現(xiàn)狀，在討論《哈姆雷特》朱生豪譯本中所運(yùn)用的概念隱喻翻譯策略之后，進(jìn)一步分析其隱喻概念在漢語(yǔ)中的構(gòu)建和翻譯過(guò)程。關(guān)鍵詞：概念隱喻；翻譯策略；構(gòu)建過(guò)程AbstractHamlet

is

one

of

the

four

tragediesofWilliam

Shakespeare,the

mostoutstandingdramatistinthe

history

of

English

literature.

Hamlet

is

based

on

theclassicalDanishstory

ofthe

time.

In

order

to

make

Hamlet

a

tragic

hero

and

revealthe

dark

socialrealityofthattime,Shakespeareusedalargenumberofconceptualmetaphorsinhisworks.Conceptualmetaphor

is

not

only

a

matter

of

languagebutalsocognitionanda

way

ofthinkingfor

human

beings

to

experience

the

world.Itdeeplyrootsinhumanlife,becomingavitalmethodtodepictfiguresandrevealthemesofliteraryworks.Therefore,basedonadeepunderstandingofHamlet,thispaperdiscussesthetranslationstrategiesofconceptualmetaphor

in

Zhu

shenghao’stranslation.AndthepurposeistobrieflyanalyzethewayinwhichthesenseofconceptualmetaphorsareconstructedandtranslatedintoChinese.ItmaybeconducivetotheChinesetranslationofShakespeare’sdramasandotherliteraryworkswhichcontainconceptualmetaphors.ThispaperfirstlyintroducesthedefinitionofconceptualmetaphorandcurrentsituationsoftheChinesetranslationsofHamlet.HowthesenseofconceptualmetaphorsareconstructedandtranslatedintoChinesewillbefurtheranalyzedafterdiscussingZhu

shenghao’stranslationstrategies.Keywords:Conceptualmetaphor;translationstrategies;constructingprocessContentsTOC\o"1-3"\uTOC\o"1-3"\u1.Introduction IntroductionHamletisShakespeare’smostnotedtragedy,standingforthehighestachievementofthewholewesternRenaissanceliterature.Hamlet,adaptedfrom

theclassicalDanishstoryofthetime,wasnicknamedbyEliotas“MonaLisainliterature”andbecameoneoftheearlytranslationofShakespeare’sworkstoChina.Shakespeareusedalotofconceptualmetaphorsin

his

worksinordertomakeHamletatragicheroandrevealthedarksocialrealityofthetime.Conceptual

metaphor

deeplyrootsinourdailylife,becomingavitalmethodtodepictthefiguresandrevealthethemesofliteraryworks.IntheoriginalworkofHamlet,therearelotsofconceptualmetaphoricalexpressions,whichareextremelyfamousallovertheworld.Itisparticularlyimportanttosuccessfullyconveythemetaphoricalmeaningbetweenthelinestothetargetlanguagereaders.ThusanumberofscholarshaveemergedtostudyandcriticizethemetaphoricalexpressionsintheChinesetranslationsofHamlet.SincethefirstpublishedtranslationofTianHaninJuvenileChinain1921,ithasbeentranslatedbyseveralgenerationsoffamousChinesetranslators,includingZhuShenghao,LiangShiqiu,FangPingandBianZhilin.Thepersonalcharacteristicsofthefourtranslatorsareeasilyidentifiedandtheirtranslationstyleiscompletelydifferent.Althoughthecontentoftranslationsissimilar,strategiesadoptedaredifferentintranslation.Therefore,thispaperisintendedtobrieflyanalyzethewayinwhichthesenseofconceptualmetaphorsareconstructedandtranslatedintoChinesebydiscussingZhuShenghao’stranslationstrategies.ItmaybeconducivetotheChinesetranslationofShakespeare’sdramasandotherwriters’literaryworkswhichcontainconceptualmetaphors.ConceptualmetaphorandtheChinesetranslationofHamletZhangYa(2010:38)hassaidthatasafundamentallinguisticformofhumanlanguage,themetaphorhasgonethroughalongtermevolution.Bytheendofthetwentiethcentury,themetaphorhasbeendevelopeduptoacognitiveaspect.Becauseofagreatmanymetaphoricalexpressionsinitanditsworld-renownedfame,Hamlethasbeenstudiedandtranslatedbyseveralgenerationsofoutstandingtranslators.LakoffandJohnson(1980:14-32)thinkthatconceptualmetaphorisacognitionandthinkingmodelofexperiencingtheworldexceptforamatteroflanguage.Hence,theresearchesonconceptualmetaphortranslationareimportant.2.1ConceptualmetaphorLakoffandJohnsonarethefounderswhoinitiallyputforwardconceptualmetaphorinMetaphorsWeLiveBy.Lakoffalsolaysthefoundationofconceptualmetaphor.Conceptualmetaphortheorybelievesthatmetaphorisactuallyamappingbetweensourcefieldandtargetfield.Mappingreferstothecorrespondenceoftwoconceptualfieldsnotamirroroftwowordsortwosentences.Sourcefieldusedtobeconcretethingswithwhichpeoplearefamiliar,suchas“journey”.Targetfieldrepresentsabstractthingswhicharedifficulttounderstand,suchas“l(fā)ove”.Mappingisshowingtheabstractimagefromthesourcefieldwiththehelpoffamiliarimagefromthetargetfield.Forexample,“l(fā)oveisajourney”.Thereareseveralfollowingmappings:lovers－tourists;loverelation－thesamesightseeingcar;thesameobjectiveinthelove－thesameend;difficultiesinlove－obstructionsinthetrip.Tosomedegree,thesourcefieldandthetargetfieldsharethesameorsimilarmeanings,soareasonablemappingcanbeformedinreaders’minds.Thatis,loveislikeajourney;twostrangerstakethesametouringcartowardsthesamedestination,encounteringmanyobstructions.Accordingly,readerscangrasp“l(fā)ove”deeply.Franklyspeaking,“metaphoristorefertoanobjectbymeansofanother”(LiuYibin,2011:60).Essentially,metaphorisatoolbywhichhumansunderstandandconceptualizetheworldaroundthemoramethodbywhichhumansperceivethingsandconstructconceptualsystems.Metaphoricalstructurecontainsconceptualsystemandactionandlanguagesystemsbasedontheformer.Therearemanymetaphoricalexpressionsinlanguagesystembecauseofconceptualmetaphorinhumans’conceptualsystem.Contemporarycognitiveopinionofmetaphor(1980)holdsthattheconceptualmetaphorsystemhasuniversalityanddiversity.Ontheonehand,humancognitiveactivitiesarerootedineverdayphysicalexperiencewhichisthesameindifferentcountries.Therefore,itisreasonabletoassumethatthereisauniversalmetaphoricalconcepts.Ontheotherhand,sincephysicalexperiencecannotbeindependentofaspecificcultureandsociety,itisreasonabletoinferthatthereshouldbedifferencesinmetaphoricalconceptualsystemsindifferentcultures.Translatingseemstobecode-switchingbetweentwosystems.Actually,thereisanextremelycomplicatedwayofthinkingbehindtranslation.Duetotheuniversalityanddiversityofconceptualmetaphorsystem,translatorsinthesamelanguagecangeneratedifferentunderstandingsofonething.InordertoinvestigateandinterprettheconceptualmetaphortranslationstrategiesadaptedinChinesetranslationtextofHamlet,itisnecessarytotakeacomprehensivestudyfromthecognitiveperceptive.2.2TheChinesetranslationofHamletFirstofall,HamletisthelongestplayinShakespeare’sdramaswith36classicalmetaphorsand140proverbsquotedandweighsreligionmost.TheBibleismentioneddirectly39timesandtheword“God”isusedforcrying,praying,cursingandswearing41timesinthisplay.Secondly,Englishbeingatransitionperiod,thousandsofFrenchandLatinwordshaveenteredEarlyModernEnglish.Nomatterinvocabularyorgrammar,EnglishretainssomemedievalfeaturesandattachessomeelementsofEarlyModernEnglish.Overyearsoftimeandspace,thesealltogethermakeitdifficultforsourceandtargetreaderstoperceivethemetaphorsinHamlet’soriginaltext,nottomentionconstructandinterpretthem.Hamletexpressesthebeautyanduglinessoflife,thejoyandsadnessoflife,thegreatnessandmeannessoftherealmoflifeinprofoundandlivelylanguage,becomingoneoftheearlytranslationofShakespeare’sworkstoChina.LotsofscholarshaveemergedtostudyandcriticizethemetaphoricalexpressionsinthetranslationsofHamlet.Amongthem,ZhuShenghaoisexcellent,influentialandtypical.Amongthetranslations,ZhuShenghao’sversionofHamletcannotbeignored.Forthetimebeing,Zhu’stranslationhasbeenstudiedandappreciated.3.TranslationstrategiesofconceptualmetaphorinZhushenghao’sversionofHamletAfteracomprehensivestudyfromthecognitiveperceptive,ZhuShenghao’stranslationstrategiesofconceptualmetaphorcanbeclassifiedintotwoaspects.Accordingtothefrequencythattheconceptualmetaphoroccursinbothlanguages,thefirstaspectisdividedintotwobranches:reproducingthesameimageintheTLandreplacingtheimageintheSLwiththestandardTL.Concerningcultureandtypesoftext,thesecondaspecthasthreebranches:conversionofmetaphortosense,deletionandtranslationofmetaphorbysimile.ThefollowinganalysisofZhu’stranslationstrategieswillbedonebasedonthewayinwhichthesenseofconceptualmetaphorsareconstructedandtranslatedintoChinese.3.1MetaphorintheSLtranslatedwithmetaphorintheTLWhenaconceptualmetaphorinsourceandtargetlanguageshasthesameconceptualmeaning,thesameexperienceorsimilarculturalbackground,whichmakesithaveasharedconceptandmappingintwolanguages,thereisnodifficultyforthetargetreadertounderstandthesourcelanguage.Inthiscase,“conceptualmetaphorinsourcelanguagecanbetranslatedwiththesameorsimilarmetaphorintheTL”(ZhangYan,2010).Therefore,ifthereisthesamemetaphorinthetargetandsourcelanguages,ZhuchoosestoreproducethesameimageintheTL.Whileifmetaphorinsourcelanguageissimilartotargetlanguage,ZhuchoosestosubstitutetheimageinSLwiththenormative.3.1.1ReproducingthesameimageintheTLWhilethereisthesamemetaphorinbothlanguages,itisallowedtocopythesameimageintotheTL.Althoughtherearenotalargenumberofidenticalexpressionsbetweenthetwolanguages,thereareafewequivalentexpressionsofwordmeaning.Inthiscase,amoreprofoundunderstandingcanbeformedinthereader’smindbytranslatingdirectlyintowhatthereaderhasalreadyunderstood.Example1TheEnglishoriginal:Indeeditgoessoheavilywithmydispositionthatthisgoodlyframe,theearth,seemstomeasterilepromontory;thismostexcellentcanopy,theair,lookyou,thisbraveo’erhangingfirmament,thismajesticalrooffrettedwithgoldenfire,why,itappearsnootherthingtomebutafoulandpestilentcongregationofvapours.(Shakespeare,1998:50)TheChinesetranslation:在這一種抑郁的心境之下，仿佛負(fù)載萬(wàn)物的大地，這一座美好的框架，只是一個(gè)不毛的荒岬；這個(gè)覆蓋眾生的蒼穹，這一頂壯麗的帳幕，這個(gè)金黃色的火球點(diǎn)綴著的莊嚴(yán)的屋宇，只是一大堆污濁的瘴氣的集合。（Zhushenghao,2011:79）Hamlet’stwofriendsweretakenadvantageofbyClaudius.TheywereorderedtoseeifHamletwasreallymad.Theabovelinesweresaidbyhamletafterheknewtheirattempt.Inthissection,theauthorusesseveralconceptualmetaphorstoexpressHamlet’sdissatisfactionandcriesinthefaceofdifficultsituationsandhisstrongwishtochange.“Theearth”iscomparedto“goodlyframework”and“sterilepromontory”;“Thesun”iscomparedto“goldenfire”;“Thefirmament”iscomparedto“majesticalroof”,“excellentcanopy”and“afoulandpestilentcongregationofvapors”(Cuiyanhua,2015:15-16).Allthesemetaphorscanshowthetragichero’sindignation.Helongsforreform,changeandbreakingupofthedarkworld.Inthisworld,the“goodlyframework”hasbecomethe“sterilepromontory”andnothingbeautifulexists.The“foulandpestilentcongregationofvapors”isdifficulttodissipate.Theseconceptualmetaphorsstronglydisplaytherevengeflameinthehero’sheart.Intheprocessoftranslation,itisapieceofcakeforthereaderstofeelthehero’sinnerworldbyretainingtheoriginalimageandliterallytranslatingthemetaphor.Example2TheEnglishoriginal:Thisisth’imposthumeofmuchwealthandpeace.Thatinwardbreaks,andshowsnocasewithoutWhythemandies.(Shakespeare,1998:101)TheChinesetranslation:這完全是因?yàn)閲?guó)家富足生平了，宴安的積毒蘊(yùn)蓄于內(nèi)，雖然已經(jīng)到了潰爛的程度，外表上一點(diǎn)看不出致死的原因來(lái)。（Zhushenghao,2011:168）Inthisoriginal,theword“imposthume”meansthatpustulegrowinginsidethebodywillcausepainandscare.Itisavirtualpsychologicaldiseasebasedon“EMOTIONISDISEASE”.ThemetaphordescribedDenmark’scorruptionandClaudius’crime.CorruptioncorruptsDenmarkandeventhewholesocietyliketoxicsores.What’sworse,Denmark,stronginappearancebutweakinreality,presentsnocauseofhuman’sdeath.BothChineseandEnglishhave“disease”toindicate“emotion”.Therefore,suchnegativefeelingsasunhappy,unease,pain,scareandetc.willbeunderstoodwhenthediseaseimageisrepresentedontothefeeling.Thus,intheprocessoftranslation,itiseasyforChinesereaderstounderstandpainandunease,andfulfilltheirexpectationtothetragedyiftheword“imposthume”istranslatedinto“積毒潰爛”.Example3TheEnglishoriginal:OHamlet,thouhastcleftmyheartintwain.(Shakespeare,1998:157)TheChinesetranslation:啊，哈姆雷特，你把我的心劈成兩半了?。╖hushenghao,2011:91）TheabovesentenceissaidtoHamletbyGertrude.GertrudecannotstandthesharpcriticizesfromHamlet,becauseHamlet’swordsaresopainfulthattheydeeplystabherintheheartlikeswords.Intheoriginal,“cleft”and“heart”areconceptualmetaphors.Theirbasicconceptualmetaphoris“ARGUMENTISWAR”,whichcanentailamoreconcretemetaphor“FORCEFULWORDSARESHARPENWEAPONS”,likeknife,swordandaxe.Englishmenoftenviewforcefulwordsasweaponstoattackthepartnerandwininthebattle.Atthesametime,Chinesecompare“argument”as“war”.Anoldsaying,“刀子嘴豆腐心”representswhatpeoplesaidseemstobeweaponsthatcanhurttheirpartner.Bothlanguagereadershavethesameconceptandmapping,soZhutranslated“cleft”into“劈”intheprocessoftranslation.3.1.2ReplacingtheimageintheSLwiththestandardTLReplacingtheimageintheSLwiththestandardTLisequivalenttoremakeanimageintheTLthatcanbeunderstoodbytargetreaders.Example4TheEnglishoriginal:Formurder,thoughithavenotongue,willspeak.Withmostmiraculousorgan.(Shakespeare,1998:60)TheChinesetranslation:因?yàn)榘禋⒌氖虑闊o(wú)論干的怎樣隱秘，總會(huì)借著神奇的喉舌泄露出來(lái)。（Zhushenghao,2011:98）“Organ”hasthreemeaningsindictionary:apartofyourbodythathasaparticularpurposeorfunction,alargemusicalinstrumentwithpipesofdifferentlengthsthroughwhichairisforcedandanorganizationthatpublishesthespeechandnewsanditmeansamanwhoknowsthesignificantsecret.TheabovewordsareHamlet’smonologue.Atthattime,Hamletdidn’tcarryouthisrevengeplanbecauseoflackingClaudius’crimeevidence.ButHamletwaseagerforamanwhoknewthetruthofhisfatherbeingmurderedandlongedforrevengeforhim.Inthiscase,“organ”referstoamanwhoknowsthesignificantsecret.Intheprocessoftranslating,“喉舌”translatedfrom“organ”isfamiliarwiththetargetreaderstosubstitutetheimageinthesourcelanguageandtargetreaderscaneasilyunderstandthemetaphoricalmeaning.Example5TheEnglishoriginal:Thustwicebefore,andjumpatthisdeadhour,Withmartialstalkhathhegonebyourwatch.(Shakespeare,1998:)TheChinesetranslation:前兩次它也是這樣不先不后地在這個(gè)靜寂的時(shí)辰，用軍人的步態(tài)走過(guò)我們的眼前。（Zhushenghao,2011:7）Intheexample,the“martialstalk”isaideationalmetaphor.InEnglishculture,soldiersmustwalkwithheadsholdingup,whichlookslikeaghost.Intheexample,the“stalk”iscomparedtothewalkingpaceofghost,while“stalk”inChineseoftenreferstotheaveragemanormostofthepeople.Whenitcomestosoldiers,“wind”and“pinetree”areusedtodepicttheirpaceorposture.Nowthat“stalk”insourceandtargetlanguageshasadifferentmetaphoricalmeaning,theimagecannotbekeptbutreplacedwithstandardChineseword.Therefore,intheprocessoftranslating,itiseasyfortargetreaderstounderstandbyreplacing“stalk”withthefamiliarimage“軍人的步態(tài)”.Example6TheEnglishoriginal:HimselftheprimrosepathofdalliancetreadsAndrecksnothisownrete.(Shakespeare,1998:21)TheChinesetranslation:自己卻在花街柳巷流連忘返，忘了自己的箴言。（Zhushenghao,2011:29）“Primrose”isakindofflower.AlthoughbothEnglishandChinesecompareflowerstoloveandwomeninsourcedomain,thingsbecomedifferentintargetdomain.Chinesepoetsoftenmap“flowers”ontogirlswhoarepurewithgoodcharacteristics.Onthecontrary,“Flower”and“willow”inEnglishareconceptualizedaswomenwhohaveanengagementinsexualservice.Here,“primrosepathofdalliancetreads”metaphoricallyreferstogoingtowardalifethatisfullofpleasurewithoutconstraints.OpheliasaidtheabovesentencestoLaerteswhoisatypicalplayboyinlove.ButLaertesshouldthinkthatHamletisplayboyandtakeswomenastoys.ThisisthebestironytoLaerteshimself.Therefore,intheprocessoftranslating,theimage“primrosepathofdalliancetreads”inthesourcelanguagewasreplacedwiththestandardtargetlanguage“花街柳巷”.3.2MetaphortranslatedintozerometaphorexpressionCulturalgaphasgreatinfluenceinlanguages.Itismoreobviousinmetaphoricalexpressions.Usually,thereisnoequivalentwordsintheTL.ZhaoYanfang(2001:34)hassaidtwolanguagessharethepsychologicalsimilarity,whichinmetaphoristheproductofpeople’scognition.Bell(2005:1)calledthattranslatorsattemptedtomakethetargetaudiencesdothesamecognitivereactionastheoriginalaudiencesdo,makethetargetreaderstouchtheuniquecultureofthesourcelanguageandenjoytheoriginallanguage’smarvelousmetaphoricaleffect.Therefore,ZhuShenghaoemployedthefollowingthreetranslationmethods.3.2.1ConversionofmetaphortosenseConversionofmetaphortosensereferstodiscardingthemetaphoricaldevicesinthesourcelanguageanddirectlytranslatingthemeaningtobeexpressedinthetargetlanguage,thatis,paraphrasing.Example7TheEnglishoriginal:WhydoyougoabouttorecoverthewindofmeAsifyouwoulddrivemeintoatoil?(Shakespeare,1998:80)TheChinesetranslation:為什么你們?cè)鯓忧Х桨儆?jì)窺探我的隱私，好像一定要把我逼進(jìn)你們的圈套。（Zhushenghao,2011:131）InEnglish,“recoverthewind”issuitableforhunting.Itcanbeusedwhenthehoundisstandinginthequadruped’sway.Atthismoment,RosencrantzandGuildensternconsideredHamletasthequadruped.And“drivemeintoatoil”alsoimpliesHamletwasattractedtothetrapspeciallydesignedbythem.RosencrantzandGuildensternwantedtoknowHamlet’sprojectofkillingtheking.ThereisnosameorsimilarmetaphoricalexpressioninChinese,hence,paraphraseisadoptedtopresentthemeaningofspyingintotheprivacyofHamlet.Therefore,“recoverthewind”and“drivemeintoatoil”areparaphrasedinto“窺探我的隱私”and“逼進(jìn)你們的圈套”.Example8TheEnglishoriginal:Withwindlassandwithassaysofbias,Byindirectionsfinddirectionsout.(Shakespeare,1998:37)TheChinesetranslation:往往用這種旁敲側(cè)擊的方法，間接達(dá)到我們的目的。（Zhushenghao,2011:57）Intheoriginal,“windlasses”and“assaysofbias”areconceptualmetaphors.Theirtargetfieldistheconceptoffulfillingthegoal.“‘Windlasses’meanscircuitouscourses.The‘a(chǎn)ssaysofbias’isatermfrombowling,whichmeansattainingtheindirectattemptsbythecurvedcourse”(Cuiyanhua,2015:28).AndthesentencesarefromPolonius.ReynaidoinPolonius’housewassenttoFrancetoprobetheactionofLaertes.TheimagethatPoloniuswasacraftymansprangontothepaper.Hence,intheprocessoftranslating,“windlasses”and“assaysofbias”areparaphrasedinto“旁敲側(cè)擊的方法”and“間接”respectively.Example9TheEnglishoriginal:He,beingremiss,Mostgenerous,andfreefromallcontriving,Willnotpersuethefoils,sothatwithease,(Shakespeare,1998:116)TheChinesetranslation:他是個(gè)粗心的人，一向厚道，想不到人家在算計(jì)他，一定不會(huì)仔細(xì)檢視比賽用的刀劍的利頓。（Zhushenghao,2011:196）Indictionary,“Foils”meansalightslenderflexibleswordtippedbyabuttonandusuallyhavingabell-shapedguard.Hereitmetaphoricallyreferstoaswordwhichisblunt.ItiswellknownthatswordsmanshipisauniqueEuropeanculture.Ononehand,Chinesereadersdon’tknow“foils”isakindofbluntsword.Ontheotherhand,itisaveryimportantsceneintheplaythatClaudiuscarriedouthiswickedschemetokillHamletbyaskingLaertestouseaswordunbatedwhileHamlet’swordisblunt.InordertoshowreaderstheschemeofClaudius,Zhuchoosestoparaphrase“foils”into“利鈍”.Intheprocessoftranslation,althoughthiskindoftranslationlosestheimage,itsucceedsintriggeringtheexpectationofreadersoff,soitisgoodandeffective.3.2.2DeletionWhenthemetaphoricalcomponentexistsatthesametimewiththeexpressionsofthesamemeaningasametaphorintheoriginaltext,thetranslatorcanchoosetodeletethemetaphoricalpart.Becausewhenitcomestoabiggapinculturesandlanguage,translatorsareunlikelytoretaintheimageandparaphrase.Andifexplanatoryistoolengthy,targetreadersmaybemisunderstandtheoriginal.Inthiscase,deletionwillbeappliedintheprocessoftranslation.Example10TheEnglishoriginal:Thineevermore,mostdearlady,whilstthismachineistohim,HAMLET.(Shakespeare,1998:44)TheChinesetranslation:最親愛(ài)的小姐，只要我一息尚存，我就永遠(yuǎn)是你的?！防滋兀╖hushenghao,2011:68）Intheoriginal,“machine”isaconceptualmetaphorrepresentingHamlet’sbody,andimplyingthatHamlet'sloveforOpheliahasconqueredhissoulandmind.Hisbodyhasonlybecomeapileofuselessmachineparts.OnlyOphelia’slovecanrevivethismachine.Intheprocessoftranslation,ifthetranslatortranslatesitinto“機(jī)器”byliteraltranslation,itwillundoubtedlybringmisunderstandingandconfusiontoreadersinthetargetlanguage.Here,thetranslatoradoptsthetranslationmethodofdeletionandtranslates“machine”directlyinto“一息尚存”,sothatthetargetreaderscanaccuratelycapturethemeaningandbetterunderstandthehero’sloveforOphelia.Example11TheEnglishoriginal:Polonius:Givefirstadmittancetoth’ambassadors.Mynewsshallbethefruittothatgreatfeast.(Shakespeare,1998:41)TheChinesetranslation:請(qǐng)陛下接見(jiàn)了我的欽使，我的消息留著做盛宴以后的佳果美點(diǎn)吧。（Zhushenghao,2011:64）Intheoriginal,therearetwoconceptualmetaphors,“fruit”and“feast”.InAct2Scene2act,whenPoloniusplannedtoannouncethenewsthatHamlethadgonemad,theambassadorscamebackfromNorwaytoreporttothecourt.SoPoloniustoldthekingthat“mynewsshallbethefruittothatfeast”.And“fruit”referstothenewsthatthecauseofHamletbeingmadbyPoloniusandthe“grandfeast”wasmappedontotheambassadors’admittance.Themetaphorhereisjusttranslatedintoboringwords“盛宴以后的佳果美點(diǎn)”.Example12TheEnglishoriginal:ThatI,thesonofadearfathermurdered,Promptedtomyrevengebyheavenandhell,Must,likeawhore,unpackedmyheartwithwords.(Shakespeare,1998:595-597)TheChinesetranslation:我的親愛(ài)的父親被人謀殺了，鬼神都在鞭策我復(fù)仇，我這做兒子的卻像一個(gè)下流女人似的，只會(huì)用空言發(fā)發(fā)牢騷。（Zhushenghao,2011:59）Intheoriginal,“unpackedmyheartwithwords”isametaphorfromHamlet’smonologue.Hemissedagoodchancetoavengehisfatherandfinishedindepressedandanxiousinnerhesitation.Inthelines,Hamlet’scontradictoryisexpressedblanklyandtranslatedinto“只會(huì)用空言發(fā)發(fā)牢騷”sothatHamlet’scomplexmindisvividlydisplayed.Thetargetreaderscanabetterunderstandingaboutthat.3.2.3TranslationofmetaphorbysimileThesubstitutionmetaphorwithsimilemeanstopresentthemetaphorinthesourcelanguagebyasimileinthetargetlanguage.Therefore,Zhuchoosestoconversemetaphorintosimileandkeeporparaphrasethemetaphor.Example13TheEnglishoriginal:Andnothingisatalikegoodnessstill,Forgoodness,growingtoapleurisy,Diesinhisowntoo-much.(Shakespeare,1998:116)TheChinesetranslation:一切事物都不能永遠(yuǎn)保持良好，因?yàn)檫^(guò)度的善反會(huì)摧毀他的本身，正像一個(gè)人因充血而死去一樣。（Zhushenghao,2011:29）Intheoriginal,“pleurisy”isaconceptualmetaphormeaning“bravery”.InShakespeare’stime,peopleoftenconfuse“pleurisy”(氣促)with“pleurisy”(胸膜炎).Because“pleurisy”(胸膜炎)isanancientmedicalterm,itisnolongerusedintheUKtodayandhaslostthemeaningof“bravery”.Intheplay,ClaudiusofDenmarkfansLaertestokillHamletwithpoisontoavengehisfather.Shakespeareused“pleurisy”asametaphorforthedeterminationofrevenge.Duetothelackofculturalassociation,itisdifficultfortranslatorstoacquiresimilarconceptualmetaphorsintheTL.Therefore,intheprocessoftranslation,ZhuShenghao,afterfullyconsideringthedifficultyofreaderstounderstand,translatedthemetaphorintoasimile“正像一個(gè)人因充血而死去一樣”.Althoughthetargetreadersstillstruggletograspthemetaphoricalmeaning,thetranslationkeepstheimageof“pleurisy”likedisease,expressestheconceptualmeaningofdeterminationforavenge,andconveystheextendedmeaningthatitisClaudiusthatincitesLaertestokillHamlet.Example14TheEnglishoriginal:AndinthemornandliquiddewofyouthContagiousblastmentsaremostimminent.(Shakespeare,1998:41-42)TheChinesetranslation:朝露一樣晶瑩的青春，常常會(huì)受到罡風(fēng)的吹打。（Zhushenghao,2011:8）“dew”comesfromtheBible.“Fromthewombofthemorning,likedew,youthwillcometoyou”(Psalm,2007).Atthistime,youthislikedew;“dew”isthesourcefieldand“youth”thetargetfield.InChinese,“youth”isoftencomparedto“sunrise,budsinblooming,flowersinblooming”andsoon.Peopleoftencomparedewinthemorningto“youth”andmatchitwithsuchsentencepatternsas“像……一樣”and“如……一般”.Therefore,intheprocessoftranslation,ZhuShenghaotranslated“dewofyouth”into“朝露一樣晶瑩的青春”,sothatthetargetlanguagereaderscanreceivethesamecontextmeaningastheoriginal.Example15TheEnglishoriginal:AndamostinstanttetterbarkedaboutMostlazarlikewithvileandloathsomecrust.(Shakespeare,1998:30)TheChinesetranslation:我全身光滑的皮膚上便立刻發(fā)生無(wú)數(shù)皰疹，像害著癩病似的滿(mǎn)布著可憎的鱗片。（Zhushenghao,2011:44）In

the

original,

the

word

“l(fā)azarlike”

is

a

conceptual

metaphor,

referring

to

scares

coveringthebodylikeLazarus.InthefableoftheRichManandLazarlike,theword“l(fā)azarlike”containsnotonlythe

terrible

image

of

apersonhavingaskindiseasebutalsotheimageofpeoplelivinghardintheir

lifetime

butenjoyingpostmortalhappiness.Inthetext,“l(fā)azarlike”metaphoricallydescribes

the

tragicsituationofthepoisoningofthelatekingHamlet.Becauseofdifferentcultures,theories,religionsandcognitivemodels,thetargetreaderscannotundersta