莎士比亚戏剧在中国常译常新,不同译家基于自身实践留下了各异的翻译话语,它们是中国翻译话语体系的重要组成部分,但当前研究普遍聚焦差异对比而缺少彼此传承探索。基于相关翻译档案,比较了朱生豪与许渊冲莎剧翻译话语并探究后者对前者的传承,首先通过译者前言、译者评论等史料归纳“神韵”和“创译”内涵并总结后者对前者的传承关系,再基于两位译者《哈姆雷特》翻译手稿探讨传承性在翻译实践中的表现,并通过译者传记、译者书信等材料寻求解释。研究发现,在翻译论述上,“创译”对“神韵”的传承体现在注重译文的文学性和艺术性;而在翻译实践中,翻译手稿修订处生动地呈现出两位译家对可读性和可演性的追求。

Frequent retranslations of Shakespeare in China have contributed to different discourses on translation and they are important components of the system of Chinese discourse on translation, however, less attention has been paid to the relationship between different translation discourses. Based on translation archives, this article analyzes the succession of Xu Yuanchong’s discourse on translation to that of Zhu Shenghao. First, connotations of “Spiritual Pursuit” by Zhu Shenghao and “Creative Translation” by Xu Yuanchong are summarized through translator’s prefaces or comments with the succession relationship explored; then the relationship is further investigated on the practice level using Zhu’s and Xu’s translation manuscripts of Hamlet with explanations sought via translator’s biography, correspondences and so on. It is discovered that the succession of “Creative Translation” to “Spiritual Pursuit” is reflected from the emphasis on the literacy and artistry of the translation, while the relationship is shown by the readability and performability based on revisions on their translation manuscripts.