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海淀分局备案编号Connections out of quota从Toury的翻译规范看旅游资料的汉英翻译_文档下载
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从Toury的翻译规范看旅游资料的汉英翻译
２００８．０９（中旬刊）
从Ｔｏｕｒｙ的翻译规范看旅游资料的汉英翻译
（湖北民族学院外语学院４４５０００）
随着中国经济的飞速发展及旅游产业国际化进程的不断加快，旅游资料的翻译质量越来越受到人们的关注。
本文从Ｔｏｕｒｙ的翻译规范论角度探讨了旅游资料汉英翻译的变译规范及旅游景点名称的翻译规范。为译出高质量的旅游英语文本，旅游翻译工作者一定要本着严谨认真的态度，广泛阅读，勤查勤记，充分了解旅游资料的汉英翻译规范和英语国家的语言和文化规范，不断提高自身的业务素质，不断增强翻译规范的敏感度。
关键词旅游资料Ｔｏｕｒｙ翻译规范汉英翻译中图分类号：Ｈ３１５．９文献标识码：Ａ文章编号：１６７２－７８９４（２００８）０９－２４３－０２
旅游翻译涉及多种学科。从自然科学到社会科学，从天文地理到风土人情，从美酒佳肴到文化娱乐，从花鸟虫鱼到凌罗绸缎，从传说掌故到诗词歌赋，五花八门、包罗万象。中国历史悠久，地大物博，旅游资源非常丰富，如何把祖国绚丽多彩的自然景观和人文景观介绍给海外游客，以促进中国旅游产业的国际化，成为摆在旅游部门和翻译工作者面前一项重要和紧迫的任务。目前，中国的很多名胜风景的导游图、宣传广告、景点介绍及景观名称上都配了英译文，其中误译、错译及译文生硬、缺乏美感和感染力、高值文化信息传递不准确等现象随处可见。为进一步规范旅游资料的英译，切实提高旅游资料英译质量，笔者提出用Ｔｏｕｒｙ的翻译规范论来指导旅游资料的汉英翻译。
１．Ｔｏｕｒｙ的翻译规范理论介绍Ｔｏｕｒｙ（图瑞）是以色列著名的语言学家和翻译理论家，他第一个从翻译研究的角度系统地研究翻译规范。Ｔｏｕｒｙ认为，翻译是受到社会文化规范限制的活动，其社会文化特点受多种因素限制。翻译规范是内在化了的规则，体现某一社会共享的价值观念对行为的制约，如什么是正确的，什么是错误的，什么是适当的，什么是不适当的，转化成在特定情况下正确的适当的翻译行为原则。翻译过程的所有决策主要是受翻译规范的支配。翻译规范在某种程度上可以说是译者在两种不同语言、文化、篇章传统规范之间取舍的产物。
Ｔｏｕｒｙ根据社会文化限制翻译诸多因素的不同来源，把翻译规范区分为源语规范和目标语规范。在翻译过程中，译者可受原文及其规范支配，也可受目标语中使用的规范支配。如果译者遵循源语规范，其翻译策略就可能是追求直译，结果可能导致与目标语规范不兼容的结果。如果译者遵循目标语规范，目标语中的语言文化和篇章传统等规范系统就被激活并充分发挥作用，译文的可接受性就会大大提高，但偏离原文则几乎不可避免。
Ｔｏｕｒｙ根据翻译的普遍性和具体性，把翻译规范分为元规范和操作规范两大类。元规范是指译者从宏观角度对翻译方针的抉择，如：篇章类型的选择、占主导地位的社会需要、时代条件、面向何种读者群等。操作规范涉及译者从微观层次对翻译技巧方面的考虑，它影响篇章中语言材料的分布方式、篇章结构和文字表述，因此也直接或间接地约束目标语篇章和源语篇章之间公认的关系，如哪
增些在转变中可能维持不变，哪些会发生变化。译文中所谓省略、
添、位移和篇章切分等都受到操作规范制约。操作规范可当作一种模式，每个模式都起限制作用，它允许某些选择而禁止另一些选择。操作规范可能是稍有变化的源语篇章规范（直译），也可能是纯粹的目标语规范或两者之间的某种妥协。一般来说，元规范在逻辑和顺序排列上优先于操作规范，因为译者首先要慎重考虑翻译什么和选择何种译本的问题。同时，两类主要规范之间既相互影响又互为条件。
Ｔｏｕｒｙ认为翻译规范是不断变化的。译者在翻译规范面前并非
翻译批评处于被动地位。相反，有些译者试图通过诸如翻译思想、
等方式促进翻译规范的重大变化，以便控制这些变化；另一部分人则根据变化着的规范不断调整自己的行为；还有少部分人抱着旧规范不放。这三种规范即所谓“前卫规范”、“主流规范”和“过时规范”。
Ｔｏｕｒｙ指出翻译规范的建立需通过两个主要途径：篇章和篇章外。（１）篇章：译文篇章是各种翻译规范的集中体现，是分析各种翻译规范的资料总库，是形形色色的规范之源泉。（２）篇章外：集半理论或评论性的观点为一体，如翻译的规定性理论和译者、编辑、出版人翻译活动所涉及人员对个别作品、译者或翻译“流派”的评价等。Ｔｏｕｒｙ的翻译规范论对翻译工作者具有重要的指导意义。
２．旅游资料的汉英翻译规范
当前，旅游资料的翻译现状并不乐观。有的译者倾向于逐字翻译，结果译文冗长乏味，令外国游客大倒胃口；有的译者随意对原
文信息增、删、并、改、创，导致旅游信息和文化信息失真，不利于我国文化的准确传播。旅游资料的英译应倾向于Ｔｏｕｒｙ所说的目标语规范，因为翻译的目的是吸引外国游客，译语须符合西方人的思维习惯和审美需求。
２．１旅游资料汉英翻译的变译规范
所谓变译（或“翻译变体”）是译者根据读者的特殊要求采用扩充、取舍、浓缩、阐释、补充、合并、改造等变通手段摄取原作中心内容或部分内容的翻译活动。旅游资料是一种特殊的应用文体，其翻译目的决定了变译是一种非常有效的翻译手段。但变译决不是随心所欲的变通，而要遵循一定的规范。
（１）对原文中的高值文化信息，可采用增译手段。中国的许多名胜古迹都与历史文化背景相关，翻译时必须考证有关历史史实和文化内涵等因素，以避免由于缺乏文化知识而造成的误译。如：
（桃花源）始建于晋，初兴于唐，鼎盛于宋，大毁于元，时兴时衰于明清，萧条于民国，渐复于解放后，大规模修复开发于１９９０。―《桃花源》画册
译文：Ｔａｏｈｕａｙｕａｎ（ｔｈｅｐｅａｃｈｆｌｏｗｅｒｓｏｕｒｃｅ）ｗａｓｆｉｒｓｔｂｕｉｌｔｉｎｔｈｅＪｉｎ
Ｄｙｎａｓｔｙ（２５６－４３９Ａ．Ｄ），ｂｅｇａｎｔｏｔａｋｅｓｈａｐｅｉｎｔｈｅＴａｎｇＤｙｎａｓｔｙ（６１８－７０９），ｆｌｏｕｒｉｓｈｅｄｉｎｔｈｅＳｏｎｇＤｙｎａｓｔｙ（９６０－１２９７），ａｎｄｗｅｎｔｔｏｒｕｉｎｉｎｔｈｅＹｕａｎＤｙｎａｓｔｙ（１２７９－１３６８）．ＷｉｔｈｕｐｓａｎｄｄｏｗｎｓｔｈｒｏｕｇｈｔｈｅＭｉｎｇａｎｄＱｉｎｇｄｙｎａｓｔｉｅｓ（１３６８－１９１１），ｉｔｗａｓａｌｍｏｓｔａｂａｎｄｏｎｅｄｉｎｔｈｅｔｉｍｅｓｏｆｔｈｅＲｅｐｕｂｌｉｃｏｆＣｈｉｎａ（１９１２－１９４９），Ｉｔｓｒｅｓｔｏｒａｔｉｏｎｗａｓｍａｄｅｆｒｏｍｔｈｅｙｅａｒ１９４９ａｎｄａｌａｒｇｅ－ｓｃａｌｅｅｘｐａｎｓｉｏｎａｎｄｄｅｖｅｌｏｐｍｅｎｔｂｅｇａｎｉｎ１９９０．原文中，“桃花源、晋、唐、宋、元、明清、民国”涉及中国一些历史史实，为了将这些文化信息准确地传递给西方的读者，译者必须查阅有关资料，清楚地了解相关的文化背景知识，然后将其用恰当的译语表达出来。
（２）根据接受者对信息和文化背景的了解程度，可对原文中的低值文化信息，一般的常识，次要累赘的细节描写，重复堆砌而又无实际意义的词句，在翻译中采用节译、译述等变译手段。如：
五大莲池有１４座火山锥，其中１２座是一万年以前先后形成的休眠火山。据文献记载：“摩尔根（今嫩江）东南，一日地中忽出火，石块飞腾，声振四野，越数月火熄”。“康熙５９年（１７２０）六七月间，忽然烟火冲天，其声如雷，昼夜不绝，声闻五六十里”。这场火山爆发前后可能延续了两年多时间。当时，从喷火口流出的岩浆把附近的小白河截成了五段，形成了５个互相毗连的火山堰塞湖。
译文：ＴｈｅｒｅａｒｅｆｏｕｒｔｅｅｎｃｏｎｉｃｖｏｌｃａｎｏｅｓａｔｔｈｅＦｉｖｅＢｉｇＡｄｊａｃｅｎｔＬａｋｅｓ，ｔｗｅｌｖｅｏｆｗｈｉｃｈａｒｅｄｏｒｍａｎｔｖｏｌｃａｎｏｅｓｆｏｒｍｅｄ１０，０００ｙｅａｒｓａｇｏ．
Ｔｈｅｆｉｒｓｔｅｒｕｐｔｉｏｎｏｃｃｕｒｒｅｄｉｎ１７２０．Ｉｔｈａｓｂｅｅｎｒｅｃｏｒｄｅｄｉｎｄｉｆｆｅｒｅｎｔｈｉｓ－ｔｏｒｉｃａｌｄｏｃｕｍｅｎｔｓ．Ｓｕｂｓｅｑｕｅｎｔｅｒｕｐｔｉｏｎｓｐｒｏｂａｂｌｙｌａｓｔｅｄｍｏｒｅｔｈａｎｔｗｏｙｅａｒｓ．ＴｈｅｉｒｌａｖａｃｕｔｔｈｅｎｅａｒｂｙＸｉａｏｂａｉＲｉｖｅｒｉｎｔｏｆｉｖｅｓｅｇｍｅｎｔｓａｎｄｈｅｎｃｅｆｏｒｍｅｄｆｉｖｅｂａｒｒｉｅｒｌａｋｅｓｔｈａｔｗｅｒｅｃｏｎｎｅｃｔｅｄｗｉｔｈｅａｃｈｏｔｈｅｒ．原文是说明火山锥和湖区的由来，其中引述的文献记载比较详细。其实，火山爆发在西方各国并不鲜见，且有文献记载，影视作品中常见到火山爆发的具体场景，因此在译文中可略去火山爆发的细节描写不译，只需简单译述，交代一下文献记载中火山爆发的时间就行了。译文中对这一细节处理的很恰当。再例如：
迪庆藏族自治州位于云南省西北部滇、川、藏三省交界处，这里有冰山雪川、江河峡谷、湖泊草甸，美丽而宁静。州内以藏族居民为
纳西族等２０多个民族，长期以来，这里各民族主，还居住着傈僳族、
和谐相处，创造了独特而灿烂的文化―山川秀美、民风淳朴、历史悠久、文化丰富，与詹姆斯？希而顿笔下的香格里拉极其相似。
译文：ＬｏｃａｔｅｄａｔｔｈｅｊｕｎｃｔｉｏｎｏｆＹｕｎｎａｎａｎｄＳｉｃｈｕａｎＰｒｏｖｉｎｃｅｓａｎｄ
ｔｈｅＴｉｂｅｔＡｕｔｏｎｏｍｏｕｓＲｅｇｉｏｎ，ｔｈｅｓｃｅｎｅｒｙｉｎｐｉｃｔｕｒｅｓｑｕｅＤｉｑｉｎｇ，ｆｉｌｌｅｄｗｉｔｈｇｌａｃｉｅｒｓ，ｄｅｅｐｃａｎｙｏｎｓ，ｍｅａｄｏｗｓ，ａｎｄｌａｋｅｓ，ｒｅｍａｒｋａｂｌｙｒｅｓｅｍｂｌｅｓｔｈａｔｏｆｔｈｅＳｈａｎｇｒｉ－ｌａｄｅｓｃｒｉｂｅｄｉｎＨｉｌｔｏｎ’ｓｎｏｖｅｌ．ＲｅｓｉｄｅｎｔｓｈｅｒｅａｒｅｍａｉｎｌｙＴｉｂｅｔａｎｓｗｈｏｃｏｅｘｉｓｔｐｅａｃｅｆｕｌｌｙｗｉｔｈｏｖｅｒ２０ｏｔｈｅｒｅｔｈｎｉｃｇｒｏｕｐｓ，
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　　Abstract：This paper is a comparison of Giles& version and Wang Baotong&s version of The Three-Character Classic from the perspective of Gideon Toury&s Translational Norms. Under the framework of preliminary norms and initial norms, factors influenced the selection of source text are discussed. Giles translates the book in order to help western missionaries learn Chinese and Chinese culture, while Wang Baotong&s translation is the outcome of his interest in poetry translation and the current hot tides of learning Chinese in the world. Then, reasons are found about Giles& adequate translation strategy and Wang&s acceptable strategy. According to operational norms, the tendency of Giles& literal translation and Wang&s liberal translation is observed at following aspects, which are translation of phrases, translation of historical stories and reproduction of Rhyme.
　　Key words: comparison, The Three-Character Classic, preliminary norms, initial norms, operational norms
　　摘 要：本文在图里的翻译规范下对比分析翟理斯和王宝童两人的《三字经》英译本。在预备规范和初始规范下，分析影响翟理斯和王宝童把《三字经》作为翻译对象的因素，以及两位翻译家各自在翻译时对相关翻译策略偏好。得出翟理斯主要是为了给当时的西方传教士提供学习汉语的资料而翻译；王宝童则是因为自身对诗歌翻译的喜爱和当今世界学汉语热而翻译《三字经》。翟理斯倾向于充足性的翻译；王宝童倾向于可接受性的翻译。在操作规范下，对比两本译作对《三字经》原文中专有名词、历史典故和韵律等方面的翻译处理方式，得出翟理斯倾向直译，而王宝童倾向意译。
　　关键词：对比分析； 《三字经》； 预备规范； 初始规范； 操作规范
　　1.Introduction
　　Gideon Toury is an Israeli scholar in Tel Aviv University. He put forward his well-known theory named as translational norms. He holds that these translation activities in different cultures have been influenced not only by systematic difference between languages on traditional meaning, cognitive ability of translators and actual translation level, but also by a lot of social and cultural factors, such as economic conditions, politic regimes and so forth, which play an important role in& the whole translation process from the selection of source text to selection of translational strategies to the actual practice of translation. Many scholars have exerted great efforts on studying and practicing Gideon Toury&s translational norms.
　　The Three-Character Classic gains great position in Chinese history and China&s traditional culture. It is the abundant Chinese cultural nutrients which are embodied in The Three-Character Classic that occur the idea of comparing different English versions of The Three-Character Classic under Toury&s translation norms, that is to say, from a perspective of a theory relating to social and cultural factors, like Toury&s translational norms. Therefore, this paper is a comparison of Giles& version and Wang Baotong&s version of The Three-Character Classic from the perspective of Gideon Toury&s Translational Norms.
　　2.A Review of Gideon Toury&s Translational Norms
　　Norm is defined as, as sociologists and psychologists have long regarded, the translation of general values or ideas by a community&as to what is right or wrong, adequate or inadequate&to performance instructions appropriate for and applicable to particular situations, specifying what is prescribed and forbidden as well as what is tolerated and permitted in a certain behavioral dimension (Toury, ).Toury introduced this concept of &norm& into translation and put it into a social-cultural dimension. In his opinion, translation can be described as subject to constrains of several types and varying degree. In general, social-cultural constrains have been described along a scale anchored between two extremes: general, relatively absolute rules on the one hand, and pure idiosyncrasies on the other. Between these two poles lies a vast middle-ground occupied by inter-subjective factors commonly designated &norms&. The norms themselves form a graded continuum along the scale: some are stronger, and hence more rule-like, others are weaker, and hence almost idiosyncratic (Toury, 2001: 54).
　　Toury distinguishes three kinds of translation norms that operate at different stages of translation process: preliminary, initial and operational. The initial norms are regarded as the basic choice which the translator made at the very beginning of the translation process. It reflects a translator&s overall tendency of translating whether to adhere to source norms or target norms or something between them. Preliminary norms have to do with two main sets of considerations: translation policy and directness of translation. Translation policy refers to those factors that govern the choice of text types, or even of individual texts, to be imported through translation into a particular culture/ language at a particular point in time (Toury, 2001: 58). Directness of translation means whether the translating work is done by the reference from the origin language of the text or the other language version of the text. Operational norms are those directing actual decisions made during the act of translation itself. Operational norms include matricial norms and textual-linguistic norms. Metrical norms may govern the very existence of the target language material intended as a substitute for the corresponding source-language material, its location in the text, as well as the textual segmentation. The extent to which omissions, additions, are all referred to this. Textual linguistic norms govern the selection of material to formulate the target text in, or replace original textual and linguistic material with (Toury, 2001: 59).
　　3.English Versions of The Three-Character Classic
　　There are mainly two high tides of translating The Three-Character Classic into its English version. One is at the end of the Qing Dynasty and the other one is at present, the 21st century. At the end of the Qing Dynasty, many western missionaries came to China with the purpose of preaching their religion. They were proficient in Chinese and knew the importance of learning China&s culture. Therefore, they translated many Chinese literary works, among which The Three-Character was included. Robert Morrison, the first western missionary to China, completed his English version of The Three-Character Classic in 1812. At the 21st century, with the increasing of China&s comprehensive country power, cultural communication and spread to the world, the translation of Chinese literary work again become important and prosperous. Several China&s presses have published English versions of The Three-Character Classic, which are translated by modern Chinese scholars or translators like Meng Fanjun (2007) and Wang Baotong (2008). This paper is going to choose Herbert A Giles& version and Wang Baotong&s version and compare them under Gideon Toury&s Translational Norms.
　　3.1. Translators& Selection of Source Text
　　Herbert A Giles published his translational work called Two Chinese Poems, which contained San Tzu Ching: Elementary Chinese in 1873. His intention to translate it was influenced under the social background at that time of the early nineteenth century. After the War of 1840, China& door was enforced to be open to the outside world. Many western missionaries from different countries with the pursuit of spreading their religious beliefs came to China. These missionaries were also known as sinologists because of their proficiency in Chinese and Chinese culture as a by-product of spreading their religions. According to Herbert A Giles himself, his motivation to translate San Zi Jing was that a missionary thought it was almost impossible to translate San Zi Jing into its English version with rhymes. But in my opinion, unconscious of the social background which has been mentioned above influenced Herbert A Giles& selection of translation of San Zi Jing. It proved exact. Thirty seven years later when it was in 1910, he re-translated his San Tzu Ching. In the preface, he noted that San Zi Jing as elementary book was pretty stable. He introduced the status of San Zi Jing on China&s education. He pointed out that San Zi Jing, as the elementary book for Chinese children, was required to recite and remembered in mind. For those Chinese learners who wanted to write in formal Chinese style and to think in Chinese way, the importance of this book was self-evident. If foreign students had imitated Chinese children&s method of reciting this book, they would have learned perfect Chinese and knowledge of Chinese culture. And he also said that many foreign translators did not really understand the deep meaning in San Zi Jing because of concise expression of San Zi Jing.
　　From what has been discussed above, factors like social culture background in the early 19th century when missionaries preached their religions, important position of San Zi Jing used to master Chinese for foreign students and rectification of its English version rendered by former translators let Giles choose San Zi Jing as a source text to translate.
　　On the Foreword page of The Triword Primer, the third reason for Professor Wang&s choice of source text can be observed. It is the misunderstanding of source text during the process of translation made by former translators that make Professor Wang create a better English version. A case in point is Herbert Giles& translation and a nonsensical translation can be found on the Internet, according to Wang Rongpei, the author of the foreword.
　　3.2. Translators& Selection of Translation Strategies
　　In initial norms, a translator may either comply with source norms or with target culture norms, which corresponds with adequate translation and acceptable translation from the perspective of meeting readers& requirements. Adequate translation means the translator tends to be faithful to the original work by reserving the arrangements and linguistic distinctions and features of original work. Acceptable translation tends to consider more about its readers by using information familiar to readers.
　　Generally speaking, the readers of Giles& version and Mr. Wang&s version are both foreigners who want to know much more knowledge about China at their time, the specific readers and their needs are different. At Giles& times, western missionaries were the main readers of his English version of The Three-Character Classic and they used this book as a textbook or reference to learn Chinese characters and Chinese culture, which they were required to learn more (张西平, ). Therefore, Giles tended to bring an adequate translation to his readers. However, the choice of one translation strategy is not complete. As literary translation is a complex task, it&s hard for a translator only to use a strategy during his translating process. The only thing is sure that a translator has tendency of using which strategy frequently, unavoidable of using others sometimes. According to Gideon Toury&s translational theory, the Operational norms affect the actual process of translating. It should be noted that the initial norms and the preliminary norms are the bases of the operational norms.
　　3.2.1 Translation of Phrases
　　In the original text, there are a lot of typical characters and phrases from Chinese culture, such as names of famous people, Chinese traditional classical works and Chinese cultural phrases.
　　a. People&s Names
　　When it comes to the translation of People&s names, we tend to use the method of transliteration, which has been adopted by Herbert A Giles as well. He has improved an influencing phonetic notation system&Wades System, which has been a far-reaching phonetic notation system at the end of the Qing Dynasty. In his English version, for example, &Hsiang& for &黄香&, &Jung& for &孔融&, &Tseng& for &曾子&, &Hsun& for &荀子&, &Lao Tzu& for &老子&， &Chuang Tzu& for &庄子&，&Fu His& for &伏羲&，&Shen Nung& for &神农& and so on. Word-for-word translation can also be observed through Herbert A Giles& translation of people&s names, like &The Elder and the Younger Tai& for &大小戴& and &The Yellow Emperor& for &黄帝&. However, translating &Tou of Swallow Hills& into &窦燕山& is too literal to rise misunderstanding of its actual meaning.
　　Compared to Herbert A Giles&s work, Wang Baotong has adopted transliterating method--Pinyin, which has been officially designated as Chinese Phonetic System in 1958. And some names have been simplified in his English version, such as &Rong& for &孔融&, &Xiang& for &黄香&, &Zhuang& for &庄子&, &Xi& for &伏羲&and &Nong& for &神农&. Mr. Wang prefers to free translation, like &Dais& for &大小戴&and &Mr. Dou Yanshan& for &窦燕山&.
　　b. Chinese Classical Works
　　In The Three-Character Classic, many Chinese classics are introduced to readers.
　　Herbert A Giles has used many methods to translate these titles of Chinese classical works. The first method: transliteration. e.g. &Lun Yu& for &《论语》&, &Chung Yung& for &《中庸》&, & Kuo feng& for& &《国风》&, &Ya& for &《雅》& and &Sung& for &《颂》&. The second method: free translation. e.g. &The Great Learning& for &《大学》&, &The Classic of Filial Piety& for &《孝经》&, &The Book of History& for &《书》&and so forth. The third method: word-for-word translation. e.g. &The Little Learning& for &《小学》&.
　　Wang Baotong has not used phonetic notation in his version any more. Some titles are an outcome of free translation. e.g. &Lesser Learning& for &《小学》&. Others are translated by borrowing the names of similar things in English. e.g. &Epics& for &《国风》&，&Odes& for &《雅》&, &Hymns& for &《书》& and so forth.
　　When Giles
　　C. Chinese Cultural Phrases
　　translated Chinese cultural phrases in The Three-Character Classic, he obviously misunderstood the meaning of &义& and &仁义& by narrowing down it to mean duty towards one&s neighbor. A Chinese scholar Wang Yu (2011) criticizes on Giles in her paper, thinking that words like &Nine agnates& for &九族&and &Way and the exemplification& for &道德&used by Giles are not simple for children. Indeed, from the perspective of children, her statement seems true, but at Giles& time, his version was served for missionaries rather than for kids.
　　On the other hand, Mr. Wang&s words are much simpler than that of Giles&, such as &Nine levels of the human race& for &九族& and &Moral values& for &道德&.
　　3.2.2 Translation of Historical Stories
　　The Three-Character Classic contains historical stories, in which several good examples are set for children to learn and encourage children to study hard and behave well in daily life. It&s difficult to translate historical stories in a few words. By a comparison between Giles& version and Mr. Wang&s version, we can find that Giles mainly uses literal translation, while Wang Baotong prefers to liberal translation with footnotes explaining background information about those historical stories.
　　融四岁，能让梨。弟与长，宜先知。
　　Giles& Version:
　　Jung, at four years of age,
　　Could yield the bigger pears.
　　To behave as a younger brother towards elders,
　　Is one of the first things to know.
　　Wang Baotong&s Version:
　　And Rong, only four,
　　Picked the smallest pear
　　To leave his elders
　　The lion&s share.
　　Giles& version is very faithful to the content and organization of the original text. The last two clauses also reflect the educational function that the writer wants to tell readers. Wang Baotong&s version looks pretty like telling a story in an eased way. His English version rearranges the content of the original text. The moral teaching part is omitted in order to create a rest atmosphere to learn the story, which is a much western learning style. &The lion&s share&, a proverb in English used by Wang, shows his consideration of foreign readers& acceptability of the story. Both translators give footnotes to help readers understand the background information deeply.
　　若梁灏，八十二。对大廷，魁多士。
　　Giles& Version:
　　Then there was Liang Hao,
　　Who at the age of eighty-two,
　　Made his replies in the great hall,
　　And came out first among Court Examination.
　　Wang Baotong&s Version:
　　That candidate Liang
　　At eighty-two
　　In the highest Exam
　　Came top on the few.
　　The analysis of the second example is similar to the first one. Giles& version is more faithful to the original book than that of Wang&s, clearly showing by different translation of some words like &大廷& and &魁&. Giles translates &大廷& into the &great hall&, while Wang omits the word. &魁& corresponds to &came out first& or &came top&. &魁& which indicates a special event is added to take place in the &Court Examination& or &highest Exam&. And the figure Liang Hao is introduced as footnotes by both translators.
　　3.2.3 Reproduction of Rhyme
　　In The Three-Character Classic, three characters are to form a clause and four of them are to form a passage, which sounds in rhyme. Therefore representation of its rhyme is an important aspect that translators pay attention to.
　　As we&ve learned in former part, Wang Baotong does well in rhyme translation. He uses many different kinds of devices to reproduce the beauty of rhythm. Many examples are presented and analyzed by Ma Lijuan (2010). Wang Baotong tries his best to make sure each passage has an end rhyme. Examples are shown as follows. The following example is about Wang&s version and Giles& version.
　　马牛羊，鸡犬豕。此六畜，人所饲。
　　Wang&s Version:
　　Fowl, dog, pig,
　　And horse, cow, sheep,
　　Such are the animals
　　We breed and keep.
　　Giles& Version:
　　The horse, the ox, the sheep,
　　the fowl, the dog, the pig.
　　These six animals
　　are those which men keep.
　　The words &sheep& and &keep& form a pattern of rhyme scheme, which is used to make up with the rhythm created by Chinese characters, which makes the English version&s language more vivid and easy to recite and remember.
　　一而十，十而百。百而千，千而万。
　　Wang&s Version:
　　Count one to ten,
　　To a hundred, and then
　　A thousand, um,
　　Ten thousand come！
　　The words &ten& and &then& form one pat and &um& and &come& the other one to imitate the rhythm of counting numbers from one to ten thousand. &um& is to present a vivid scene in which a kid counts numbers.
　　Giles& version has fewer numbers of rhyming patterns than those of Wang&s.
　　In a word, the beauty of rhythm in The Three-Character Classics is an essential part in the procedure of translating this book. Professor Wang pays much more attention to it than that of Giles, making Wang&s version display many vivid Chinese stories and intrigue readers in enjoying them.
　　4.Conclusion
　　This paper is a comparison of Giles& version and Wang Baotong&s version of The Three-Character Classic from the perspective of Gideon Toury&s Translational Norms. Under the framework of preliminary norms and initial norms, factors influenced the selection of source text are discussed. Giles translates the book in order to help western missionaries learn Chinese and Chinese culture, while Wang Baotong&s translation is the outcome of his interest in poetry translation and the current hot tides of learning Chinese in the world. Then, reasons are found about Giles& adequate translation strategy and Wang&s acceptable strategy. According to operational norms, the tendency of Giles& literal translation and Wang&s liberal translation is observed at following aspects, which are translation of phrases, translation of historical stories and reproduction of Rhyme.
　　Although Toury&s translational norms are descriptive ones, we can still have some subjective judgments of the two English versions of The Three-Character Classics. Wang&s version is popular with his readers at the present time because of his proficiency in English, his understanding in Chinese and Chinese culture and his love and prefer in rhythm translation. Giles& version has made great progress at the late 19th century for his readers& need. However, limitations are obvious in his version like the less reproduction of beautiful rhythm because of the time when he was, his readers& actual need and his language-mastering level.
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　　作者简介：叶庆芳，湖北经济学院外国语学院讲师，硕士研究生；研究方向：大学英语教育、英语翻译。
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