综上以观，翻译之作风，不一而足：其有国粹家之态度者，古典派也；其有情人之态度者，浪漫派也；其有诗人之态度者，象征派也；其有史学家之态度者，写实派也；其有记者之态度者，自然派也；其有艺术家之态度者，唯美派也。艺术家可兼为国粹家，译品亦可兼具数美。古典派尊重古文义法，章句整齐：上焉者融会中西，辞简意赅；下焉者徒存形式，有失真相，则成为“假古典派”（pseudoclassicist）矣。浪漫派之译作，流露个性，生动活泼：上焉者文情并茂，引人入胜；下焉者杜撰胡译，不着边际，则成为“假浪漫派”（pseudo-romanticist）矣。象征派之译作，幽默含蓄，传神玄虚：上焉者富于暗示，回味无穷；下焉者晦涩费解，莫明其妙，则成为“假象征派”（pseudo-symbolist）矣。写实派之译作，平铺直叙，明晰干净：上焉者流利畅达，要言不繁；下焉者嚼饭喂人，食之无味，则成为“假写实派”（pseudo-realist）矣。自然派之译作，和盘托出，态度忠实：上焉者惟妙惟肖，新颖别致；下焉者生吞活剥，貌合神离，则成为“假自然派”（pseudo-naturalist）矣。唯美派之译作，绘神绘声，兼备众美：上焉者信达且雅，神乎其技；下焉者好高骛远，华而不实，则成为“假唯美派”（pseudo-aestheticist）矣。就实际言，自然与唯美为翻译之二大宗派，象征派仅属穿插，古典、浪漫、写实诸派亦旁支耳。自然派旨在传译原文之丰姿气势，用意极佳，然模仿而能独立成为艺术者几希！唯美派寓创作于移译之中，奉艺术为至上，而于原文之灵思美感，均能保持不堕，余所以认此为翻译之正宗也。67
昔Sir Thomas North之译《英雄传》（Plutarch's Lives），Schlegel之译莎士比亚，Coleridge之译《瓦轮斯丹》（Schiller's Wallenstein），Fitzgerald之译《鲁拜集》（Rubáiyát of Omar Khayyám），Rosetti之译法诗，Calverley之译拉丁文，68玄奘之译佛经，严复之译《天演论》，所以有口皆碑者，莫不因其译文本身即为艺术，可与原著并传不朽。际兹国内译坛荒芜之时，余得读吴译《圣咏译义初稿》，如见奇花异卉，乌不乐耶？
注释
1 见《岁寒诗话》。
2 大卫正坐在城瓮里；守望的人上城门楼的顶上，举目观看，见有一个人独自跑来，守望的人就大声告诉王。王说：“他若独自来，必是报口信的。”那人跑得渐渐近了，守望的人又见一人跑来，就对守城门的人说，又有一人独自跑来。王说：“这也必是报信的。”守望的人说：“我看前头人的跑法好像撒督的儿子亚希玛斯的跑法一样。”王说：“他是个好人，必是报好信息。”（《旧约》）
3 见《旧约》 The Book of Job, Ch. 38-40。
4 见《旧唐书·孝友传》。
5 参阅林语堂The Little Critic, First Series, p. 29。
6 二例俱见甘永龙释注《莎氏乐府本事》释义，p. 32。
7 All they that take the sword shall perish with the sword. (St. Matthew 26:52)凡动刀的，必死在刀下。（《马太福音》）
8 "He who loves others is constantly loved by them. He who respects others is constantly respected by others." (Legge译)
9 德语之Knabe，仍作“儿童”解。
10 Spidery writing is most objectionable. (C. Summer: The Taisho Handbook of English and Japanese Conversation, p. 200)
11 见李长传著《中国殖民史》页258；《综合英汉大辞典》译作“贩奴之屯舍”。
12 至于“野鸡大学”等，参阅本章第四节。（页286）
13 参阅卢祺新Gems from the Mosquito Press, T'ien Hsia Monthly, Jan., 1938。
14 据林著《开明英文文法》，p. 53。
15 Jespersen, Growth and Structure of the English Language, p. 2.
16 伊藤博文悼吉田松阴诗有云：
如今廊庙栋梁器，多是松门受教人。
参阅拙稿《明治维新诗话》，载于《文艺先锋》九卷二期。
17 Oxford University Press, 1912.
18 国产之雉，英译ring-necked pheasant或Chinese pheasant，参阅拙稿《华语的英译》，载于《中国青年》十卷六期。
19 西人传说，鳄鱼吞食，怅然泪下，犹猫之哭鼠。参阅韩愈《祭鳄鱼文》。
20 Save me from the lion's mouth: for thou hast heard me from the horns of the unicorns. (Psalms 22:21)
出我于狮口兮，拯我于兕角。（吴译《圣咏译义初稿》，页14）
21 President Li Yuanhung was not noted for any capacity for celebration, but, as a Chinese, he instinctively felt that all political problems are not, and should not be, anything but problems of rice-bowls. (林语堂：The Little Critic, First Series, p. 36)
22 美谚云：Roll my log, and I'll roll yours.
23 陆游《游山西村》诗云：“山重水复疑无路，柳暗花明又一村。”
24 Like the modern Western painters, the Chinese artists wish to portray, not reality but their own impressions of reality, and hence their impressionistic method. (My Country and My People, p. 306)
25 伪组织：puppet government; bonus regime。“抗战夫人”译作“resistance war bride”。
26 此文为Friendship and Happiness之一章。
27 It is shy of straight portrayal and it always tries to suggest. The constant care of the Chinese artists is: Leave something for the imagination. (My Country and My People, p. 308)
28 或谓：“中国人看到女子的光臂，就往上想。”（鲁迅语）
29 “八股”直译为Eight-legged essay，The Encyclopedia Sinica有专项记载之。《红楼梦》第82回云：“更可笑的，是八股文章：拿他诓功名，混饭吃，也罢了，还要说代圣贤立言！”
30 Shelley语。
31 And if thy hand cause thee to stumble, cut it off: it is good for thee to enter into life maimed, rather than having thy two hands to go into hell, into the unquenchable fire. (St. Mark 9:43)
32 请与下例比较之：
问柳寻花，谈天说地，无一事萦胸臆。（康海《朝天子》）
Enquiring after the willows, seeking for the flowers,
Speculating about the sky, gossiping of the earth,
Nothing in particular entangles my thoughts. (Teresa Li译50 Poems from the Chinese)
33 For she only had to hold herself back in sexual intercourse, and let him finish and expend himself without herself coming to the crisis: and then she could prolong the connection and achieve her orgasm and her crisis while he was merely her tool. ( D. H. Lawrence, Lady Chatterley's Lover, p. 4，参阅梁实秋之中译本)
34 PSALMS 55: To the chief Musician on Neginoh, Maschil, A Psalm of David.吴译《圣咏译义初稿》标其题曰：“翻云覆雨”，有“避此暴风雨，安然居宝塔”之句；精理名言，绝无邪念。
35 “说到云雨私情，羞的袭人掩面伏身而笑。”参阅第15回《秦鲸卿得趣馒头庵》。
36 韦荣《翻译讲义》译为a mushroom university；日语称为“インチキ大学”，见花园兼定《新闻英语》，页22。
37 怒发冲冠，冠为之裂。比较：make one's hair stand on end（令人毛发悚然）。
38 参阅《竹林居士谈荟（二）·鸡犬不宁》。
39 宝玉笑道：“我就是个‘多愁多病’的身，你就是那‘倾国倾城’的貌。”（《红楼梦》第22回）
40 Hazlitt之My First Acquaintance with Poets一文有云：
My father threw his spectacles over his forehead, his white hairs mixing with its sanguine hue.
按his white hairs云云，即“童颜鹤发”也。
41 满腹文章；满腹经纶。
42 搜索枯肠。
43 “一肚子不合时宜”。
44 西班牙文；原义为“The Gilded”。R. L. Stevenson有一篇散文，即以El Dorado为题。
45 元朝用蒙古文，称北京为Khambalu或khan baligh（汗八里），马可孛罗切其音为Cambalu。
46 Marriage is not one long honeymoon. We wish it were. (Bennet, The Two Systems of marriage)
47 见My Country and My People。
48 见My Country and My People。
49 比较：Live and let live.
50 The late president Li Yuanhung was also an old rogue, when he pronounced the heartily accepted formula for solution of Chinese political problems, viz., "When there is rice, let everybody eat."（林语堂：The Little Critic, First Series, pp. 35-36)
51 原注：High officials。
52 原注：The "toad and hare" correspond to our "man in the moon." The waning of the moon symbolises the waning of the lover's affection.
53 Lo, children are a heritage of the LORD: and the fruit of the womb is his reward. (Psalms 127:3)有子万事足，无营胸襟广。（吴译《圣咏译义初稿》，页94）
54 见E. D. Edwards, The Dragon Book, p. 102。
55 《庄子·盗跖篇》：“尾生与女子期于梁下，女子不来，水至不去，抱柱而死。”
56 To cut an acquaintance is not quite unexceptionable, because it is not perfectly common or intelligible, and has hardly yet escaped out of the limits of slang phraseology. I should hardly, therefore, use the word in this sense without putting it in italics as a licence of expression, to be received cum grano salis. (Hazlitt, On Familiar Style)
57 载于中正大学《文史季刊》创刊号。
58 此诗系卢先生特为本稿移译。
59 原注：In ancient times the hair was worn long and knotted on the top of the head.
60 原注：The name of a genial companion of earlier days.
61 推搓过，慕才郎，正值哥哥上学堂。尖尖笔，做文章。读书子，状元郎。花对花，柳对柳；破粪箕对茗帚。盐齑下浑酒，放在大门前，那个肯来吃一口。（悟痴生《天籁》，页21）
62 详见拙著《国文之形态美》，载于《文艺先锋》第八卷第五，六合期。
63 "On the whole, however, few English translators have done well with French. They have done better in translating other languages, and in translating German, they have been wonderfully successful at times. Perhaps because the genius of German is so much nearer to the genius of English." (Great Translators)又A. F. Tytler之名著On the Principles of Translation, p. 7有云：“If genius and character of all languages were the same, it would be an easy task to translate from one to another.”
64 《诗苑类格》有八对之别，详见该书。
65 载于《中国青年》第十一卷第五期。
66 以下为赛珍珠之英译，稍嫌冗长：
Chang, The Heavenly Teacher, Chief of the Taoists, beseeches the Gods to drive away the evil flux. The Commander Hung, in heedlessness, frees the spirits.
67 A. F. Tytler论翻译云：
I would therefore describe a good translation to be, That, in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work. (On the Principles of Translation, pp. 8-9)
68 参阅小泉八云之Great Translators一文（On Art, Literature and Philosophy）。
张其春（1913—1967），浙江宁波人。翻译家，辞书编纂家，教授。1931年，考入国立中央大学外文系，受业于英语名家范存忠、郭斌和。抗战开始后，先后任浙江大学龙泉分校、暨南大学、复旦大学外文系讲师、副教授。1948年至1949年秋，转任上海正中书局英文编审。1949年，兼任江苏学院外文系教授及江苏社会教育学院新闻系教授。中央人民政府成立后，调入文化部对外文化联络局，先后任亚洲处及第五处处长。1951年，受聘为北京大学文学院兼任教授。1958年，调任北京编译社翻译、译审。后又兼任商务印书馆编审。著译宏富，多为职务作品，署名著作主要有《简明英汉词典》（与蔡文萦合编）、《翻译之艺术》、《综合英语会话》、How to Translate（《中英比较语法》）等。其中，《简明英汉词典》是新中国成立后我国学者编纂的第一部中型英汉词典，影响广泛。