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摘要：莎劇《麦克白》运用多种意象以求加强悲剧艺术效果，和其他莎剧相比，《麦克白》更能引发读者的想象力。意象的内涵应尽量保留，但是为了避免误解，增加译文的可读性，译者也要针对具体的情况灵活翻译。梁实秋和朱生豪在处理剧中的意象时运用了不同的翻译策略：前者保留大量源语意象，采用异化策略，重点介绍传达作者的审美取向；后者则转化很多源语意象，选择归化策略，重视目的语读者的审美需要。由此我们可以看出，朱生豪在翻译过程中更加注重譯文与原文的“神似”，而梁实秋则更加注重忠实原文。
关键词：意象；归化译法；异化译法；《麦克白》
Abstract：In Macbeth， Shakespeare made use of various images to enhance the tragic effect. Compared with his other plays， the images in Macbeth are richer and more imaginative. Liang Shiqiu and Zhu Shenghao adopted different methods to translate the images： the former adopted foreignization， retaining the original images； the latter translated from the perspective of domestication， emphasizing TL readers’needs of appreciation of beauty. In conclusion， Zhu attached importance to spiritual resemblance， but Liang gave his top priority to faithfulness.
Key words：Image；Domestication；Foreignization；Macbeth
一、Introduction
Macbeth is popular in China for many years and it continues to attract innumerable scholars and readers to explore. Shakespeare made use of rich images. Zhu Shenghao， the first Chinese translator that attempted to translate The Complete Works of William Shakespeare，adopted domestication. Liang Shiqiu， who contributed most to the study of Shakespeare，translated Macbeth from the perspective of foreignization.
二、Translating the Images
1、Characteristics of the Images.Liu Miqing， a Chinese translation researcher，also established a definition of image. He wrote in the book Introduction to Translation Aesthetics that， image refers to an integration of emotion and objects， or the form of emotion in words； he believed that images are carrier of subjective spirit， which is indefinite， and can lead to infinite poetic associations. Of all Shakespeare’s tragedies， Macbeth is the most successful one for its richness in application of images.[2]
2、Image Translating Strategies.According to what is mentioned above， Macbeth occupies a very important position in Shakespeare’s plays and enjoys a great popularity in China. As an instructive play， Macbeth is very much worth translating into Chinese for Chinese readers. During the past century， many scholars have tried to translate Macbeth.
三、A Comparison between Zhu’s and Liang’s Strategies
1、Analysis of Zhu and Liang’s Respective Strategies.
（1）Zhu’s Spiritual Resemblance. When Zhu Shenghao had finished translating a paragraph， he would revise it in the readers’shoes， to ensure that there were no ambiguities in the paragraph， and then read it aloud to check that the version reads smoothly.[3] After comparing the existing translation of Shakespearean plays， Zhu Shenghao observed that there had been more cases of translators rendering ”rigid” translations of Shakespeare than of more careless work and noted：
“…the result of sticking to the grammar will produce a translation without any of the original’s spiritual flavor. And worse still， the translation is so abstruse and obscure that nobody can understand it. It is the translator but not Shakespeare that should be to blame.”
Zhu Shenghao’s attitude towards translation is quite serious and conscientious. I feel that I have quite a good understanding of the spirit in the original plays.”[4]
（2）Liang’s Faithfulness .Liang once pointed out in his essay that a translation faithful but unsmooth was no better than the one fluent but unfaithful.[1]According to Liang， a good translation should be one with sound unification of “faithfulness” and “smoothness”. In other words， Liang thought that faithfulness was not only a matter of content but also a matter of style.
四、Conclusion
Images， as the essence of human wisdom and imagination， are endowed with profound cultural connotations and reflect the cognition of different peoples.
This paper presents its opinions after comparing two translated versions of Macbeth； the one by Zhu Shenghao mainly adopts domestication both in linguistic level and cultural level， while the other by Liang Shiqiu mainly adopts foreignization. Therefore， there’s no definite boundary between them， and translators need to make a right choice when they translate literary works.
Works Cited[1] 朱生豪，《莎士比亞戲剧全集》，文津出版社，2012.
[2] 罗新璋，《翻译论集》，商务印书馆，1984.
[3] Baker， Mona， Routledge Encyclopedia of Translation Studies Shanghai： Shanghai Foreign Language Education Press， 2004.
[4] 梁实秋，《梁实秋文集（第七卷）》，鹭江出版社，2002.
关键词：意象；归化译法；异化译法；《麦克白》
Abstract：In Macbeth， Shakespeare made use of various images to enhance the tragic effect. Compared with his other plays， the images in Macbeth are richer and more imaginative. Liang Shiqiu and Zhu Shenghao adopted different methods to translate the images： the former adopted foreignization， retaining the original images； the latter translated from the perspective of domestication， emphasizing TL readers’needs of appreciation of beauty. In conclusion， Zhu attached importance to spiritual resemblance， but Liang gave his top priority to faithfulness.
Key words：Image；Domestication；Foreignization；Macbeth
一、Introduction
Macbeth is popular in China for many years and it continues to attract innumerable scholars and readers to explore. Shakespeare made use of rich images. Zhu Shenghao， the first Chinese translator that attempted to translate The Complete Works of William Shakespeare，adopted domestication. Liang Shiqiu， who contributed most to the study of Shakespeare，translated Macbeth from the perspective of foreignization.
二、Translating the Images
1、Characteristics of the Images.Liu Miqing， a Chinese translation researcher，also established a definition of image. He wrote in the book Introduction to Translation Aesthetics that， image refers to an integration of emotion and objects， or the form of emotion in words； he believed that images are carrier of subjective spirit， which is indefinite， and can lead to infinite poetic associations. Of all Shakespeare’s tragedies， Macbeth is the most successful one for its richness in application of images.[2]
2、Image Translating Strategies.According to what is mentioned above， Macbeth occupies a very important position in Shakespeare’s plays and enjoys a great popularity in China. As an instructive play， Macbeth is very much worth translating into Chinese for Chinese readers. During the past century， many scholars have tried to translate Macbeth.
三、A Comparison between Zhu’s and Liang’s Strategies
1、Analysis of Zhu and Liang’s Respective Strategies.
（1）Zhu’s Spiritual Resemblance. When Zhu Shenghao had finished translating a paragraph， he would revise it in the readers’shoes， to ensure that there were no ambiguities in the paragraph， and then read it aloud to check that the version reads smoothly.[3] After comparing the existing translation of Shakespearean plays， Zhu Shenghao observed that there had been more cases of translators rendering ”rigid” translations of Shakespeare than of more careless work and noted：
“…the result of sticking to the grammar will produce a translation without any of the original’s spiritual flavor. And worse still， the translation is so abstruse and obscure that nobody can understand it. It is the translator but not Shakespeare that should be to blame.”
Zhu Shenghao’s attitude towards translation is quite serious and conscientious. I feel that I have quite a good understanding of the spirit in the original plays.”[4]
（2）Liang’s Faithfulness .Liang once pointed out in his essay that a translation faithful but unsmooth was no better than the one fluent but unfaithful.[1]According to Liang， a good translation should be one with sound unification of “faithfulness” and “smoothness”. In other words， Liang thought that faithfulness was not only a matter of content but also a matter of style.
四、Conclusion
Images， as the essence of human wisdom and imagination， are endowed with profound cultural connotations and reflect the cognition of different peoples.
This paper presents its opinions after comparing two translated versions of Macbeth； the one by Zhu Shenghao mainly adopts domestication both in linguistic level and cultural level， while the other by Liang Shiqiu mainly adopts foreignization. Therefore， there’s no definite boundary between them， and translators need to make a right choice when they translate literary works.
Works Cited[1] 朱生豪，《莎士比亞戲剧全集》，文津出版社，2012.
[2] 罗新璋，《翻译论集》，商务印书馆，1984.
[3] Baker， Mona， Routledge Encyclopedia of Translation Studies Shanghai： Shanghai Foreign Language Education Press， 2004.
[4] 梁实秋，《梁实秋文集（第七卷）》，鹭江出版社，2002.