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【Abstract】This paper attempts to analyze creative treason in literary translation focusing on the reasons that creative treason lies in； the forms that creative treason tends to take； its distinctive characteristics and positive impact on the recipient culture.
【Key words】creative treason； forms； characteristics； impact
【作者简介】雷宏友，咸阳师范学院外国语学院。
Creative treason is a basic law in spreading and receivi
ng culture. Its advancing will bring about further consideration on the traditional translation criteria. In the course of literary translation， creativeness indicates the subjective efforts of the translator made in approaching and reproducing the original works with individual’s artistic creative abilities. While the treason in the literary translation reflects the translator’s objective deviation from the original works for the purpose of achieving some subjective desire.
The characteristics of the creative treason literary translation
Creative treason in literary translation is more vigorously expressed in poetry translation. Neat rhyme， abundant content， highly refined language in the unique form， as well as the characteristic of brevity and suggestiveness make the translators do not know which one should be preserved in the course of translation. English Sinologist Herbert A. Giles translated Yang Juyuan’s “诗家清景在新春，绿柳才黄半未匀” into：
The landscape which the poet loves is that of early May，
When budding greenness half concealed enwraps each willow spray”
The difference between “新春” in original poem and “early May” in version was pointed out. Some people argued that “early May” is late spring not early spring in China. In fact， for the purpose of rhyming， the translator has to use “early spring” here. Another translator Bynner put Wei Yingwu’s poet “野渡無人舟自横” into “The ferryboat moves as though someone were pulling”. Someone criticized “as though someone” in version does not correspond with “无人” in the original poem， which goes against “the law of identity”.
Another feather of creative treason is that a series of transformations in form and content occurred in the course of translation. In order to convey the charm of the original works， some additional contents are jumbled up in the translations. For the purpose of keeping the forms of poetry， the loss of meter and the alternation of the words present in versions. As a translator， individual’s feeling is mixed. Just as David Hawks expressed in the introduction of his translations “The Story of the Stone”， and red as a symbol—sometimes of spring， sometimes of youth， sometimes of good fortune of property—recurs again and again throughout it. Unfortunately—apart form the rosy cheeks and vermeil lips of youth–redness has no such connotations in English and I have found that the Chinese reds have tended to turn into English golds or greens （‘spring the green spring’ and ‘gold girls and boys’ and so forth）.I am aware that there is some sort of loss here， but I have lacked the ingenuity to avert it. The fundamental characteristic of creative treason in literary translation is it introduces the original works to a new receiving environment that the authors did not have any anticipation before， moreover， it alters the original form the writer designed. Owing to creative treason， the world famous works can successfully be disseminated and embraced， transcending the obstacles of districts and space.
Creative treason is not unique to literary translation. However， it is an elementary law in literary propagating and receiving. Creative treason dates from the oral literature times when many a folk tale， ballad， etc， handed down orally from generations to generations. During the long process， creative treason occurred all the way and many world famous epics and legends were perfected during the course， which greatly enriched the oral literature. Such as The song of Beowuif in English literature was orally handed down， then compiled by an unknown scribe at the end of 10th century. In the written literature times， creative treason becomes visible， which can be proven in the transformation of the literary works.
Conclusion
Creative treason in literary translation can not only prolong the artistic life of the original works， but also gift the original with new vitality. It is a new concept in translation. And it extends the field of translation study beyond the circle of language study. Meanwhile， it enriches the connotation of the translation study. All the functions above remedy the deficiencies of the former translation theory. Moreover， it provides the translation researchers with firm theoretical foundation. It will be beneficial for people to reconsider the relationship between the methods， aims and the functions of translation. We can assert that creative treason will exert strong influence in the undertakings of enriching the translation theories as well as flourishing the literary translation
參考文献：
[1]谢天振.译介学[M].上海：上海外语教育出版社，1999.
【Key words】creative treason； forms； characteristics； impact
【作者简介】雷宏友，咸阳师范学院外国语学院。
Creative treason is a basic law in spreading and receivi
ng culture. Its advancing will bring about further consideration on the traditional translation criteria. In the course of literary translation， creativeness indicates the subjective efforts of the translator made in approaching and reproducing the original works with individual’s artistic creative abilities. While the treason in the literary translation reflects the translator’s objective deviation from the original works for the purpose of achieving some subjective desire.
The characteristics of the creative treason literary translation
Creative treason in literary translation is more vigorously expressed in poetry translation. Neat rhyme， abundant content， highly refined language in the unique form， as well as the characteristic of brevity and suggestiveness make the translators do not know which one should be preserved in the course of translation. English Sinologist Herbert A. Giles translated Yang Juyuan’s “诗家清景在新春，绿柳才黄半未匀” into：
The landscape which the poet loves is that of early May，
When budding greenness half concealed enwraps each willow spray”
The difference between “新春” in original poem and “early May” in version was pointed out. Some people argued that “early May” is late spring not early spring in China. In fact， for the purpose of rhyming， the translator has to use “early spring” here. Another translator Bynner put Wei Yingwu’s poet “野渡無人舟自横” into “The ferryboat moves as though someone were pulling”. Someone criticized “as though someone” in version does not correspond with “无人” in the original poem， which goes against “the law of identity”.
Another feather of creative treason is that a series of transformations in form and content occurred in the course of translation. In order to convey the charm of the original works， some additional contents are jumbled up in the translations. For the purpose of keeping the forms of poetry， the loss of meter and the alternation of the words present in versions. As a translator， individual’s feeling is mixed. Just as David Hawks expressed in the introduction of his translations “The Story of the Stone”， and red as a symbol—sometimes of spring， sometimes of youth， sometimes of good fortune of property—recurs again and again throughout it. Unfortunately—apart form the rosy cheeks and vermeil lips of youth–redness has no such connotations in English and I have found that the Chinese reds have tended to turn into English golds or greens （‘spring the green spring’ and ‘gold girls and boys’ and so forth）.I am aware that there is some sort of loss here， but I have lacked the ingenuity to avert it. The fundamental characteristic of creative treason in literary translation is it introduces the original works to a new receiving environment that the authors did not have any anticipation before， moreover， it alters the original form the writer designed. Owing to creative treason， the world famous works can successfully be disseminated and embraced， transcending the obstacles of districts and space.
Creative treason is not unique to literary translation. However， it is an elementary law in literary propagating and receiving. Creative treason dates from the oral literature times when many a folk tale， ballad， etc， handed down orally from generations to generations. During the long process， creative treason occurred all the way and many world famous epics and legends were perfected during the course， which greatly enriched the oral literature. Such as The song of Beowuif in English literature was orally handed down， then compiled by an unknown scribe at the end of 10th century. In the written literature times， creative treason becomes visible， which can be proven in the transformation of the literary works.
Conclusion
Creative treason in literary translation can not only prolong the artistic life of the original works， but also gift the original with new vitality. It is a new concept in translation. And it extends the field of translation study beyond the circle of language study. Meanwhile， it enriches the connotation of the translation study. All the functions above remedy the deficiencies of the former translation theory. Moreover， it provides the translation researchers with firm theoretical foundation. It will be beneficial for people to reconsider the relationship between the methods， aims and the functions of translation. We can assert that creative treason will exert strong influence in the undertakings of enriching the translation theories as well as flourishing the literary translation
參考文献：
[1]谢天振.译介学[M].上海：上海外语教育出版社，1999.