学界对鲁迅先生翻译实践及翻译思想的研究,一段时间以来取得了多方面成果,然而鲁迅在语言文体及翻译策略方面的特点,仍需得到更多关注。在阅读鲁迅所译《死魂灵》1的过程中,笔者发现一个有趣的现象,在这个乍看浑然一体的译文中,存在着三重迥然不同的文体,即,内斯妥尔·珂德略来夫斯基为小说所作的序(以下简称“序言”)、果戈里本人所著小说正文(以下简称“正文”),以及译者为正文添加、以脚注形式呈现的注释(以下简称“注 The study of Mr. Lu Xun’s translation practice and his translation thoughts has made many achievements for some time. However, Lu Xun still needs more attention in the aspects of language style and translation strategy. In reading Lu Xun’s Dead Souls 1, I found an interesting phenomenon in which there is a totally different style of writing in this first-of-a-kind translation, namely, Nessoel Kadelod The preface made by Fawski for the novel (hereinafter referred to as ”the prologue“), the text of the novel owned by Gogol himself (hereinafter referred to as the ”text“), and the translator’s explanation of the text as a footnote The following abbreviation ”Note