正是墓于這一理由，譯作必須盡力克制本身要傳播某種信息的欲求深圳翻譯公司文資清滋克制譯者自我的意義轉(zhuǎn)換。原作之所以重要.也正是由于它業(yè)已使譯者和譯作免受“傳播翻譯要表達(dá)什么”之累。

    這段著名的議論被稱(chēng)為“陶雄之喻”。翻譯改寫(xiě)應(yīng)該像枯合一個(gè)破碎的陶罐一樣，譯作的操控應(yīng)“在原作的意指模式之中”("theoriginal's mode of signification")，而不應(yīng)“放縱本身要傳播某種信息的欲求"("refrain from wanting to communicate something"),從這一點(diǎn)來(lái)養(yǎng)，深圳翻譯公司語(yǔ)流中的語(yǔ)言嚴(yán)復(fù)的翻譯容或有失當(dāng)之處。這是中國(guó)翻譯史上有益的教訓(xùn)。據(jù)此，我們應(yīng)有更妥善的譯文操控。傳播翻譯試讀下例:
Thomas Hardy: The Return of The Native
    It was a spot which returned upon the memory of thosewho loved it with an aspect of peculiar and kindlycongruity. Smiling champaigns of flowers and fruit hardlydo this, for they are permanently harmonious only with anexistence of better reputation as to its issues than thepresent. Twilight combined with the scenery, impressivewithout showiness, emphatic in itsadmonitions, grand inits simplicity. The qualifications which frequently investthe facade of a prison with far more dignity than is foundin the facade of a palace double its size lent to this heath asublimity in which spots renowned for beauty of theaccepted kind are utterly wanting. Fair prospects wedhappily with fair times; but alas; if times be not fair! Menhave oftener suffered from the mockery of a place toosmiling for their reason than from the oppression ofsurroundings oversadly tinged. Haggard Egdon appealed toa subtler and scarcer instinct, to a more recently learntemotion, than that which responds to the sort of beautycalled charming and fair