從總的趨勢來看，翻譯越來越傾向于譯文的可接受性(TLT acceptability)，這一趨勢在下一個世紀(jì)將變得愈來愈明顯，并將深深影響翻譯實踐和翻譯研究。十九世紀(jì)以前盛行的但至今并未絕跡的文人書齋體（式）翻譯，將真正成為歷史陳跡，代之而起的是清新活潑、欣暢悅?cè)耍葠偠謵偰浚┑姆g文風(fēng)。

其實熟諳讀者心態(tài)的十七世紀(jì)末英國詩人、劇作家、文藝批評家兼翻譯家德萊登早就描寫過那種不顧讀者、只顧自己的唯美主義烏托邦文人譯者(他舉出Ben Johnson之譯Horace為例）的窘態(tài)：

In short, the verbal copier is encumbered with so many difficulties at once, that he can never disentangle himself from all. He is to consider, at the same time, the thought of his author, and his words, and to find out the counterpart to each in another language; and, besides this, he is to confine himself to the compass of numbers, and the slavery of rhyme. "Tis much like dancing on ropes with fettered legs: a man may shun a fall by using caution; but the gracefulness of motion is not to be expected: and when we have said the best of it, 'tis but a foolish task; for no sober man would put himself into a danger for the applause of escaping without breaking his neck. We see Ben Johnson could not avoid obscurity in his literal translation of Horace, attempted in the same compass of lines.

當(dāng)然，所謂“讀者接受”應(yīng)該從兩方面看。其一是讀者總是樂于接受洋溢著本國語文的欣暢與清新氣息的翻譯作品，這是自不待言的。我們的翻譯界前輩和翻譯理論界、批評界也一直在努力引導(dǎo)譯者尊重本國讀者的民族性審美傾向。就此而言，在語言交際中，交流效果得以保證的重要條件是符合民族審美心理和傾向，即所謂“喜聞樂見”。

然而，我們常常忽視的是“讀者接受”還有另外一面。那就是廣義的“喜聞樂見”。特別是在藝術(shù)的精神訴求方而更是如此。讀者審美傾向具有一種以多層次、多維度、非單一訴求為特點的進取性發(fā)展趨勢：在新的世紀(jì)中，情形預(yù)料更加如此；因為文化多元化肯定會使讀者的審美傾向日趨多元化。清新、健康甚至奇特的異域色彩和異域情調(diào)對讀者的吸引力同樣也是不可忽視的。人的審美心理和文化心理具有“趨異性”。這個問題西班牙的哲學(xué)家兼翻譯理論家加塞特（Jose Ortega Y.Gasset)有過如下一段闡述，很值得我們參考：

It is clear that a country's reading public do not appreciate a translation made in the style of their own language. For this they have more than enough native authors. What is appreciated is the inverse: carrying the possibilities of their language to the extreme of the intelligible so that the ways of speaking appropriate to the translated author seem to cross into theirs. The German versions of my books are a good example of

this. In just a few years, there have been more than fifteen editions. This would be inconceivable if one did not attribute four-fifths of the credit to the success of the translation. And it is successful because my translator has forced the grammatical tolerance of the German language to its limits in order to carry over precisely what is not German in my way of speaking. In this way, the reader effortlessly makes mental turns that are Spanish. He relaxes a bit and for a while is amused at being another.

這是人類文化進步以及日益趨向多元化必然帶來的可喜現(xiàn)象，而且這種發(fā)展傾向是人的意志或人為干預(yù)阻擋不住的。其實，正如加塞特所說的，這不僅僅是一個翻譯文風(fēng)問題，還涉及到語言的多元化演變這一令人神往的問題。

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