Firstly, ever since the Romantic period our modern concept of literature had been marked by an emphasis on creativity and originality. An allegedly derivative form like translation was therefore disdained as second-hand and second-rate.

What little attention had been paid to it had never risen above the level of judgmental criticism, which always found translations falling short of the ideal of exactly reproducing their originals in every nuance and detail, and thus constantly pushed translation back into its subordinate place.

Secondly, although linguists had in recent decades begun to address issues of translation, they had dealt primarily with non-literary texts and restricted themselves to the level of the sentence instead of tackling larger textual and discursive entities.

Thirdly, psychological attempts to probe the human mind during the process of translation were unable to do more than produce speculative diagrams because they could not engage in direct observation, the translator's mind being an inaccessible black box.

①首先，自浪漫主义时期以来，我们现代的文学概念一直强调创造力和原创性。因此，像翻译这样的所谓派生形式被鄙视为二手和二流。

人们对翻译的关注很少，而且从未超过判断性批评的水平，这种批评总是认为翻译没有达到在每个微妙和细节上精确再现原文的理想，因此不断将翻译推回次要地位。

②其次，虽然语言学家在最近几十年开始解决翻译问题，但他们主要处理的是非文学文本，并局限于句子层面，而不是处理更大的文本和话语实体。

③第三，在翻译过程中，试图探究人类思维的心理尝试只能产生推测性的图表，因为它们无法进行直接观察，翻译者的思维是一个无法触及的黑匣子。

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