1、英语论文美形式和意义的中国古典诗歌在中国诗歌翻译翻译英文 AbstractAbstract: Classical Chinese poetry, the gem of the Chinese culture and civilization with a long history of three thousand years, is a unity of sound, form and sense. Yet the translated versions usually cannot carry the equal effect and beauty of the original due
2、to the translators lack of skill, the differences between the Chinese language and the English language and the inherent differences of cultures and civilizations between the two nations. A poetry translator should not be satisfied with the mere conveying of the original meaning to the target langua
3、ge, but must strive for the preservation and reproduction of the original beauty in sound, form and sense to the utmost degree so as to best bring out the artistic and musical beauty of the original. In this essay, account is given to each of the three aspects, namely, beauty in sound, beauty in for
4、m and beauty in sense separately. Beauty in sound mainly consists of beauty in rhythm and beauty in rhyme; beauty in form refers to the regularity of length of poem lines and the syllables each line contains; beauty in sense, the most important element of a poem, lies in the faithfully and artistica
5、lly conveying of the meaning of the original, which requires the translators grasp of the classical Chinese literary history and thorough understanding of the context of the original. On this point, the author further divides her argument into four parts. The first part is about several ridiculous E
6、nglish versions of the famous immortal line “烟花三月下扬州“ of Tang poet Libai ; The second part is on the translation of “puns”. To illustrate this point, the author takes two Tang poems as examples, they are respectively Li Shangyins “春蚕至死丝方尽” and Liu Bingxis “道是无晴却有晴”; the third part focuses on the tra
7、nslation of narrative poetry and the author selects the mistaken translations of three lines of Bai Juyis 长恨歌as examples and gives analyses on the mistakes made; The fourth part is about poetry translations that irritate controversial comments. Last but not least is the conclusion of this dissertati
8、on, the author unites the three aspects given before into a unity and claims that a good poetry translation should be the preservation and reproduction of the three aspects of the original. Yet due to the formidable barriers in achieving this perfection, sometimes its inevitable to sacrifice one asp
9、ect for another less important. Key words: classical Chinese poetry beauty in sound beauty in form beauty in sense 摘 要中国古诗有着三千年历史，是中华民族与文化的精华，它是声、形、意三者的和谐统一。然而，由于译者的翻译水平有限，中文与英文的差异以及两国之间的文化与文明的不同，翻译过的诗歌往往难以传达与原诗同等的效果与美感。一名诗歌译者不应仅仅满足于把原诗的意思完整传递到译文中，而必须尽量把原诗的音、形、意美保持与再创造到最大程度以便能最大程度地传递原诗的美感。在本文中，作者对音美
10、、形美、意美这三个方面分别进行了论述。音美主要指节奏美与压韵美；形美指的是诗段的长短与每段诗句所含音节数量的规律性；意美，诗歌最重要的元素，指的是忠实并灵活地传递原诗的意思这就要求译者对中国古代文学历史知识的掌握与对原诗上下文意思的透彻理解。在阐释这一点上，作者把她的论据又细分为四部分：首先，第一部分是有关李白的著名诗句“烟花三月下扬州”的几种谬译；第二部分是对“双关语”的翻译，为了分析这一点，作者举了两首唐诗作为例子这两首唐诗分别为李商隐的“春蚕至死丝方尽”与刘丙锡的“道是无情却有情”；第三部分集中在叙事诗的翻译上面，作者选择了白居易的长恨歌中三个诗句的谬译作为例子并对这些谬译进行了分析;第
11、四部分是对引起争议的著名诗歌译文的剖析与见解。最后在文章的结尾处，作者把之前论述过的三个方面结合为一体并指出一则好的诗歌译文应该是对这三者的保留与再创造。然而，由于追求完美过程中难以逾越的障碍，有时候为了某个方面而牺牲其它比较次要的方面是难以避免的。关键词：中国古典诗歌 音美 形美 意美 Beauty in sound, form and sense in Poetry Translation Translation of Classical Chinese Poetry From Chinese to English （外语系 黄晓波 指导教师 张宏武）Abstract 11.Introdu
12、ction 42. Beauty in sound 53. Beauty in form 84. Beauty in sense 114.1 False translation of a famous line 124.2 Translation of “puns” 134.3 Translation of narrative poetry 154.4 Contemporary on poetry translation that incurred controversial comments 165. Conclusion 17References 191.IntroductionIt ha
13、s long been believed that prose is words in best order; poetry is the best words in the best order. For me, Poetry, especially the classical Chinese poetry, not only has artistic features but also musical quality that combines sound, form and sense perfectly. Chinese poetry displays to us a fascinat
14、ing world of great enchantment, intensive affection and profound meaning. In this world, readers can even smell the fresh fragrance of flower given off from the surface of the poetry. With a long history of three thousand years, it is the gem of Chinese culture and civilization. Since good things ne
15、ed good means of conveying, or they will be nothing, to make classical Chinese poetry go farther and get more popularized in the outside world calls for good translation of it. How to translate the Chinese poetry into foreign language with the preservation of its original enchantment to the greatest
16、 extent? In my opinion, a poetry translator should be far from satisfied with the mere conveying of the ideas in the original, but must strive for the recreation and reproduction of the original beauty in sound, form and sense. Only in this way, can a translation version best bring out the artistic
17、and musical beauty of the original to the foreign readers. 2. Beauty in soundE. A. poe described poetry as “ musiccombined with a pleasure idea.” LiDongyang, a famous literary critic in the Ming Dynasty claimed that what makes poetry different from prose is that it possesses regulated sounds and can
18、 be recited. Similarly, Liu xie, a famous ancient literary critic, once alleged in his The Literary Mind and the Carving of Dragons, “ The words which set to a piece of music are poetry”（ 李特夫、陈健景，2001）. Their remarks unanimously unveiled the mystery of sound, which endows the poetry with unique beau
19、ty of “musical quality”. It is obvious to the most uninitiated readers that poetry makes greater use of the “music” of language than does language that is not poetry. Beauty in sound mainly consists of beauty in rhythm and beauty in rhyme. In Chinese classical poetry, rhythm is mainly created by obl
20、ique and even tones, which can be reproduced in the English version by stressed or unstressed syllables. That is to say, a poem may be translated in iambics, trochaics, anapaestics or dactylics.As for rhymes, since all Chinese classical poems are written in rhyme, no English versions without rhyme c
21、ould reproduce a similar effect to the original. Cambridge professor Herbert A. Giles was a most famous translator in the 19th century, and the poems collected in his works were of hundreds of years ago, yet readers of his time were tempted to believe that these translated poems ranked among the bes
22、t ever known. Giles success was due to the fact that he had united rhyme and literalness with wonderful dexterity.The following is his translation of Tang poet Li Bais 月下独酌 (Drink Alone under the moon) 花间一壶酒，独酌无相亲。举杯邀明月，对影成三人。月既不解饮，影徒随我身。暂伴月将影，行乐须及春。我歌月徘徊，我舞影零乱。醒时同交欢，醉后各分散。永结无情游，相期邀云汉。An arbor of fl
23、owers and a kettle of wine:Alas! In the bowers no companion is mine.Then the moon sheds her rays on my goblet and me,And my shadow betrays were a party of three!Though the moon cannot swallow her share of the grog,And my shadow must follow wherever I jog,Yet their friendship Ill borrow and gaily car
24、ouse,And laugh away sorrow while spring-time allows.See the moonhow she glancesresponse to my song;See my shadowit dances so lightly along!While sober I feel, you are both my good friends;While drunken I reel, our companionship ends,But well soon have a greeting without a goodbye,At our next merry m
25、eeting away in the sky. “ Flowers” in line 1 rhymes with “bowers” in line 2; “wine” in line 3 rhymes with “mine” in line 4; “rays” in line 5 rhymes “betrays” in line 7 In this way, Giles was successful in keeping the English version rhymed to reproduce beauty in sound. To further illustrate the impo
26、rtance and significance of beauty in sound, lets compare three different translation versions of Li Bais静夜思（Night Thoughts）.床前明月光，疑是地上霜。举头望明月，低头思故乡。 (1) I descry bright moonlight in front of my bed.I suspect it to be hoary frost on the floor.I watch the bright moon, as I tilt back my head.I yean, wh
27、ile stooping, for my homeland more. by Xu Zhongjie.(2) Abed, I see a silver light,I wonder if its frost aground.Looking up, I find the moon bright;Browing, in homesickness Im drowned. by Xu Yuanchong.（3）So bright a gleam on the foot of my bedCould there have been a frost already?Lifting my head to l
28、ook, I found that it was moonlight. Sinking back again, I thought suddenly of home. by Tr. Writter BynnerAlthough those three versions are all considered good, the first and the second versions are better in sound. In the first two versions, line 1 rhymes with line 3; line 2 rhymes with line 4. By c
29、ontrast, the third one is not rhymed. So far as the beauty in sound is concerned, it is obvious that the first two versions are better for they possess beautiful “musical quality” when read. Musical quality is the unique characteristic of poetry making it distinguished from other literary forms. In
30、addition, compared to the first, the second is not only rhymed, but also succinct in words, which makes it sound like the Chinese regulated verse, while the first uses too many “I” s , which make it sound a little clumsy. 3. Beauty in formWhile listening to music, the audience, without a thorough un
31、derstanding of the composers true implication, may still be moved deeply, So is the case with classical poetry. Some good poems, in many cases, have not been comprehended, but they, due to the artistic charm in form, have always been spoken highly of. Beauty in form endows poetry, or rather, classic
32、al Chinese poetry with musical quality and plays a key role in making them widely appreciated over generations. Zhu Guangqian, an aesthete once said in The Theory of Poetry, “ Form is the soul of poetry.” (朱娥，2001). Poetry, especially classical Chinese poetry, is strict with form. Its better for a verse translator to resemble his version to preserve the beauty of the original in form, which lies chiefly in line length and parallelism.Again look into Giles
