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英译古诗词中意境的传达

英译古诗词中意境的传达
英译古诗词中意境的传达

英译古诗词中意境的传达

【摘要】将中国古诗词翻译成英文,是弘扬中华文化的一种途径。如何在这两种大相径庭的文字中架起桥梁,不但翻译文字,更传达意境,是译者面临的一大问题。

【关键词】古诗词;意境;翻译;传达

Abstract: It’s a good way to develop Chinese traditional culture by translating Chinese ancient poems into English. How to fill in the gap between the two totally different cultures is the problem that the translators should solve now.

Key Words: ancient poems;artistic conception;translating communication

以唐诗宋词为代表的中国传统文化博大精深,是人类文明宝库中不可多得的艺术瑰宝。它不仅千百年来为中华民族提供了无尽的滋养,同时也成为外国人了解中国的重要渠道。在东西方文化互相学习探索融合的今日世界,短小精悍的诗词及其译品正可以凭着这种优势充当中外文化交流的试金石。在这一领域,已经有不少有才能的翻译家涉猎其中,无论是理论还是实践方面,都作出了相当大的贡献。本文也将在这一领域进行粗浅的探索。

唐诗是我国诗歌成就最高的时代。天才诗人灿若星辰,诗因此也成为这个朝代文学的最重要形式。后来的朝代虽然也尽力模仿,想要再创出诗的辉煌,终究是笔力不逮。所以,文学一代不及一代。具体来说,唐诗按形式可分为乐府,古风,律诗和绝句几种。较为常见的律诗因格律严密,故此得名。它起源于南北朝,成熟于唐初。一共八句,中间两联必须对仗。主要有五律七律两种。绝句的“绝”意思是“截,断”。它一般仅有四句,以五言,七言为主。所以简称为五绝七绝。下文的探讨将以此类型唐诗为主。

词起源于隋朝,兴盛于宋代。全名为“曲子词”,现在“曲子”的唱法已经湮没无存,只剩下文辞供人欣赏。词作为“诗余”,在有宋一代,长期得不到应有的重视,只能作为诗的补足品存在。在词中大多表达的多是儿女情长,莺歌燕舞,而少书生意气,家国之念。当然,这一点在宋朝后期有了巨大转变。这终于使得宋词成为可以代表宋朝的最重要的文学形式,在世界文学之林中与唐诗比肩。词按长短可分为小令,中调,长调等几种。

对于诗词的可译性问题,翻译界一直存在争议。有些人认为,诗词是中国特有的文学形式,汉字与西洋文字的差别显而易见,翻译成英文只能韵味尽失,诗词之所以为诗词的大部分要素将丧失殆尽,不能让英语读者真正领略诗词之美,从而得出结论:诗不可译。另外一方则认为,作为中华文化的重要组成部分,唐诗宋词只有通过翻译才能真正走出国门,在世界范围内起到弘扬中华文化的作用。虽然在具体的技术问题上,仍有许多细节处有待商榷和改善。但诗是可以译的。随着一代代翻译工作者的辛勤工作和创造性劳动,越来越多的佳作出现在中外读者面前,许多技术问题在译者的不懈努力下,得到了较为完善的解决。我认为,在中西方交流越来越频繁的今天,我们不止要吸收外来文化的精华部分,也要善于把中华文化的精华部分传播到世界的各个角落中去。借助英语这一强大的传媒,这个愿望是有可能实现的。下面,我将通过具体的诗词范例来探讨诗词翻译中遇到的问题。

在此之前,我先来谈谈唐诗宋词的意境问题。意境指的是文学艺术作品通过形象描绘体现出来的境界和情调。在宗白华先生的文章《中国艺术意境之诞生》中,他指出人与世界的接触,因为关系的层次不同,可分为五层境界:“为满足生理和物质的需要,而有功利境界;因人群共存互爱的关系,而有伦理境界;因人群组合互制的关系,而有政治境界;因穷研物理,追求智慧,而有学术境界;因欲返本归真,冥合天人,而有宗教境界……介乎后二者的中间,以宇宙人生的具体为对象,赏玩它的色相、秩序、节奏、和谐,借以窥见自我的最深心灵的反映;化实景而为虚境,创形象以为象征,使人类最高的心灵具体化、肉身化,这就是‘艺

术境界’。艺术境界主于美。一切美的光是来自心灵的源泉……艺术家以心灵映射万象,代山川而立言,他所表现的是主观的生命情调与客观的自然景象交融互渗……构成艺术,之所以为艺术的意境……意境是‘情’与‘景’(意象)的结晶品。”

一切景语皆情语也,这个特色充分体现在言简意赅的唐诗宋词中。而在英译诗歌中如何尽可能原样传达出诗词的意境是横亘在译者面前的难题。中国古诗词的特色是不着一字,尽得风流。在极其有限的篇幅内,营造出独特而令人难忘的意境。并从其诞生之时起,就深深的渗入了国人的生活。试问有几个中国人不知道“春眠不觉晓”,“举头望明月,低头思故乡”。但想在英译诗歌中达到对应的效果则绝非易事。

首先以中国人耳熟能详的一首唐诗《枫桥夜泊》为例。

枫桥夜泊

月落乌啼霜满天,江枫渔火对愁眠。

姑苏城外寒山寺,夜半钟声到客船。

这首诗短小的篇幅里却描绘了诸多意象:月、乌鸦、霜、枫叶、渔火、寺庙。整体营造出秋日里冷寂凄清的氛围。诗人在这样孤寂的环境里独自滞留在异乡,情何以堪。而此时传来了古寺钟声,让凄清的夜变得更加凄清。诗人辗转客船难以成眠的情境尽在不言之中。寒山寺初建于梁代,唐初诗人寒山和尚曾住于此,因此得名。本诗的意境由于有了这座古寺的钟声,而显得更加丰富,给人古雅庄严之感。诗的神韵得到完美体现,创造除了情景交融的意境。而寒山寺也因为此诗闻名世界,这也从一个侧面反映了这首诗刻画意境的成功。

在译作中,译者用一连串的名词词组,来对应原作中富有诗意的一连串意象。“月落”译成setting moon——落月,“乌啼”译成a cawing crow——啼鸦,“霜满天”译成the frost filled sky——真正的霜满天,很是确切。第二句的翻译也较贴切,“对愁眠”译成troubled sleep——睡眠有困难。“寒山”译成Cold Mountain,基本贴合原句。和原作一样,译作也列举了一系列名词词组,简略描绘出一幅清幽冷寂的风景画。最后一句里的wanderer很好地点出了天涯羁旅,客途秋恨的感觉,实在是点睛之笔。请看译作:

Mooring at night by Maple Bridge

The setting moon, a cawing crow, the frost filled sky;

River maples, fishermen’s flares, and troubled sleep.

From the Cold Mountain Temple, outside Suzhou,

The tolling of the midnight bell reaches the wanderer’s boat.

再以杜甫名诗《春望》为例:

春望

国破山河在,城春草木深。

感时花溅泪,恨别鸟惊心。

烽火连三月,家书抵万金。

白头搔更短,浑欲不胜簪。

诗的前四句写的是春日里城池败落荒芜的景象,饱含感叹;后面四句诉说对亲人的思念之情,离愁别絮溢于笔端。全诗沉郁顿挫,真挚感人。“破”与“在”的触目惊心,“春”与“深”的巨大反差,连花鸟都为时事所感,伤心落泪。“家书抵万金”因为写出了人们迫切需求家人消息的心情而成为千古名句。

由于原作的高度概括和精炼,译作不可避免地需要扩大篇幅才能包含所有内容,然后才是传达意境的问题。在译作中,译者用fallen来翻译“破”,基本传达原意;而the land endures 可以算是神来之笔。译成“忍受”,可以说是译出了原诗的言外之意。“家书抵万金”没有拘泥于原句,而是译成worth a fortune in gold。完全按字面来翻译的译者只能是拙劣的译者罢了。整篇译作在基本遵循原作的同时,对原作未竟之意进行了大胆的伸发,反而使这首诗更容易

被西方读者所接受。传情达意,译者功不可没。请看译作:

Spring Perspective

The nation has fallen, the land endures:

Spring trees and grasses flourish in the town.

Troubled by the times-flowers bring tears;

Dreading parting-birds startle the soul.

With turmoil of battle three months on end,

A letter from home is worth a fortune in gold.

Scratching these white locks makes them even thinner;

As it is, they can barely hold a pin.

下面以宋词为例。

醉花阴

薄雾浓云愁永昼,瑞脑消金兽。佳节又重阳,玉枕纱厨,半夜凉初透。

东篱把酒黄昏后,有暗香盈袖。莫道不销魂,帘卷西风,人比黄花瘦。

李清照的这首词描述的是重阳节里女词人孤寂难捱,度日如年的心情。所谓“不着一字,尽得风流”,满纸没有一个字直抒相思之情,离别之苦,但细细品味字里行间,就会发现词人对羁旅在外夫婿的思念之情满溢纸间。最后的一句“人比黄花瘦”,用本来常常形容人的“瘦”字用在黄花,即菊花上,真是别有新意。

在译作中,译者基本按原意翻译全诗,在涉及文化因素的地方,采取了直接译出,不给西方读者造成阅读上的障碍。而一些有关意境部分的翻译,可以看出译者的功力。如“暗香”译成“darkened fragrance”。至于最为人称道的黄花瘦,则按字面直译,看似冷冷清清,实则大有原作意味。请看译作:

Zui Hua Yin

Light mists, thick clouds, and the long day is sad.

Winter-daphne incense smoke spouts from metal animals.

’Tis Double Ninth Day again, when

The midnight chill first invaded

The green muslin summer bed.

By the east fence

Holding a cup of wine after dusk fell,

A darkened fragrance filled my sleeve bell.

Do not say one is not thrilled:

With the door-curtains flapping in the west wind,

One is thinner than the yellow flowers.

再举一例小令。

渔歌子

西塞山前白鹭飞,桃花流水鳜鱼肥。青若笠,绿蓑衣。斜风细雨不须归。

张志和的这首词寄托了失意文人寄情山水的淡泊之志。词人寄情于景,以词入画,真正是一幅水乡渔歌图。在译作中,译者忠实于原作,将各种颜色词汇和斜风细雨全部译出,让诗中景象成为让人乐不思归的所在。请看译作:

Yu Ge Zi

经典古诗英文翻译(精编文档).doc

【最新整理,下载后即可编辑】 《小池》杨万里 泉眼无声惜细流,树阴照水爱晴柔。 小荷才露尖尖角,早有蜻蜓立上头。 A Small Pond Yang Wanli From fountainheads water streaks out thin and quiet. Soft and Sunny are trees reflected in the pond. A slim lotus leaf, not yet unfurled, scarcely appears When on its pointed tip a dragonfly is alighted. 《黄鹤楼送孟浩然之广陵》李白 故人西辞黄鹤楼,烟花三月下扬州。 孤帆远影碧空尽,唯见长江天际流。 Seeing Meng Haoran Off from Yellow Crane Tower Li Bai At Yellow Crane Tower in the west My old friend says farewell; In the mist and flowers of spring He goes down to Yangzhou; Lonely sail, distant shadow, Vanish in blue emptiness; All I see is the great river Flowing into the far horizon. 《春晓》孟浩然 春眠不觉晓,处处闻啼鸟。 夜来风雨声,花落知多少。 Spring Morn Spring slumbers unaware of morn, All around one hears the birds' call.

英译古诗词中意境的传达

英译古诗词中意境的传达 【摘要】将中国古诗词翻译成英文,是弘扬中华文化的一种途径。如何在这两种大相径庭的文字中架起桥梁,不但翻译文字,更传达意境,是译者面临的一大问题。 【关键词】古诗词;意境;翻译;传达 Abstract: It’s a good way to develop Chinese traditional culture by translating Chinese ancient poems into English. How to fill in the gap between the two totally different cultures is the problem that the translators should solve now. Key Words: ancient poems;artistic conception;translating communication 以唐诗宋词为代表的中国传统文化博大精深,是人类文明宝库中不可多得的艺术瑰宝。它不仅千百年来为中华民族提供了无尽的滋养,同时也成为外国人了解中国的重要渠道。在东西方文化互相学习探索融合的今日世界,短小精悍的诗词及其译品正可以凭着这种优势充当中外文化交流的试金石。在这一领域,已经有不少有才能的翻译家涉猎其中,无论是理论还是实践方面,都作出了相当大的贡献。本文也将在这一领域进行粗浅的探索。 唐诗是我国诗歌成就最高的时代。天才诗人灿若星辰,诗因此也成为这个朝代文学的最重要形式。后来的朝代虽然也尽力模仿,想要再创出诗的辉煌,终究是笔力不逮。所以,文学一代不及一代。具体来说,唐诗按形式可分为乐府,古风,律诗和绝句几种。较为常见的律诗因格律严密,故此得名。它起源于南北朝,成熟于唐初。一共八句,中间两联必须对仗。主要有五律七律两种。绝句的“绝”意思是“截,断”。它一般仅有四句,以五言,七言为主。所以简称为五绝七绝。下文的探讨将以此类型唐诗为主。 词起源于隋朝,兴盛于宋代。全名为“曲子词”,现在“曲子”的唱法已经湮没无存,只剩下文辞供人欣赏。词作为“诗余”,在有宋一代,长期得不到应有的重视,只能作为诗的补足品存在。在词中大多表达的多是儿女情长,莺歌燕舞,而少书生意气,家国之念。当然,这一点在宋朝后期有了巨大转变。这终于使得宋词成为可以代表宋朝的最重要的文学形式,在世界文学之林中与唐诗比肩。词按长短可分为小令,中调,长调等几种。 对于诗词的可译性问题,翻译界一直存在争议。有些人认为,诗词是中国特有的文学形式,汉字与西洋文字的差别显而易见,翻译成英文只能韵味尽失,诗词之所以为诗词的大部分要素将丧失殆尽,不能让英语读者真正领略诗词之美,从而得出结论:诗不可译。另外一方则认为,作为中华文化的重要组成部分,唐诗宋词只有通过翻译才能真正走出国门,在世界范围内起到弘扬中华文化的作用。虽然在具体的技术问题上,仍有许多细节处有待商榷和改善。但诗是可以译的。随着一代代翻译工作者的辛勤工作和创造性劳动,越来越多的佳作出现在中外读者面前,许多技术问题在译者的不懈努力下,得到了较为完善的解决。我认为,在中西方交流越来越频繁的今天,我们不止要吸收外来文化的精华部分,也要善于把中华文化的精华部分传播到世界的各个角落中去。借助英语这一强大的传媒,这个愿望是有可能实现的。下面,我将通过具体的诗词范例来探讨诗词翻译中遇到的问题。 在此之前,我先来谈谈唐诗宋词的意境问题。意境指的是文学艺术作品通过形象描绘体现出来的境界和情调。在宗白华先生的文章《中国艺术意境之诞生》中,他指出人与世界的接触,因为关系的层次不同,可分为五层境界:“为满足生理和物质的需要,而有功利境界;因人群共存互爱的关系,而有伦理境界;因人群组合互制的关系,而有政治境界;因穷研物理,追求智慧,而有学术境界;因欲返本归真,冥合天人,而有宗教境界……介乎后二者的中间,以宇宙人生的具体为对象,赏玩它的色相、秩序、节奏、和谐,借以窥见自我的最深心灵的反映;化实景而为虚境,创形象以为象征,使人类最高的心灵具体化、肉身化,这就是‘艺

中国古诗用英语翻译阅读

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