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古体诗译英语诗歌

古体诗译英语诗歌
古体诗译英语诗歌

浅探green英语诗歌古诗译法

著名翻译家,曾翻译了《莎士比亚十四行诗集》、《济慈诗选》等作品的屠岸先生说:“要做好文学翻译,需要深刻掌握两种语言的精髓,而这其中,更重要的是掌握本国的语言和文化。因为好的文学翻译要把自己完全投入到翻译对象中,体会原作作者的创作情绪,最终用母语再表现出来,这要求译者必须打下深厚的中文基本功底,领悟汉语言文学的精髓,使之融入血液中才行。”

在中国,莎士比亚的十四行诗被翻译的乱七八糟。既然用汉语无法保持原作中的面貌,比如格式,韵律和字数,最起码要换成另外一种具有典型中国特色的有韵律的文学样式,比如按照整齐的格律诗的要求或自由一点的拟古体诗来翻译,一方面可以使整首诗整齐有韵律,便与记忆和背诵,另外又可以保持原诗的风味,古色古香,可以在汉语里保持它原来的韵味。译诗重译味。这个“味”不仅仅是指原诗当中的境界和词语间要表达的内在韵律和节奏,同时还有原诗形式上的韵味,那就是诗句内的抑扬韵律和句末的韵脚规律,即诗歌的外在节奏,同时还有原诗所富含的“古味”。把英语古体诗译成汉语古体诗,正可以对以上所述的各种韵味进行满足,在展示英语诗歌内外韵味的同时,展示汉语古诗的独特魅力。下边举一莎士比亚十四行诗的例子:

William Shakespeare Sonnets

Sonnet 18

Shall I compare thee to a summers day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summers lease hath all too short a date;

Sometime too hot the eye of he****en shines,

And often is his gold complexion dimmd,

And every fair from fair sometime declines,

By chance or natures changing course untrimmd:

But thy eternal summer shall not fade

Nor lose possession of that fair thou owst,

Nor shall Death brag thou wandrest in his shade,

When in eternal lines to time thou growst。

So long as men can breathe or eyes can see,

So long lives this,and this gives life to thee。

——莎士比亚的十四行诗,第十八首

原来的翻译:

我怎么能把你来比作夏天?

狂风把五月宠爱的嫩蕊作践,

夏天出赁的期限又未免太短;

骄阳的眼睛有时照的太酷烈,

他那炳耀的金颜不常遭黯晦:

给机缘或无常的天道所摧残。

没有芳颜不终于凋惨或销毁,

但你的长夏将永远不会凋落,

或者会损失你这皎洁的红芳,

或死神夸口你在他影里漂泊,

当你在不朽的诗里与日同长,

只要一天有人类,或人有眼睛

这诗将长在,并赐给你生命。

(梁宗岱译)

英语里十四行诗是抑扬格,和汉语的律诗一样注重句子内部的节奏感和旋律之美,象打拍子,一起一伏,有高有低。一般是五个音步一个抑扬格(iambic pentermeter)——五步抑扬格。类似于汉语的平仄交替。另外十四行诗前八行(octet)一组,后六行一组(sextet),韵脚有规律可循,不同的十四行诗有不同的韵脚规律,这首诗歌的韵脚规律是:abab cdcd efef gg,最后两句是一个韵脚。想翻译好这样的诗句,要么严格地遵照原诗歌的格式和韵律,要么就按照原诗歌的意境改变格式,成为一种适合中国人阅读的诗歌样式,比如格律诗或拟古诗体的格式。有人考虑把这首诗歌尝试用另外一种形式翻译,那就是中国古诗翻译法,也就是一种整齐的格律诗形式或拟古风体。这样考虑原因有二:其一,如果按照十四行诗的格式翻译,不符合中国人读诗歌的习惯,从感觉上说很别扭,更不用提它的押韵形式和汉语诗歌的押韵形式的不同会给中国人读英语诗歌以别扭感,同时也会给诗歌的正确翻译增加难度;第二,用中国古诗形式翻译,既可以保留原诗歌的韵味、风格,又可以让中国人朗朗上口,便于背诵,也减轻了翻译者受原著韵律和格式上的约束。但同时对翻译者中文古诗功底却提出了相应严格和更高的要求。而对于一个熟悉英语古诗韵律和格式,甚至可以作诗的人来说,这却并不是件难事。一个好的外语翻译者,必须在两种语言上都要下功夫,要充分理解和掌握两种语言的各自特征以及区别,同时不仅仅要能充分理解外语所要表达的,也同时需要能够很娴熟地运用本国语言,从而能够更好地翻译外语。我认为这个要求并不过分,一个对自己本国文化不热爱不熟悉的人无论如何是翻译不好外国作品的。

采用英语古诗译法翻译这首诗歌,无论是从韵律上来说还是从形式上来说,英语的十四行诗都已经入乡随俗,变成了中国人文化的一部分。上面那首诗歌green试译为:美人当青春,婉丽自销魂。

焉知东风恶,良辰讵待人?

朝日何皋皋,暮色何昏昏。

我有丹青笔,腾挪似有神。

为君驻颜色,风霜不可侵。

丹青亦难久,罔若诗与琴。

延年歌一曲,万古扬清芬。

(green译)

为了和白话诗歌样式的翻译进行对比,以观其优,他又将其翻译成了新诗体:

我能否将你比作夏天?

你比夏天更美丽温婉。

狂风将五月的蓓蕾凋残,

夏日的勾留何其短暂。

休恋那丽日当空,

转眼会云雾迷蒙。

休叹那百花飘零,

摧折于无常的天命。

唯有你永恒的夏日常新,

你的美貌亦毫发无损。

死神也无缘将你幽禁,

你在我永恒的诗中长存。

只要世间尚有人吟诵我的诗篇,

这诗就将不朽,永葆你的芳颜。

(green译)

拿这样的新诗和古诗翻译进行对比我们不难发现,用新诗翻译这首诗歌,语句相对于古诗显得零乱而生涩,不能让人读来朗朗上口,形式上的散乱也破坏了原诗应该有的意境和韵味。既然十四行诗产生的年代与中国的历史相对照,也应该属于古代,那么这首诗歌就完全可以翻译成中国的古诗样式,也比较符合当时的风土人情。

另录爱尔兰诗人W。B。Yeats的诗一首:

He Wishes for the Cloths of Heaven。

Had I heavens’embroidered cloths,

Enwrought with golden and silver light,

The blue and the dim and the dark cloths

Of night and light and the half light,

I would spread the cloths under your feet;

But I,being poor, h****e only my dreams;

I have spread my dreams under your feet;

Tread softly because you tread on my dreams。

原译文如下:

若我有天上的呢绒,

上面绣着灿烂的金银线,

那蔚藍、暗灰和漆黑色的呢绒

代表着白昼、黃昏和夜晚;

我要将这呢绒铺在你的脚下;

但是,我因为穷,只有自己的梦;

现在,我已将我的梦铺在你的脚下;

轻点儿踩呀,因为你踩的是我的梦。

(陈绍鹏译)

有人用中国古诗译法翻译过这首诗,原文如下:

如有天孙锦,

愿为君铺地。

镶金复镶银,

明暗日夜继。

家贫锦难求,

唯有以梦替。

践履慎轻置,

吾梦不堪碎。

(居浩然译)

green将其译成古诗体:

欲裁天上锦,

金丝复银缕。

斑驳杂青黛,

晨昏差可拟。

殷勤展君前,

荆钗徒梦矣!

愿君怜屐齿,

我梦薄如绮。

新诗体翻译与古诗体翻译孰优孰劣,一目了然。再来看一首华滋华斯的作品:

She Dwelt among the Untrodden ways

——William Wordsworth

She dwelt among the untrodden ways

Beside the springs of Dove,

A maid there was none to praise

And very few to love:

A violet by a mossy stone

Half hidden from the eye!

—fair as a star, when only one

Is shining in the sky。

She lived unknown, and few could know

When Lucy ceased to be;

But she is in her gr****e now, and oh,

The difference to me!

白话诗体翻译:

她住在阒无人迹的地方,

在鸽子泉的近旁。

有谁知她的美貌?

有谁作她的情郎?

像苔石旁一朵紫罗兰,

娇羞地半开半放;

像夜空里一颗孤星,

寂寞地闪着银光。

呵,露西,你默默地活着

离去也一声不响;

我怎能相信,

green翻译:

伊人所居,在彼幽泉。

芳心自吐,素华谁怜?

兰生于涧,星皎于天。

游兮不归,余独怆然。

再举一例:

Loves Secret

——William Black

Never seek to tell thy love,

Love that never told can be;

For the gentle wind doth move Silently,invisibly。

I told my love, I told my love,

I told her all my heart,Trembling,cold, in ghastly fears- Ah! She did depart!

Soon after she was gone from me,A traveller came by,

Silently, invisibly:

He took her with a sigh。

爱的秘密

——威廉?布莱克

何必要表白爱情,

爱情又怎能说清?

像一阵沁润的和风,

无声无影又无形。

向她倾诉心曲,

我说尽甜言蜜语,

她竟然离我而去!

她刚刚把我甩掉,

就遇到一位路人,

凭一声莫名的轻叹,

就赢得她的芳心。

green古诗译法翻译如下,四字一句,简洁明了,和谐悦耳:

爱本无言

言不由衷

如沐和风

润物无声

执子之手

倾我心曲

诚惶诚恐

弃我如遗

言犹在耳

逢彼路人

朦胧轻叹

获子之心

类似于中国古诗中的诗经体,读起来朗朗上口,余味悠远。

再如古波斯诗人莪默?伽亚谟的《鲁拜集》(The Rubaiyat of Omar Khayyamn,菲茨杰拉德Edward FitzGerald译本)里部分段落green翻译如下:

鲁拜集第十六首(译,Talbot版)

But bring me Wine; for words I do not care;

I have thy lips, and all my Heaven is there;

Bring wine to match thy cheeks; my penitence

将进酒,莫多言,

清讴皓齿是桃源。

倾杯只为花颜醉,

绿云深处有蓬山。

第十二节:

A Book of Verses underneath the Bough,

A Jug of Wine, a Loaf of Bread,-- and Thou Beside me singing in the Wilderness --

Oh, Wilderness were Paradise enow!

译为七言律诗:

箪食卮酒又何妨?

爱向林下咏诗章。

但得清歌常相伴,

荒野处处是天堂。

鲁拜集第十八首:

I some times think that never blows sored

The Rose as where some buried Caesar bled;

That every Hyacinth the Garden wears

Drop tinits Lap from some once lovely Head。

殷殷蔷薇色,

杜宇血中来。

美人最多情,

又作春花开。

鲁拜集第六十七首:

Ah, with the Grape my fading Life provide,And wash my Body whence the life has died,And in a Winding sheet of Vineleaf wrapt,

佚我以美酒,

息我以琼浆。

殓我以翠叶,

葬我于花旁。

(注:《庄子》“夫大块载我以形,劳我以生,佚我以老,息我以死。”)

摘录green英语诗歌翻译的一点体会,作为本文的结束:

“我认为翻译之事,散文易译,诗歌难译。为什么?诗是语言的音乐。语言不同,则韵律不同。英文讲轻重音,而汉语尚有平上去入,音乐讲究都来米发,故汉语之音乐性远较英语为强。英语如幽咽泉流冰下难,汉语如大珠小珠落玉盘。”

“英语如水墨,汉语如油彩。翻译则如以水墨作油画,以油彩做国画,何其难?诗乃最彰显语言特性之文体,一诗如一人,而所谓译作,人之相片、画像。故曰:译诗则诗亡。”

“没有翻译过来的莎士比亚,也没有翻译过来的海涅,因为他们只活在他们的语言里。滚珠不能搭积木,克隆式的翻译注定会失败。译诗一定要灵活,要把握原作者的感情,要做到“传情达意”,而不是死抠字眼。”

“你的译诗不是外国诗,而是中国诗。对中国人而言,一首好诗是什么样的,你的译作就该是什么样。译诗的美,必须体现汉语的美,而不是(也不可能是)外语的美。”

“对翻译而言,才低者照虎画猫,才高者借腹怀胎。优秀的译作是一种再创造的工作,是翱翔在语言之上的。”

不仅仅是英语诗歌翻译成汉语会遇到这样那样的困难,中文诗歌翻译成英语就更难了,比如一些绝佳的诗句就很难翻译成相应的英语诗句:

听雨馆主云:

“苍海月明珠有泪,蓝田日暖玉生烟”能翻译吗?

“长笛一声人依楼”能翻译吗?

“瞑色入高楼”能翻译吗?

“满城风雨近重阳”能翻译吗?

“即使翻译的再精准,再烘托,再形象化,‘神韵’没有了,整个诗就一钱不值了。进一步,连诗化的散文都不能翻译。比如:

‘春宫閟此青苔色,秋帐含兹明月光;夏簟青兮昼不暮,冬釭凝兮夜何长’、‘旭日始暖,蕙草可织,园桃红点,流水碧色’、‘暮春三月,江南草长,杂花生树,群莺乱飞’等等,都是

“一个字,代表一个特定的意象,不能有任何的替代;文字的美,组成了整体的美,一切的情绪与欣赏价值,就都在字的运用上。一旦某一个字不在了,整个的美也就消失了。”

使用英语诗歌中国古诗翻译法就是一种大胆的尝试。这是一种荆棘之路,尽管筚路蓝缕,但却值得探索。

后记:人类的所谓进步,无一不是以牺牲过去作为代价的。

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使他在你仁慈的夜幕下, And renew his life like a flower under 如花朵般焕发生机。 The cover of thy kindly night . 在你慈爱的夜幕下苏醒。 I am not yours, not lost in you, Not lost, although I long to be Lost as a candle lit at noon, Lost as a snowflake in the sea. 我不属于你,也没有沉迷于你, 没有,尽管我是如此希冀 像正午的蜡烛融化, 像雪花融汇在大海里。 You love me, and I find you still A spirit beautiful and bright, Yet I am I, who long to be Lost as a light is lost in light.

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汉语诗与英语诗翻译欣赏之比较 诗歌是语言的结晶,诗歌往往以其精炼的形式、和谐的音韵和节奏给人们带来巨大的精神享受。汉语诗、英语诗的欣赏也不是一件易事。英语诗歌在其一千多年的演化过程中发展出了丰富的诗体。这些诗体都有各自的规律、音韵、主题和表现方式,它们是一道道难以逾越的障碍。尽管诗歌能满足人们内心的渴望,但还是有许多人对它敬而远之,觉得诗歌晦涩、奇怪,难以理解。欣赏诗歌就要欣赏语言的节奏及形式特点,欣赏诗歌格律的韵律、音节及句式。不管英语还是汉语诗歌,都是按照一定的规律在句子中的排列,其目的是为了声韵和谐。同类的乐音在同一位置上的重复,能产生声音回环的美,同样,作为语言艺术的诗歌,汉语诗歌行中韵母相同或相近的字在一定位置上重复,也能产生音乐美的听觉效应。英语诗歌与汉语诗歌作为不同民族的诗歌种类,在诗歌的语言形式上有着自己的独有的习惯和风格。 1)汉语诗歌的格式韵律、音节、押韵很规范。而英语诗歌的韵律、音节格式变化很大。如: 朝辞白帝彩云间,千里江陵一日还。 两岸猿声啼不住,轻舟已过万重山。 ——(李白《下江陵》) 又比如: 白日依山尽,黄河入海流。 欲穷千里目,更上一层楼。 ——(王之涣《登黄鹤楼》) 如:波西·比希·雪莱的《Music,When Soft V oices Die》(《轻柔的声音寂灭后》): Rose leaves,when the rose is dead, Are heaped for the beloved’s bed; And so thy thoughts,when thou art gone, Love itself shall slumber on. 根据英语诗歌的优美韵律,按汉语诗歌的韵律翻译如下:

英语欣赏:经典英美文的诗歌

英语欣赏:经典英美文的诗歌 篇一:Nevergiveup英文短诗 Nevergiveup Nevergiveup,;永不放弃 Neverlosehope.;永不心灰意冷。 Alwayshavefaith,;永存信念, Itallowsyoutocope.;它会使你应付自如。Tryingtimeswillpass,;难捱的时光终将过去,Astheyalwaysdo.;一如既往。 Justhavepatience,;只要有耐心, Yourdreamswillcometrue.;梦想就会成真。Soputonasmile,;露 出微笑, You'lllivethroughyourpain.;你会走出痛苦。Knowitwillpass,;相信苦难定会过去,Andstrengthyouwillgain.;你将重获力量。 篇二:雪莱经典英语诗歌选集 雪莱经典英语诗歌选集:To—致— Oh!therearespiritsoftheair, 哦,天地间有大气的精灵, Andgeniioftheeveningbreeze, 有儒雅而斯文的鬼魅, Andgentleghosts,witheyesasfair 有吹拂晚风的仙妖,眼睛

Asstar-beamsamongtwilighttrees:— 像黄昏林间星光一样美。 Suchlovelyministerstomeet 去会见这些可爱的灵物, Ofthastthouturnedfrommenthylonelyfeet.你常踽踽而行,离群独步。 Withmountainwinds,andbabblingsprings,和山间的清风与淙淙流泉, Andmoonlightseas,thatarethevoice和月下的海洋,和这类 Oftheseinexplica blethings, 不可理解事物的喉舌交谈, Thoudidstholdcommune,andrejoice得到一声应答便感欣慰。 Whentheydidanswerthee;butthey 不过,像摒弃廉价的礼品, Cast,likeaworthlessboon,thyloveaway.它们却摒弃你奉献的爱情。 Andthouhastsoughtinstarryeyes 你又在明亮如星的眼睛里 Beamsthatwerenevermeantforthine,搜寻并非为你发的光辉—— Another'swealth:—tamesacrifice 那财富另有所归;妄想的 Toafondfaith!stilldostthoupine?

英语诗歌带翻译:Digging

英语诗歌带翻译:Digging Seamus Heaney Between my finger and my thumb The squat pen rests; as snug as a gun. Under my window a clean rasping sound When the spade sinks into gravelly ground: My father, digging. I look down Till his straining rump among the flowerbeds Bends low, comes up twenty years away Stooping in rhythm through potato drills Where he was digging. The coarse boot nestled on the lug, the shaft Against the inside knee was levered firmly. He rooted out tall tops, buried the bright edge deep To scatter new potatoes that we picked Loving their cool hardness in our hands. By God, the old man could handle a spade, Just like his old man. My grandfather could cut more turf in a day Than any other man on Toner's bog.

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