英诗汉译中的意境转化

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ACKNOWLEDGEMENTS

My gratitude goes out to my supervisor, Professor Zhang Jinghao for his offering

me valuable suggestions, providing me with useful materials and guidance.

I would like to express my indebtedness to Professor Ye Shengnian, Deng Zhiyong,

Glen Phillips, Jing Wenning and other professors in the University of Shanghai for

Science and Technology for their instruction and encouragement.

I am also grateful to Professor Lu Gusun at Fudan University whose suggestions

give me so much enlightenment and whose lectures broaden my horizon and shape

some of my ideas.

I would like to express my heartfelt gratitude to Professor Huang Guangfu at

Fudan University without whose support I would never have the chance to further my

research in this subject.

Finally, I would like to thank my beloved parents and sister without whose

encouragement and persistent support, the dissertation can never be easily completed.

ABSTRACT

Artistic conception, the essence of all poetry, embodies the profound connotations

in the context of Chinese culture: the unity of objectivity and subjectivity, emotion and

scene, mind and material. In ancient times, the major notion concerning the artistic

conception includes Jiao Ran’s theory of “the Unity of Emotion and Scene”, Si

Kong-tu’s theory of “extra-image” and “spiritual resonance”, the most important of

all, Wang Guo-wei’s theory of “Jing Jie” which is divided into two parts: “the World

with Self” and “ the World without Self”.

The dissertation focuses on the analysis of the transformation of artistic conception

in poetry translation from English to Chinese in the condition of “the World with Self”

and “the World without Self”. Through the analysis of four types of “ the World without

Self” (Reserve and Self-possessed, Natural and Drifting aloofness, Potent,

Undifferentiated, and Calm and Expansive Contentment) illustrated with poems and

their renderings and through the analysis of two types of “ the World with Self”

(Melancholy and Depression, and Swaggering Abandon) illustrated with poems and

their renderings, the dissertation is to discuss what are the difficulties and similarities in

the transformation of artistic conception and to analyze how to convey the artistic

conception of the original poems.

In the process of the transformation of artistic conception of the original, one has to

face the dilemma that pervades the poetry translation：

the gain and loss in conveying the

ideas, emotions, styles and rhymes etc. of the original. But it does not mean that it is

hard to reproduce the spirit of the original. To a great degree, the success of poetic

translation is decided by how to render poems poetically and retain the scene beyond

scene, and image beyond image, flavor beyond flavor, and to extend the artistic

conception.

In the end the author, through the comparison between the different versions of

poetic translation, discusses the problems concerned in the transformation of artistic

conception of the original and advances the complementary view on the different

versions of poetic translation. The author proposes how to preserve the form to some

degree in pursuit of the spirit in the process of the transformation of artistic conception.

KEY WORDS: the transformation of artistic conception ，the World

with Self，the World without Self，poetry translation, flavor

摘要

意境在中国文化下有深刻的内涵，即主观与客观，情与景，心与物的融合和

统一。而诗歌尤其以意境取胜。古代关于意境的主要观点有：唐代皎然的“情境

统一”说，司空图的“神韵”，“象外”说，尤其是清代王国维的“境界”说，并

由此提出的“有我之境”与“无我之境”。

本论文将在王国维的“有我之境”与“无我之境”下，来分析英诗汉译中的

意境的转化。通过对“无我之境”下的四种类型（含蓄沉着﹑自然飘逸﹑雄浑﹑

平静旷达）的诗歌及其译文的分析，以及对“有我之境”下的两种类型（悲慨﹑

豪放）的诗歌原文及其译本的分析，探讨在两种不同文化背景下意境转化的难点

与共通之处，分析如何传递原诗的意境。

在转化原诗意境过程中，不可避免会出现各种操作难度，原诗的思想，情感，

风格和韵律等在汉译中会有所得失，但这并不意味着原诗的精神无法传达。本论

文探讨如何让译文更有诗味，以及传达景外之景，象外之象，味外之味，延伸诗

歌的意境。这在很大程度上是决定诗歌译本的成功与否的关键。

最后通过多译本的对比研究，发现各译本在转化原诗意境中的问题，提出多

译本的互补的观点，并在结论中提出在追求意境转化的神似时如何保留一定限度

的形似。

关键词:意境转化无我之境有我之境诗歌翻译味

CONTENTS

ACKNOWLEDGEMENTS

ABSTRACT

中文摘要

Introduction .......................................................................................................................1

Chapter One The Historical Perspective of Poetry Translation in China ......................... 3

§ 1.1 Principles of Translation ................................................................................... 3

§ 1.2 Literal Translation and Free Translation ........................................................... 5

§ 1.3 A Survey of Poetry Translation from English to Chinese ................................. 6

Chapter Two Artistic Conception ......................................................................................9

§ 2.1 Definition .......................................................................................................... 9

§ 2.2 Features ........................................................................................................... 11

Chapter Three Transformation of Artistic Conception in Poetry Translation .................13

§ 3.1 Transformation ................................................................................................ 13

§ 3.2 The World without Self ................................................................................... 14

§ 3.2.1 Reserve and Self-possessed ...................................................................... 15

§ 3.2.2 Natural and Drifting Aloofness.................................................................23

§ 3.2.3 Potent, Undifferentiated ............................................................................ 28

§ 3.2.4 Calm and Expansive Contentment ............................................................36

§ 3.3 The World with Self ........................................................................................ 38

§ 3.3.2 Melancholy and Depression ......................................................................38

§ 3.3.2 Swaggering Abandon ................................................................................ 43

Chapter Four Conclusion ................................................................................................ 49

Bibliography ................................................................................................................... 50

在读期间发表的论文 .....................................................................................................52

Introduction

Artistic Conception, regarded as the essence of all poetry, is what poets strive for.

How to preserve it has become an essential task for the translator. No wonder in poetry

translation from English to Chinese the translator has to sum up his effort to fulfill the

toughest task. The choice of mood, diction, even appropriate rhyme scheme and rhythm

is required to be suitable to the target language. The difficulties the translator faces are

inevitable, and those who claim the untranslatablity of poetry sound reasonable. Robert

Frost said: “Poetry is what gets lost in translation” (qtd. in : Bassnett 57). Whenever we

discuss the issue of translatability or untranslatablity of poetry, Frost’s seemingly

forceful remark makes some of us disheartened. It is true that the musical quality of

poetry and some cultural elements are untranslatable. In this respect the attempt of

poetry rendering is futile and meaningless, and the anxiety and fear that translators have

in poetry translation, therefore, is understandable. For instance, Soame Jenyns in the

preface of Selections from the Three Hundred Poems of the Tang Dynasty says:

There is a certain futility about all translations of poetry. For the beauty of

poetry lies not so much in what the poets have to say but how they say it, and

this expression of their personality is too delicate a bloom to admit grafting

on to another tree. The essence may be preserved, but the movement is sure

to be lost in translation, which can be exact or readable but scarcely ever

both. When a dictionary is brought to the table the Muse flies out of the

window… (转引自：劳 215)

But is it fair to say that? As far as the question of untranslatibility and

translatability of poetry is concerned, there is a thoughtful and piercing remark by Gu

Zhengkun（辜正坤）.The following is the quotation from his article:

For hundreds of years, the subject of translatability and untranslatibility of

poetry has been highly controversial in the translation theory circles… I hold

it is too arbitrary and incorrect to make a conclusive statement that poetry is

simply translatable or simply not. In fact, in doing translation, at least four

poetry elements must be taken into consideration: 1) the completely

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摘要：

ACKNOWLEDGEMENTSMygratitudegoesouttomysupervisor,ProfessorZhangJinghaoforhisofferingmevaluablesuggestions,providingmewithusefulmaterialsandguidance.IwouldliketoexpressmyindebtednesstoProfessorYeShengnian,DengZhiyong,GlenPhillips,JingWenningandotherprofessorsintheUniversityofShanghaiforScienceandTech...

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