一研究诗的人常把格律比作诗的肌肉和骨骼。如果承认这个比喻是确当的,在译诗的时候,就应该把原诗的格律看作是必须传达的东西。我国诗译界向有两派说法,都是不大看重传达外诗格律的。一派可称“神韵派”,另一派可称“民族习惯派”。“神韵派”主张,译诗的宗旨全在于领悟和传达外诗的“神韵”,为了“神韵”,译文怎样处理格律问题,原则上都是可以的。“民族习惯派”则认为,不管外诗具有何种本民族的格律形式,在译文中都须转换成中国人所习惯的结构类型,译者无须在探究和传达外诗格律上煞费苦心。其实,这些都是莫大的误会。“神韵派”之所谓“神韵”,大约主要是指诗的思想意蕴和情感内涵。这些东西除直接凝聚在词语和形象体系内部,也同时寓含在诗歌的特定节奏和语调之中。而特定的节奏和语调又总是发源于特定的格律形式。因此,怎么能把诗的“神 A research poem often compares the metrical form to poetic muscles and bones. If we admit that this metaphor is correct, we should regard the law of the original poem as something that must be conveyed when translating poems. There are two schools of thought in the translation of poetry in our country. One group can be called “Charm School,” and the other school can be called “National Customs.” The “Shen Yun School” claims that the purpose of the poem is entirely to understand and convey the “charm” of the foreign poems. In principle, it is okay to deal with the issue of “lattice motif” for the “charm”. The “national custom” holds that no matter what kind of national melody style the foreign poetry has, it must be translated into the type of structure that Chinese people are accustomed to in the translation, and the translator need not exert any painstaking efforts in exploring and conveying the rhyme of the outer poem. In fact, these are great misunderstandings. The so-called “Charm” of “Charm School” mainly refers to the thought connotation and emotion connotation of poetry. In addition to the direct aggregation of these things within the word and image system, but also embodied in the specific rhythm and tone of poetry. The specific rhythm and tone always originated in a specific form of ritual. Therefore, how can we put the poem "God