论文部分内容阅读
摘 要:唐代李白(公元701年-762年)的诗“长干行”在中国是一篇名著。美国映像派诗人艾兹拉.庞德用“河商妻子的一封信”为题用英文重写了它,这篇作品很好的表达了原著的艺术含义。庞德的作品可以被当做是中国古诗翻译的很好例子,其贴切地抓住了中国诗歌的映像。美国翻译理论家奈达提出了他的翻译概念“动态对等”,用其来阐释翻译,本文运用他的观点来解释和分析庞德这篇作品。
关键词:映像主义;翻译;艺术;意义;动态对等
The comparison between The original works of Li Po`s “Chang Gan Xing”and Ezra Pound`s “The River-Merchant`s Wife:A Letter”as follows:长干行
The River-Merchant’s Wife:A Letter
妾发初覆额,While my hair was still cut straight across my forehead
折花门前剧。I played about the front gate,pulling flowers.
郎骑竹马来,You came by on bamboo stilts,playing horse.
绕床弄青梅。You walked about my seat,playing with blue plums.
同居长干里,And we went on living in the village of Chokan:
两小无嫌猜。Two small people,without dislike or suspicion.
十四为君妇,At fourteen I married My Lord you.
羞颜未尝开。I never laughed,being bashful.
低头向暗壁,Lowering my head,I looked at the wall.
千唤不一回。Called to,a thousand times,I never looked back.
十五始展眉,At fifteen I stopped scowling
愿同尘与灰。I desired my dust to be mingled with yours
常存抱柱信,Forever and forever and forever.
岂上望夫台。Why should I climb the look out?
十六君远行,At sixteen you departed
瞿塘滟滪堆。You went into far Ku-to-yen,by the river of swirling eddies
五月不可触,And you have been gone five months.
猿声天上哀。The monkeys make sorrowful noise overhead.
门前迟行迹,You dragged your feet when you went out.
一一生绿苔。By the gate now,the moss is grown,the different mosses
苔深不能扫,Too deep to clear them away!
落叶秋风早。The leaves fall early this autumn,in wind.
八月蝴蝶黄,The paired butterflies are already yellow with August
双飞西园草。Over the grass in the West garden
感此伤妾心,坐愁红颜老! They hurt me. I grow older.
早晚下三巴,If you are coming down through the narrows of the river Kiang
预将书报家。Please let me know beforehand
相迎不道远,And I will come out to meet you
直至长风沙。As far as Cho-fu-Sa
As a whole,Pound`s works transfers and expresses the spirit of the original works,the wife`s loyalty to her husband. Despite Pound did not know Chinese,he caught the substantial elements of Chinese works.
Nida`s translation theory could effectively analyze the poem. Utilizing it to analyze and compare the original works and the translation could get a clear viewpoint on the poem.
Insufficient translation
Insufficient translation means the translation only get or cover a part of the original works. The first five sentences of the two poems are rather excellent matched,but from the sixth,there are some discrepancies between Li Po`s and Pound`s,the sixth sentence “两小无猜嫌”“Two small people,without dislike or suspicion.” may cause ambiguity. “两小”is translated as “two small people”,but “两小”means the two children in their childhood,while “two small people” may refers to two small adults,two people with small body. The ninth sentence “低头向暗壁”,“Lowering my head,I looked at the wall.”“向暗壁”is translated as “I looked at the wall”,“I looked at” could be seen as a complement by Pound based on his understanding,but the word “暗”`s meaning is ignored,it seems that “暗”could be translated as “hidden or dark”,for the little wife felt shameful and wanted to find a secret place for herself.
Functional equivalent
Nida`s most important concept is functional equivalent. Totally different forms of sentences in two very different languages can achieve the same effect in their own language.
The 13th and 14th sentences may be the most difficult sentences to translate of the whole poem,because there are two Chinese literary quotations in the two sentences.
The story of "抱柱信”is that,a man named Wei Sheng was engaged to meet with a woman under the Liang bridge,the woman did come,and the river water was rising,but the man did not move away but held the column until death. This story was often quoted as an example of keeping one`s word firmly.
“望夫台” refers to palces in ancient China`s many areas which have high altitude for the wife to watch and pray for her far – traveled husband. It is inappropriate do a literal translation for the two sentences. In English the literal translation of the two sentences will lead to great bewilderment,how could a common English native speaker know what are the meanings of “望夫台”and “抱柱信”?Therefore Pound adopted another way to translation the two sentences,he used two sentences to express the same effect of the original works.
This is a kind of “dynamic equivalent” in translation activity,according to Nida`s theory. Nida thinks that a translation which could get the same effect in the receiving language. “长存抱柱信”here expresses her forever,unchangeable love to her husband,so the English translation “forever and forever and forever” is appropriate. But the next sentence may have some misconceptual translations. “望夫台”is translated as “ the look out”,look - out is a kind of building with military purpose. Of course,look-out can be used by the wife watching for her husband,but it is not a special place for watching her husband,it lacks of the love and romantic atmosphere,so the equivalent is not sufficient.
The 25th sentence is also a functional equivalent translation in some extent; the original sentences "感此伤妾心,坐愁红颜老!”mean that the above things which the wife saw and listened make her feel sad,she could not help thinking that her youth is draining away,when she sat there. It seems to Chinese readers that Pound’s translation only expresses the surface meaning of the two sentences,but in modern western society,it is a direct,explicit and strong inner world revelation,"they hurt me,I grow older." is a pure English expression.
Wrong translation
Wrong translation occurs due to translator's insufficient understanding to the original works. The 17th sentence is a wrong translation. The original sentence "五月不可触”means the husband left on May,not five months.
Semantic adjustments made in transfer
The 19th and 20th sentences seems to be translated insufficiently,“门前迟行迹,一一生青苔”means that the footprints in front of the gate which made by the husband’s dragging feet when he was leaving are covered with mosses one by one. It is reasonable that the mosses on the footprints are different from the other places`. The core word of the two sentences in original works is “迹”,in translation Pound eradicated the core word. Without the core word,the two sentences are more balanced in meaning; this also follows the habit of English poem.
关键词:映像主义;翻译;艺术;意义;动态对等
The comparison between The original works of Li Po`s “Chang Gan Xing”and Ezra Pound`s “The River-Merchant`s Wife:A Letter”as follows:长干行
The River-Merchant’s Wife:A Letter
妾发初覆额,While my hair was still cut straight across my forehead
折花门前剧。I played about the front gate,pulling flowers.
郎骑竹马来,You came by on bamboo stilts,playing horse.
绕床弄青梅。You walked about my seat,playing with blue plums.
同居长干里,And we went on living in the village of Chokan:
两小无嫌猜。Two small people,without dislike or suspicion.
十四为君妇,At fourteen I married My Lord you.
羞颜未尝开。I never laughed,being bashful.
低头向暗壁,Lowering my head,I looked at the wall.
千唤不一回。Called to,a thousand times,I never looked back.
十五始展眉,At fifteen I stopped scowling
愿同尘与灰。I desired my dust to be mingled with yours
常存抱柱信,Forever and forever and forever.
岂上望夫台。Why should I climb the look out?
十六君远行,At sixteen you departed
瞿塘滟滪堆。You went into far Ku-to-yen,by the river of swirling eddies
五月不可触,And you have been gone five months.
猿声天上哀。The monkeys make sorrowful noise overhead.
门前迟行迹,You dragged your feet when you went out.
一一生绿苔。By the gate now,the moss is grown,the different mosses
苔深不能扫,Too deep to clear them away!
落叶秋风早。The leaves fall early this autumn,in wind.
八月蝴蝶黄,The paired butterflies are already yellow with August
双飞西园草。Over the grass in the West garden
感此伤妾心,坐愁红颜老! They hurt me. I grow older.
早晚下三巴,If you are coming down through the narrows of the river Kiang
预将书报家。Please let me know beforehand
相迎不道远,And I will come out to meet you
直至长风沙。As far as Cho-fu-Sa
As a whole,Pound`s works transfers and expresses the spirit of the original works,the wife`s loyalty to her husband. Despite Pound did not know Chinese,he caught the substantial elements of Chinese works.
Nida`s translation theory could effectively analyze the poem. Utilizing it to analyze and compare the original works and the translation could get a clear viewpoint on the poem.
Insufficient translation
Insufficient translation means the translation only get or cover a part of the original works. The first five sentences of the two poems are rather excellent matched,but from the sixth,there are some discrepancies between Li Po`s and Pound`s,the sixth sentence “两小无猜嫌”“Two small people,without dislike or suspicion.” may cause ambiguity. “两小”is translated as “two small people”,but “两小”means the two children in their childhood,while “two small people” may refers to two small adults,two people with small body. The ninth sentence “低头向暗壁”,“Lowering my head,I looked at the wall.”“向暗壁”is translated as “I looked at the wall”,“I looked at” could be seen as a complement by Pound based on his understanding,but the word “暗”`s meaning is ignored,it seems that “暗”could be translated as “hidden or dark”,for the little wife felt shameful and wanted to find a secret place for herself.
Functional equivalent
Nida`s most important concept is functional equivalent. Totally different forms of sentences in two very different languages can achieve the same effect in their own language.
The 13th and 14th sentences may be the most difficult sentences to translate of the whole poem,because there are two Chinese literary quotations in the two sentences.
The story of "抱柱信”is that,a man named Wei Sheng was engaged to meet with a woman under the Liang bridge,the woman did come,and the river water was rising,but the man did not move away but held the column until death. This story was often quoted as an example of keeping one`s word firmly.
“望夫台” refers to palces in ancient China`s many areas which have high altitude for the wife to watch and pray for her far – traveled husband. It is inappropriate do a literal translation for the two sentences. In English the literal translation of the two sentences will lead to great bewilderment,how could a common English native speaker know what are the meanings of “望夫台”and “抱柱信”?Therefore Pound adopted another way to translation the two sentences,he used two sentences to express the same effect of the original works.
This is a kind of “dynamic equivalent” in translation activity,according to Nida`s theory. Nida thinks that a translation which could get the same effect in the receiving language. “长存抱柱信”here expresses her forever,unchangeable love to her husband,so the English translation “forever and forever and forever” is appropriate. But the next sentence may have some misconceptual translations. “望夫台”is translated as “ the look out”,look - out is a kind of building with military purpose. Of course,look-out can be used by the wife watching for her husband,but it is not a special place for watching her husband,it lacks of the love and romantic atmosphere,so the equivalent is not sufficient.
The 25th sentence is also a functional equivalent translation in some extent; the original sentences "感此伤妾心,坐愁红颜老!”mean that the above things which the wife saw and listened make her feel sad,she could not help thinking that her youth is draining away,when she sat there. It seems to Chinese readers that Pound’s translation only expresses the surface meaning of the two sentences,but in modern western society,it is a direct,explicit and strong inner world revelation,"they hurt me,I grow older." is a pure English expression.
Wrong translation
Wrong translation occurs due to translator's insufficient understanding to the original works. The 17th sentence is a wrong translation. The original sentence "五月不可触”means the husband left on May,not five months.
Semantic adjustments made in transfer
The 19th and 20th sentences seems to be translated insufficiently,“门前迟行迹,一一生青苔”means that the footprints in front of the gate which made by the husband’s dragging feet when he was leaving are covered with mosses one by one. It is reasonable that the mosses on the footprints are different from the other places`. The core word of the two sentences in original works is “迹”,in translation Pound eradicated the core word. Without the core word,the two sentences are more balanced in meaning; this also follows the habit of English poem.