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以《天净沙·秋思》的两个版本译文——翁显良的散体译文和赵甄陶的格律译文为例,从语言象似性原则分析原文中“意象并置”所暗示的言外之意和空白意境,进而探讨诗歌翻译中形式对等的重要性及其带来的相关问题。认为对于意象并置这种句法以及诗歌的整个篇章而言,采取“形式对等”的译文既可以保留诗歌的形式,又可以传达其意境;并且基于人类同样的身体经验,意象并置的译文对于西方读者来说仍然在理解范围之内。
Taking the translations of two versions of Tianjing Sha · Qiu Si, Weng Xianliang and Zhao Zhentao ’s metrical translation as an example, this paper analyzes the implication and the blank of the implication of “image collocation” in the original text from the linguistic iconicity principle Artistic conception, and then explore the importance of the formal equivalence in the translation of poetry and the related issues. It is considered that the translation of “formal equivalence” can preserve the form of poetry and convey its artistic conception for the juxtaposition of this kind of syntax and the whole chapter of poetry. And based on the same physical experience of mankind, The translation is still understood by Western readers.