为了讨论译者如何更细腻地感受和传达诗人的个人风格,必须提出一个译者透明度(Transparency of the translator)的概念。 济慈曾提出诗人应当具备“消极的才能”,“它是一切,它又什么都不是。它没有性格——它欣赏光线,也欣赏阴影;它淋漓尽致地生活着,无论清浊、高低、贫富、贵贱。塑造一个伊阿古和塑造一个伊摩琴在它同样有兴致。”这种消极才能对诗译者比对诗人更显得重要。译者的透明度,也就是译者的消极的才能。 这一命题肯定是会有争议的,反诘可以来自两个相反的方面: In order to discuss how translators feel and convey the poet’s personal style more meticulously, a concept of Transparency of the translator must be proposed. Keats has argued that poets should possess “passive talent.” “It is everything. It is nothing. It has no character - it appreciates the light and the shadow. It lives vividly, It is equally true that Iguacu is shaped and shaped by a Imogen. ”This negative talent is even more important to poet translators than to poets. Translator’s transparency, that is, the translator’s negative talent. This proposition must be controversial, and the opposite can come from two opposite aspects: