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在仓央嘉措诗歌80余载的汉译历史上,现有的23个译本堪称蔚为大观。它们有的以学术性著称,有的以文学性名世,有的从读者接受着眼,有的以忠实原文见长,可谓各具特色,各得其所。其中马辉译本以对于原作的偏离饱受质疑。在这里,译者的创意性被发挥到了极致,甚至到了翻译与创作水乳交融、彼此难辨的程度。事实上,马辉的译诗已经颠覆了人们对于翻译的传统观念,正在朝向现代诗歌创作迈进的道路上高歌猛进。这种走向使得翻译与创作之间的界限消弭于无形之中。
In the history of the Chinese translation of Karayang Gyatso’s poems for more than 80 years, the existing 23 translations are regarded as magnificent. Some of them are famous for their scholarly nature, some are famous for their literature, some are for their readers’ eyes, and others are famous for their loyalty. They are all distinctive and have their own place. Which Ma Hui translation of the original deviation from the original questioned. Here, the translator’s creativity is brought to the extreme, even to the extent that translation and creation blend together and are indistinguishable from each other. In fact, Ma Hui’s translation of poetry has subverted people’s traditional concepts of translation and is marching forward toward the creation of modern poetry. This trend makes the boundary between translation and creation eliminate invisible.