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著名翻译家许渊冲提出的诗歌翻译“三美论”主张译诗要在意、音、形、三个层面上尽量保持与原诗相似,并传递出原诗的美与神韵。以往对许渊冲三美观的研究多以其毛诗和唐诗翻译为主,于其明清诗歌的翻译较为忽视。故本文将以许渊冲的明清诗歌翻译为例,探讨三美论在其译诗中的具体体现,并通过遣词之意美、格律押韵之音美、造句之形美三个方面分析三美论指导下的许译古诗,以探究三美论在诗歌翻译中的可行性和指导性。
The famous translator Xu Yuanchong’s poetry translation “Three Beauties ” advocated that the translation of poetry should be at the level of attention, tone, shape, try to maintain the same as the original poem and convey the beauty and charm of the original poem. In the past, many studies of Xu Yuanchong’s three aesthetics are mostly based on his translation of Mao’s poetry and Tang poetry, and the translation of his poems in the Ming and Qing dynasties is neglected. Therefore, this article will take Xu Yuanchong’s poetry translation in Ming and Qing Dynasties as an example to discuss the concrete manifestation of the three aesthetic theories in her translation poetry. Through the analysis of the three aesthetic theories Under the guidance of the Xu translation of ancient poems in order to explore the Three Beauty in the translation of poems in the feasibility and guidance.