英语翻译论文

Rhyming Form and Image of Tang Poem Translation
Introduction
Poetry is a literary form of literature, under the basic foundation of faithfulness and smoothness. We need to meet the need of requirement of poem on aesthetics. It would be a success if the readers can have a sense of enjoyment at the time of reading the translated pieces. How to achieve require of translated poem? This seems to be a subject that spends a long time for translators of all states to study. In the process of translation, we should not only translate the words but more importantly, translated poetry meaning. At the same, we should also pursue internal aesthetics, interesting and sprite none of them is dispensable. Since the existence of cultural difference, we often need to deliberate change the original poem language forms, so from a certain point poetry translation is more occasions a creative labor and the translates pieces should be considered as the reorganizations and recreation of language.
It is much harder to translate poem than essay. On the aspect of language refinement, due to the difference of language writing construction, the degree of refinement is also not in the same. The number of statement and word in classical poem is fixed, and the rhyme words are used alternatively,in this way the reader would have a strong sense of rhythms, however, in modern verse, we should not appreciate it as a soul-stirring piece.
1.Role of Tang poem translation in world literature.
1.1 The occupation of Tang poem in the world.
Tang poem is essence of our literary treasures, also is a very high position in the world literature. The Chinese-to-English translation work of Tang poem not only introduce the art of Tang poem to the English world, making their readers enjoy the aesthetics, but also have a great impact o the new creation. A lot of poets were influenced by the art of Tang poem, such as Expound, Sterner and so on. They were well known for seeking enforce to the movement of new poem creation. At the end of
19th century, the University of Cambridge professor Herbert A. Giles translated the poet Li Bay, Wang Wei‟s poem into verse. His translation has a unique style, attracted the readers, and also appreciated by the critics. The American poet K. Rexroth ha said: “In my point of view, C hinese poems have much greater influence on me than the others. The most poems that I wrote are in a kind of Chinese rule.”
1.2 View on poem translation
It is well known that those different ethnic languages, especially poetry, it is an extremely difficult work for translators to translate the language form to feelings. Many poets, theoreticians consider that the poem can not be translated. Once R. Frost said: “the translation of poem is what gets lost in translation.”The linguists R. Jacobson makes sure that strictly speaking poem can not be translated. Although choice the words are such frustrating, the Tang poem translation practice of S. Jenny‟s has proved that poetry can substantially, accurately, and vividly translated from one language into another language, and spread to everywhere. Today we need to pay much attention to Tang poem translation work, so that we can promote ancient brilliant culture of the motherland, and be in interest of world literature.
1.Two Major Directions ------Rhyming Form and Image
2.1 The measure of dividing two aspects
Poetic translation and literature translation is different. An Austrian philosopher says that the translation from one language into another language is a onerous tasks, to translate lyric poems into a foreign language is like doing this task, and the problem can be solved but without system solution. Tang poem translation practice and theoretical explorations is the case, they have raised question: Faithfully reflect the original form, rhythm, or convey the spirit of the original Tang poem. Whether to pursue the refined and implicated expression or keep the true life and accuracy of the original poem. Holding different views, the Tang poem winds its frustrated way through the 100years translation process, and thus forms two schools of translation centered by those two sides-----rhyming form and image...
Chinese poetry, whether in form or its nature give access to the aesthetics? Tang
poem as a peak in the history of the ancient poetry, the translation has much value. Tang poem was brilliant, embodied in two aspects: First, it has magnificent poetry territory, fresh ink and keeps emotions. Second, it has a flexible and changeable rhyming form. The fluency of words and cadence of sound rhythm, which make full use of a variety of means that Chinese language can provide, such as rhythm, rhyme.
2.2 Rhyming forms of Tang poem
Rhymes in Tang Poetry are as rich and varied as those in English Poetry, and in certain respects even more complicated than the latter. Rhyme is an inborn essential in tang poetry. The rhyme is both the soul and the difficult in poetry. Thus the scientific and deliberate analysis of the rhyme become the key for the catching of the soul and charm in poetry.
For the Tang poem translators, the first problem they faced is how to achieve the formal aesthetics of poetry. Tang poem translation federal pioneer had sighed and said: The aesthetics of poem is not only exists in what the poets said, also exist in how it said, this conveys which has a poet‟s personality is so delicate that the same as a flower we can not graft it to another tree. Poems content can be reproduced, but to be sure the dynamics of poetry must have lost in the translation, it hardly does thing perfect. Early Tang poem English translators tried to display the formal aesthetics by using the English poem rhythm, but their attempts are limit, and the British have taken a big step forward. S. Jenny in the 1898 Edition of the Chinese poetry in English verse injected the contents of Tang poems. Let‟s take Wang Changling‟s sorrow of a young bride in her boudoir as an example:
At the War see the young wife whose bosom ne‟er has ached with cruel pain!
In gay array she mounts the tower when spring comes round again.
Sudden she sees the willow trees their newest green put on;
And sights of her husband far away in search of glory gone.
闺中少妇不知愁，春日凝装上翠楼，忽见陌头杨柳色，悔教夫婿觅封侯。

Rhyme uses the form of AABB, this is the common pattern of English poetry. The arrangements of poem translation seem to be the author deliberately adapt to the
Tang poem form. The translators use the Iambic, but also may be 平仄and 对仗counterpart Tang poem form arrangements, we can consider this situation as the combination of English poem rhythm and Tang poem rhythm. In the process of rhythms Chinese-to-English Tang poem translation, to realize the connection of those two rhythms is not easy job. W. J. Fletcher in 1981 Edition of the Gemsof Chinese verse translated into English, Tsai. T. K. in the 1932 Edition more of the Chinese poems in English Rhyme is using stringent English translation rhythm to translate Tang poem genre of Chinese classical poetry. Another such as J. Turner a golden Treasury of Chinese Poetry which uses the rhyming forms to reappear the formal aesthetics of Tang poem. Since the 1980s, our translators are mostly along this path, and to strive to use the English language poetry bodies rhyme, use feet-form to translate Tang poem, and developed their own characteristics and theoretical summary. Wu Juntao in the Du Fu‟s 150 translated piece said; the original is poetry, it is better not to translate it into prose, the original is a genre of Chinese classical, its better not to translate it into modern free verse. He spent nearly 10 years in Du Fu‟s poem translation poetry, and made great efforts on solving the problems which we meet in poem translation, he had done his best to make the number in the same of foot in each line, each foot has two syllables, and this is what the Iambic is. From this translated pieces we can see that his idea of translation is on the wave length with A. Giles and W. J. Fletcher‟s striving direction. From the following translation we can make sense.
Among the green willows a pair of orioles troll;
Up to the blue the white egrets flying in a roll.
The window frames the west peak with eternal snow;
To air-off Wu the mooring boat by the gate may go.
两只黄鹂鸣翠柳，一行白鹭上青天。

窗含西岭千秋雪，门泊东吴万里船。

It retained the original poem in English the first language forms highly accurate, the use of English poetry concert is rare way of rhyme; verse form with the original poem has been maintained. Linton translated Chankiang‟s Antithesis sentence“前不见古人，后不见来者。

” As follows:
Before me-I see not the ancients; behind me-I see not the coming generation.
From these sentences we may get a conclusion that the translator is on the purpose of display the rhyming form of the original poem itself in translated piece. The 20th century is said to “translate era.” Tang poem in the process of translation is not a simple phrase or emphasis by comparison, it is more important for us in the pursuit of formal aesthetics.
The following is a translated piece of a Chinese classical poem. The Chinese version is like this:
The morn rain owe town has laid light dust clean;
And willow trees around the inn look fresh and green.
A cup of farewell yet, oh you, do entreat.
For west across yang pass, and friend but seldom meet.
渭城朝雨浥轻尘，客色青青柳色新。

劝君更尽一杯酒，西出阳关无故人。

This poem using the format of classical poetry “Foot Iambic”.Each line of poetry has 12 syl lables, so each line with six foot. In the first line there is a throw (…), it means a letter is omitted. Here avoid a consonant “f”,that is, “Of”it commonly used form of classical English poetry with more ancient style here, there are a lot of classical English poetry rhyme form, the poem used here AABB form that is, at the end of each sentence use two identical rhyme. “M orn” is “morning” in the poetry of the abridge form, side by side, so one syllable.“城”characters into “town” sounds better than translated it with phonetic sound. “Lay dust clean” is a saying that the dust cleaned by rain. In this poem “willow tree” instead “willow”, we do it on the purpose of adding one more syllable, so that the stress and light syllables appear alternatively.
2.3 Imagery conveying in Tang poem
In the poem production, image is an incorporate from of the poets‟ exterior sensation. It loading their product ion trend is the poets‟ emotional mentality and store up profound traditional idea.
A. C. Graham in his “poem of the late Tang” published in 1965 have said:“The most basic thing for the translator is to be brief” A. C. Graham advocate “Rather be faithful (in thought) than smooth (in language)”. Tang poem form for the events, he can not give up the idea, but little change in poem translation, to avoid making the
reader feel tedious.
Weng xianliang seems to be much bold on it. He advocates translating the poem into free verse. Because different countries have different languages, so he thinks that it is unnecessary to obey the traditional form, his pieces do not have rhyme forms, he does not care about the length of sentence and the order. Let‟s take Wang Zhihuan‟s poem for example:
Westward the sun, ending the day‟s journey in a slow descent behind the mountains. Eastward the Yellow River, empty into the sea. To look beyond, unto the farthest horizon, upward! Up another storey.
白日依山尽，黄河入海流。

欲穷千里目，更上一层楼。

Such translation of the original poem to break the uniform and order and translates into prose, a Tang poem abandons the original rhythm of forms completely.
2.4 Shortcomings of the two directions respectively
Tang poem translation of formal aesthetics is important, but as a result of verse and sound-rhythms constraint in the area had to do in terms of additional flexibility, deletion, or for the argument, and even change the meaning of original poem, with the possibility of losing original poem rich feel ings and distinctive image. Let‟s see the translated poem of Chen Ziang which is translated by H. A. Giles.
On Climbing the Tower at Youzhou
My eyes saw not the men of old; and now their age away has rolled.
I weep-to think that I shall not see; the heroes of posterity!
前不见古人，后不见来者，念天地之悠悠，独怆然而涕下。

Translated poem lost the image of “念天地之悠悠,独怆然而涕下”，these two sentences are full of vivid feelings and outstanding images, the translated version just instead those feeling with “I weep”.
In recent years, whether home or abroad, an important reform movement of the early 20th century Anglo-American poetry - the representative of Imagist poetry movement Ezra Pound's attention and research have set off the layers of heat waves. However, most of these studies have focused on the "Image" method of poetry writing. Ezra Pound translated many immortal works. He is convinced that the real quality art
Tang poem is i ts image. He didn‟t follow H. A. Giles and others along the way into Tang poem interior of rhythm, rhyme. Ezra Pound translated o ne of Li Bay‟s poems in his Cathay like this:
惊沙乱海日：Surprised desert turmoil sea sun.
抽刀断水水更流，借酒消愁愁更愁：Drawing sword, cut into water, water again flows.
Obviously, compare with the norms of English, Pound is not a primitive image. He asked directly translate it, almost one-to-one correspondence with the original language from a formal point of view, and the lack of specification in English must be. In Chinese we can understand it in this way: “ 惊奇”“大漠混乱”“大海太阳”。

It is only a Parallel Imaging. But in the original poem, it mainly talks about the Frontier fortress fighting. The real meaning of “海” is Hanhai desert, but Pound considers it as “sea”, the second sentence also being translated in a wrong way. Here, the word “空” dose not belong to the “sky”, but to e mpty place. Pound pays a great attention on image, although he misunderstand and mistranslated some poems, his ideas and ways of translating have a long-term‟s effects on Translation profession, and his ways and regulation in translation are accepted by many people.
In fact, the poem is imaginable, sometimes we can not translate and understand it by a common mean, and we ought to consider the image which the poem describes as a picture. Now how to use the ways of appreciating a drawing to display it, it‟s really a question. An ancient painter had given us the answer he wanted to draw a picture of “深山埋古寺”（In a mountain there hides a temple）.In his paint he didn‟t draw the temple, but a monk who were getting water, how imagination it is. If you want to understand the poem you must use your imagination to find the deep meaning of poems. The translation of poem is not only a simple literal translation we need to use imagination if we want to get the imagery of the poems.
3. A Develop Trend of Combining Rhyming Form and Image
On seeing the past hundred years of Tang poem translation, generally show two different directions, namely, either focus on items or images. But we face a set of
issues, I think the most controversial thing is to organize and express ideas between them. A perfect poetry rhythm could supply readers with the enjoyment on form aesthetics, but will cause limitation to the imagery expressing, while the pursuit of perfect imagery convey, a lot of translators start to concentrate their attention on the combination of the two schools.
Conclusion
The rhyming form realizing and imagery form conveying is not totally paradox, we divide them into two parts just for which part is further emphasized in the process of translation. If the author focuses on imagery, we consider him or her as the representative of the school image; if the writer pays much attention to his rhyming form realizing, we call him or her being on the behalf of rhyming form. Now as we all know how to put these two elements to the same level is the most important issue for us. The best way is to combine them into one unity. I think it would be a very significant task.
M. Katz the America critics say well: “If rhyme and events are integral part of writing forms, is the translator should not try to maximize these factors, together with the spirit of the original message out? This view is balanced. In addition, Tang poem also understand the genre of Chinese classical figures for the formal aesthetics simple assumption that no such artistic achievement, Tang poem she would not show brilliance. Gustier says: “the purpose of translation tends to absorb the contents of the original piece, and keep the form. The relationship between translation and author is similar to that of painter and people w ho are drawled.” Qian zhongshu believes that “化境” is the most favorable standard of the translation, that is the transmigration of soul. It must be the remarkable achievement and goal of Tang poem translation.
Bibliography
[1] S. Jenny.From the 300 poem of Tang Dynasty, prefac e﹙London, John Murry,
1940﹚
[2] M. Katz.《艾米.洛威尔与东方》张隆溪编《比较文学译文集》北京大学出版社，1982年
[3] 翁显良. 《古诗英译，小序》北京出版社，1985年
[4] 吴钧陶. 《杜甫诗英译150首.序》陕西人民出版社，1985年
[5] 王佐良. 《诗人勃莱一夕谈》江苏人民出版社，1984年
[6] 朱炳林. 《读Giles的唐诗英译有感》上海外语学院， 1980年
Acknowledgements
I want to express my sincere thanks to Qinghai Nationalities University, to the School of Foreign Languages in particular for their motherly nurturing and self less instruction during my four years‟ study.
My gratitude goes to Professor Xiaohua Zhang, my supervisor, for her consistent assistance, valuable suggestions, great encouragement and enlightenment in the process of my essay writing. My heartfelt thanks also goes to the other teachers for their patient guidance which benefit me a lot during the years of my studying here, I really learnt a lot from them.
My thanks also goes to those authors and whose works had been referred to and whose words and ideas been quoted in my essay.
Finally, I am also grateful to my friends and classmates, whose encouragement and help will always be remembered and cherished.。