《荷塘月色》五种英译
试论散文翻译中文体风格的对等——以李明《荷塘月色》英译本为例
The Science Education Article Collects总第275期2014年4月(中)Total.275April 2014(B)作者简介:樊瑶(1989—),女,山东莱芜人,烟台大学外国语学院硕士研究生,专业为英语语言文学。
摘要散文《荷塘月色》是我国近代白话散文中的经典之作,其语言优美隽永,文体风格独特。
李明所译的《荷塘月色》是目前公开发表的最新的一个英译本,且相关研究比较少见。
文章试图从文体学的视角,从语音、词汇和句法三个层面对李明的《荷塘月色》译本进行赏析,探讨奈达的动态对等理论对散文翻译中文体风格再现的指导。
关键词《荷塘月色》英译本文体动态对等On the Equivalence of Style in Prose Translation:A Case Study on Li Ming 's English Translation of "He Tang Yue Se"//Fan YaoAbstract "He Tang Yue Se",which is famous for its beautiful language,is a piece of classic prose in recent times,and the style of which is rather distinct.Its English version by Li Ming is the latest one that has been published,and related study i this ver-sion is comparatively seldom.The thesis tries to appreciate and analyze Li Ming's English version of "He Tang Yue Se"from the phonological,lexical and syntactical aspcts from the perspective of stylistics,and discuss the application of Dynamic Equivalence Theory in the translation of the style of prose.Key words English version of "He Tang Yue Se";style;Dynamic Equivalence1引言《荷塘月色》是我国著名散文家朱自清先生的代表作品之一,同时也是我国近代白话散文中当之无愧的经典之作。
荷塘月色朱自清(中英文译文)
荷塘月色朱自清这几天心里颇不宁静。
今晚在院子里坐着乘凉,忽然想起日日走过的荷塘,在这满月的光里,总该另有一番样子吧。
月亮渐渐地升高了,墙外马路上孩子们的欢笑,已经听不见了;妻子在屋里拍着润儿,迷迷糊糊地哼着眠歌。
我悄悄地披了大衫,带上门出去。
Moonlight over the Lotus PondIt has been rather disquieting these days. Tonight , when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by every day, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the room, my wife was patting the son, Run-er, sleepily humming a cradle song. Shrugging on an overcoat, quietly, I made my way out, closing the door behind me.The Moonlit Lotus PondThese past few days I have been exceedingly restless. This evening, as I sat in my courtyard enjoying the cool night air, I suddenly thought of the lotus pong along which I was used to taking daily walks, and I imagined that it must look quite different under the light of this full moon. Slowly the moon climbed in the sky, and beyond the wall the laughter of children playing on the road could no longer be heard. My wife was inside patting Runer (The name of one of the author’s children) as she hummed a faint lullaby. I gently threw a wrap over my shoulders and walked out, closing the gate behind me.沿着荷塘,是一条曲折的小煤霄路。
关于《荷塘月色》两个英译本的对比研究
关于《荷塘月色》两个英译本的对比研究作者:周红英来源:《文教资料》2018年第04期摘要:《荷塘月色》作为中国近代著名散文家朱自清的代表作,受到了人们的广泛关注。
针对《荷塘月色》的译本相对较多,其中以朱纯深与杨宪益两个译本流传范围最广泛,但是二者之间的翻译存在差别。
基于此种情况,本文从宏观与微观两个方面对两个译本进行了对比研究。
关键词:《荷塘月色》翻译译本对比一、引言《荷塘月色》是我国著名散文家朱自清在清华大学任教期间撰写的一篇散文,在该散文当中朱自清以一种清新脱俗的手法将夜晚荷塘的月景色直接描述出来,意境杂合,形散而神似,是一篇具有较高文学价值的作品。
《荷塘月色》在问世之后就受到人们的广泛关注,许多人都尝试翻译《荷塘月色》,同时现阶段关于《荷塘月色》的译本相对较多,水平参差不齐。
本文通过杨宪益与朱纯深译本进行对比,对两个译本之间的翻译进行研究。
二、翻译方式的对比研究散文属于一种形散而神不散的文学体裁,在这种文学体裁当中,翻译存在难度,既要忠实于原文的内容,又要从原文松散的结构当中将其内在的思想表达出来。
《荷塘月色》表面上是描写月下荷塘的景色,其实是表达朱自清内心的向往自由、渴望能够超脱自由的心愿。
因此,《荷塘月色》的翻译存在难度,如果仅仅采用直译的方式翻译则会导致文章背后的思想无法被读者所获知,如果采用意译的方式翻译则会导致文章的主旨思想虽然能够得到有效的表达,但是原文内容会受到较大的破坏。
笔者对杨宪益与朱纯深的译文进行了研究,并对译文的整体风格进行了分析,认为杨宪益侧重于意译翻译,而朱纯深则侧重于直译翻译,因此,杨宪益版本侧重于主旨思想的表达,而朱纯深则侧重于对原文内容的尊重。
在《荷塘月色》当中朱自清用了许多能够反映出他的心理情感的词语,例如“冷静”、“独处”等词语。
朱纯深译本将这两个词直接翻译成“a busy and active one”与“in company”,虽然这两个词的翻译都尊重了朱自清的原文,但是未免显得过于生硬。
《荷塘月色》 中英互译
这几天心里颇不宁静。
今晚在院子里坐着乘凉,忽然想起日日走过的荷塘,在这满月的光里,总该另有一番样子吧。
月亮渐渐地升高了,墙外马路上孩子们的欢笑,已经听不见了;妻在屋里拍着闰儿,迷迷糊糊地哼着眠歌。
我悄悄地披了大衫,带上门出去。
The past few days have seen me somewhat fidgety. Tonight, as I sat in the cour tyard relishing the cool air, what slipped into my mind is the lotus pool I pass by day after day. “Amid the full moonbeams, will it shed a different charm?”I pondered. The moon was climbing its way up the sky, and childish chor tles from the lane outside my wall had vanished. Drowsily crooning a lullaby, my wife was caressing our son Run’er in the room, when I softly put on my long gown and walked out, leaving the door bolted behind me.沿着荷塘,是一条曲折的小煤屑路。
这是一条幽僻的路;白天也少人走,夜晚更加寂寞。
荷塘四面,长着许多树,蓊蓊郁郁的。
路的一旁,是些杨柳,和一些不知道名字的树。
没有月光的晚上,这路上阴森森的,有些怕人。
今晚却很好,虽然月光也还是淡淡的。
Along the pool winds a cinder path. It’s a secluded track: few people walk on it dur ing the day. When night falls, it becomes even more forlor n. The pool is surrounded by a var iety of trees,thr iving and vigorous. Along the path flank some willows as well as a few kinds of nameless trees. On moonless nights, the path looks dreadfully dar k. Tonight, however, it was quite welcoming, for all the pale glimmer s of moonlight.路上只我一个人,背着手踱着。
浅析翻译中原文风格的再现——《荷塘月色》两篇英译文的比读分析
浅析翻译中原文风格的再现——《荷塘月色》两篇英译文的
比读分析
李钰
【期刊名称】《《商业文化》》
【年(卷),期】2011(000)005
【摘要】原文风格的再现是翻译的重点也是难点,究竟风格是否可译,可谓众说纷纭。
本文无意评说各家学说之高下,仅想通过两篇译文的比对,探讨如何在译文中再现原
文的风格。
本文所选取的《荷塘月色》的两篇英译文,分别由朱纯深,杨宪益两位翻
译家译著,笔者将根据刘宓庆先生所提出的风格系统的各个方面对其进行详细对比,
希望借此能对翻译实践中风格的传译有所启发。
【总页数】1页(P198-198)
【作者】李钰
【作者单位】山东外贸职业学院
【正文语种】中文
【中图分类】I206
【相关文献】
1.论风格在译文中的再现——以《荷塘月色》的两个英译本为例 [J], 施旋;周邦友
2.浅析散文翻译中风格的再现——以《荷塘月色》三篇译文为例 [J], 胡娅婷
3.浅论英汉翻译中原文风格的传达--兼评"第十一届韩素音青年翻译奖"参考译文(英译汉) [J], 陈历明
4.奈达翻译定义的最新译文——翻译以意义为先,风格为次,用原语最相当的接收语再现接收语信息 [J], 李田心
5.浅析文言文汉译英的翻译技巧——以《中国古代航海史》节选译文为例 [J], 吴菲
因版权原因,仅展示原文概要,查看原文内容请购买。
《荷塘月色》三个英译本的对比赏析
《荷塘月色》三个英译本的对比赏析摘要:翻译的历史十分悠久,许多学者也提出了不少翻译的原则与标准,如奈达的功能对等理论等。
纽马克也曾说过: “翻译批评是将翻译理论和翻译实践连接在一起的一个重要环节”。
而针对不同译本的对比研究正是翻译批评的一种。
朱自清的《荷塘月色》是中文散文作品中不可多得的佳作之一,许多译者对此文章喜爱有加,并进行了翻译,如朱纯深、王椒升、杨宪益和戴乃迭夫妇等。
本文就以奈达的功能对等理论为指导,以朱纯深翻译的译本、杨宪益和戴乃迭夫妇翻译的译本和李明翻译的译本为研究对象,对比分析三个译本的翻译技巧和表达效果,从而对各自译本的精妙和不足之处进行批评式鉴赏。
关键词:《荷塘月色》;散文翻译;功能对等;对比赏析一、功能对等理论功能对等理论是由美国著名的语言学家、翻译家、翻译理论家尤金·奈达提出的。
奈达认为,翻译即是交际,对于翻译的评价不能仅仅停留在词汇、语法或修辞的对应上面,重要的是接受者准确理解和欣赏译文的程度。
二、散文的特色及其翻译散文的三大特色为“真” “情” “美”。
散文的翻译如何做到“真、情、美”的再现呢? 朱纯深,杨宪益戴乃迭,李明的的译作再现了《荷塘月色》的神美、形美、意境美,堪称经典译作。
文章依据原文的特色,以功能对等理论对三个译本当中的具有代表性的例句进行赏析,看着三个译本是如何将原文的美展现出来的。
例1. 原文:没有月光的晚上,这路上阴森森的,有些怕人。
今晚却很好,虽然月光也还是淡淡的。
朱译:The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, grayish veil.杨、戴译: On nights when there is no moon the track is almost terrifyingly dark, but tonight it was quite clear, though the moonlight was pale.李译:On a moonless night, it is somewhat somber here, looking rather forbidding. But it has a cheerful outlook tonight, though the moonlight is in a thin, whitish veil.英语造句离不开连词,而在英汉互译过程中,汉语则很少或不用这类词。
散文汉译英佳作赏析:朱自清《荷塘月色》
散文汉译英佳作赏析:朱自清《荷塘月色》荷塘月色Moonlight over the Lotus Pond朱自清Zhu Ziqing这几天心里颇不宁睁。
今晚在院子里坐着乘凉,忽然想起日日走过的荷塘,在这满月的光里,总该另有一番样子吧。
月亮渐渐地升高了,墙外马路上孩子们的欢笑,已经听不见了;妻在屋里拍着闰儿,迷迷糊糊地哼着眠歌。
我悄悄地披了大衫,带上门出去。
It has been rather disquieting these days. Tonight, when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by every day, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the morn, my wife was patting the son, Run-er, sleepily humming a cradle song. Shrugging on an overcoat, quietly, 1 made my way out, closing the door behind me.沿着荷塘.是一条曲折的小煤屑路。
这是一条幽僻的路;白天也少人走,夜晚更加寂寞。
荷塘四面,长着许多树,翁翁郁郁的。
路的一旁,是些杨柳,和一些不知道名字的树。
没有月光的晚上,这路上阴森森的,有些怕人。
今晚却很好,虽然月光也还是淡淡的。
Alongside the Lotus Pond nuns a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks mare solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some others whose names I do not know. The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, grayish veil.路上只我一个人,背着手踱着。
《荷塘月色》的节奏及译文分析
- 240 -校园英语 /文艺鉴赏《荷塘月色》的节奏及译文分析三亚学院外国语学院/谢滔滔【摘要】《荷塘月色》节奏舒缓,画面优美,且使用了较多的双生叠韵词和叠词。
本文运用歌曲节奏相关知识对这篇散文的节奏进行分析,进而探究了原文的双生叠韵词和叠词特点在译文中的体现。
【关键词】节奏分析 译文分析一、歌曲节奏和《荷塘月色》1.休止符号。
《荷塘月色》主要描写了作者从不静,求静,得静,超然,最后到出静五个阶段。
如图它的节奏可以分成ABC 三节,每节都由休止符隔开。
A 部分表达了作者从不静到求静,经过了一些波折之后得静的过程。
B 部分表示作者得静后超然的心境。
C 部分表示作者回到现实的心情。
节奏上的转换,表现在音乐上就是休止符。
在音乐中休止符是没有音响的,但却为音乐的进行增添了动力和色彩。
本文第一个休止符是蝉声和蛙声,这种对作者宁静心情的打断,给作者接下来的超然做好力量的准备,超然就如力量的爆发。
第二个休止符就是最后一段的“——”。
破折号有表示语义转折的功能,此外从视觉效果上看,它把作者超然的部分和回到尘世的部分分开。
原文写回到尘世的部分很短,加上这个休止符,给人戛然而止的感觉。
2.三连音节奏与叠词。
《荷塘月色》除了作者情绪有起伏的节奏外,语言的声音也有节奏。
本文使用了许多双声叠韵词和叠词。
双声叠韵词和叠词在汉语语言中是打破常规的。
在歌曲中,三连音节奏也是如此。
它打破正常节奏的平衡,形成一种不规则的强力运动,因此它的表情作用也很重要。
用在不同的地方会产生不同的效果。
虽然三连音节奏跟汉语言中叠词似乎很不一样,但事实上还是纯在着类似的地方。
《荷塘月色》的叠词就像是运用在轻盈优美的地方的三连音节奏,能够给读者带来愉悦和美的感受。
原文使用了如下双声叠韵词和叠词:迷迷糊糊,蓊蓊郁郁;淡淡,田田,亭亭等等。
整片文章语言的基调就是舒缓的,像旋律和谐的小提琴曲。
这些叠词中都有字和声音的重复,时间上,减缓了语速,声音上,形成一种轻盈,优美,像清波荡漾的跳跃试节奏。
(新教材)2019-2020学年部编版语文必修上册 第七单元 荷塘月色
第 6 段 写荷塘四周的景物。(在月下观察、感受到的) 第 7~9 段 联想古代江南采莲的旧俗。 第 10 段 在思乡与遐想中踱回家门。 第一部分(第 1 段)写“观荷缘起”(情); 第二部分(第 2~6 段)写“荷塘月色”(景); 第三部分(第 7~10 段)写“景中人”(情)。
2.通过分析文章结构,可体会到全文写景是为抒情服务的, 而贯穿全文的是一条前后心情变化的思绪线索。情—景—情,这 正像一条经线,而对荷塘景色的描写犹如一条纬线。因此,本文 有两条线索,一明一暗。请概括。
于是想起伞,对天撑着,一束束的阳光收集在伞下,没有风, 没有雨,荷便显得格外的幽远、明丽。目光踏着一片荷叶,一寸 寸地远去,小小荷塘,竟无边的开阔。
荷是水中的君子,出污泥而不染纤尘。画荷是一种意境;唱 荷也是一种意境;写荷仍是一种意境。平静的池面,荷叶慢慢升 起,像一只张开翅膀的水鸟;又像一只小小的船,横于水面。阳 光只是一片金黄色的落叶,与荷轻轻地摩擦,继而又被一阵风吹 走,消失在茫茫的黑夜之中。
原句
巧辨 巧析
“幽僻”指幽静,偏僻,侧重于环境幽静,少有人来; “偏僻”指离城市或中心区远,交通不便,侧重于地点 的偏远。
3.斑驳
斑斓ห้องสมุดไป่ตู้
课本 月光是隔了树照过来的,高处丛生的灌木,落下参差的
原句 斑驳的黑影。
巧辨 巧析
“斑驳”侧重于颜色、花纹相杂,不单纯,不统一,常 形容旧壁、旧画;“斑斓”侧重于形容色彩错杂,灿烂 多彩。
您傲立于国统黑暗时代,学古人伯夷叔齐宁死不食“美粥”。 您是“贫贱不能移,威武不能屈”“出淤泥而不染,濯清涟而不妖” 的中华民族的英雄。
三、背景链接 1927 年,蒋介石发动“四一二”反革命政变,北伐战争失败, 大批共产党人和革命群众惨遭血腥屠杀,白色恐怖笼罩全国。正 处于苦闷彷徨中的作者由一直在呐喊、斗争的“大时代中一名小 卒”而一头钻进古典文学的“象牙之塔”,他毫不掩饰地表白自 己的思想变化:“在旧时代正在崩坏,新局面尚未到来的时候, 衰颓与骚动使得大家惶惶然……”《( 哪里走》)而面对现实的黑暗, 他又不能安心于这种“超然”。《荷塘月色》正是作者自己“超然” 而又想“挣扎”的心迹的真实描摹和生动写照。
从翻译美学视角浅析《荷塘月色》两个英译本
从翻译美学视角浅析《荷塘月色》两个英译本作者:刘玉婉来源:《北方文学》2019年第30期摘要:本文选取朱纯深先生和杨宪益夫妇的《荷塘月色》英译本,从翻译美学视角对二者从意境美,音韵美以及修辞美三个方面进行对比浅析,发现二者都很好地表达出原文的内容和情感,但又各具特色,从整体风格上来看,朱纯深先生的译文更偏向于直译,较好地再现原文内容、风格和意境;杨宪益夫妇的译文则偏向于意译,更为注重体现译入语的深层含义和文化。
本文通过对二者的比较分析旨在提高读者对《荷塘月色》原文及译文的鉴赏水平,并为散文翻译提供一些启示。
关键词:翻译美学;《荷塘月色》;朱纯深;杨宪益一、引言中国诗歌、散文、戏剧和小说是中国文学体裁的重要组成部分。
而翻译对于传播中国文化及文化交流起着至关重要的作用。
“翻译既是科学,又是艺术。
这也就意味着翻译不仅要求严谨性,也注重美学价值。
因此,翻译,就应该在进行语意传递的同时,保留原文的内在美,从而实现审美再现”(吴建美,2017:127)。
故而研究文学作品的翻译是否以及如何生动贴切地传达和再现原文的美具有非常重要的意义和价值。
迄今为止,中外学者已经做过一些关于散文的美学翻译的研究,本文将在阅读借鉴前人理论研究的基础上,从美学视角下的意境、音韵和修辞这三个方面对《荷塘月色》两个英译本进行对比分析。
二、翻译美学与散文翻译(一)翻译美学中国的美学思想历史悠久,自古就有孔子提出“尽善尽美”以及老子的“美言不信,信言不美”等,近代以来,又有严复提出“信、达、雅”的翻译要求。
这些传统美学理论对中国翻译产生了重大影响,也为中国的翻译理论打下了坚实的基础,因此,刘宓庆(2005)认为中国翻译理论渗透着古典美学的精神,这成为中国翻译理论的一大特色。
王国维先生首次将“美学”一词引入我国,林语堂先生则第一次将美学同翻译二词结合到了一起,认为美学也是翻译的标准之一,至此,我国的翻译理论发生重大改变,翻译美学理论也作为一种新的翻译理论而产生。
《荷塘月色》课件
③荷香
“微风过处,送来缕缕清香,仿佛远处高 楼上渺茫的歌声似的。”
清香 VS 渺茫的歌声
荷香本是嗅觉形象,作者却把它比喻成歌声,使 其转化为听觉形象来写。写荷花的缕缕清香,微 风传送,像远方飘来的歌声一样似有似无,时断 时续,捉摸不定。
通感
通感是一种特殊的修辞。把一种感觉形象转化 为另一种感觉的形象的写法,也称“联觉”。简而 言之就是感觉的转化、迁移。 作用:启迪人们的联想,让读者从各自的生活经历 和文化素养出发去领略作品的思想内容和艺术境界。 例: (1)她笑得很甜。 视觉转为味觉 (2)甜美的歌声。 听觉转为味觉 (3)微风过处,送来缕缕清香,仿佛远处高楼 上渺茫的歌声似的。 嗅觉转为听觉 (4)塘中的月色并不均匀;但光和影有着和谐 的旋律,如梵婀玲上奏着的名曲。视觉转为听觉
杨 万 里
映 日 荷 花 别 样 红
接 天 莲 叶 无 穷 碧
出淤泥而不染, 濯青莲而不妖。
——周敦颐
我歌月徘徊,我舞影零乱。 醒时同交欢,醉后各分散。 ——李白
不应有恨,何事长向别时圆?人 有悲欢离合,月有阴晴圆缺,此 事古难全。 ——苏轼
一切景语皆情语。 ——王国维
荷 塘 月
朱 自 清
色
这真是有趣的事,可惜我们现在早已无福消受了。 作者触景生情,由眼前景物联想到江南采莲的情 景,作者说这是一个“热闹”和“风流”的季节, 并引用梁元帝的《采莲赋》描写当时“嬉游”的 光景,作者有没有被这种光景所感染呢?文章中 的哪个句子可以表明? 没有。“可惜现在我们早已无福消受了,”依然 是“热闹是他们的,我什么也没有。
“浮”突出静态美, “笼”可与之对照。 “漂”突出动态美, “笼”不能与之对照。
泻:既照应了以流水喻月光,又写出了月辉照耀、 一泻无余的景象,使月光有了动感。
专八翻译_108散文篇章_精选
专八翻译_108散文篇章_精选第一部分汉译英1. 丑石(An Ugly Stone)2. 匆匆(Rush)3. 冬夜(Winter Night)4. 互助(Helping Each Other)5. 黄昏(Dusk)6. 盼头(Something to Lookl Forward to)7. 媲美(Beauty)8. 枪口(The Muzzles)9. 鸲鹆(The Story of a Myna) 10. 铜镜(The Bronze Mirror) 11. 学校(The College)12. 野草(Wild Grass)13. 种梨(Planting a Pear Tree) 14. 哀互生(Mourning for Husheng) 15.落花生(The Peanut)16. 盲演员(A Blind Actor)17. “孺子马” (An”Obedient Horse”)18. 小麻雀(A Little Sparrow) 19. 雄辩症(A Case of Eloquence) 20. 大钱饺子(A Good-luck Dumpling) 21. 荷塘月色(Moonlight over the Lotus Pond)22. 黄龙奇观(A View of Huangllong)23. 枯叶蝴蝶(Lappet Butterfies)24. 泡菜坛子(A pickle Pot)25. 田水哗啦(The Irrigation Water Came Gurgling) 26. 我若为王(If IBe King)27. 西式幽默(Western Humour)28. 项脊轩志(Xiangjixuan)29. 夜间来客(A Night Visitor——A True Story abouta ”Celebrity”Being Interviewed)30. 珍禽血雉(China‘s Native Pheasant)31. 常胜的歌手(A Singer Who Always Wins) 32. 健忘的画眉(The Forgetful Song Thrush) 33. 可爱的南京(Nanjing the Beloved City) 34. 鲁迅先生记(In Memory of Mr.Lu Xun)35. 苗族龙船节(The Miao Drangon-Boat Festival) 36. 秋天的怀念(Fond Memories of You)37. 献你一束花(A Bouquet of Flowers for you) 38. 鸭巢围的夜(A Night at Mallard-Nest Village) 39. 玫瑰色的月亮(The Rosy Moon)40. 内画壶《百子图》(Snuff Bottles with Pictures Inside) 41. 维护团结的人(A Man Upholding Unity)42. 我有一个志愿(I Have a Dream)43. 运动员的情操(Sportsmen‘s Values)44. 神话世界九寨沟(Jiuzhaigou,China‘s Fairyland)45. 生命的三分之一(One Third of Our Lifetime)46. 我可能是天津人(I Might Have Come from Tianjin) 47. 五台名刹画沧桑(The famous Monastery Witnesses Vicissitudes) 48. 爱梦想的羞怯女孩(A Shy Dreamer)49. 永久的憧憬和追求(My Lnging and yearning)50. 老人和他的三个儿子(The Old Man and his three sons) 51. 乐山龙舟会多姿多彩(dragon-Boat Festival at Leshan) 52. 撷自那片芳洲的清供(AnOffering from his Sweet homeland) 53. 三峡多奇景妙笔夺开工(The Scenic Three Gorges Captured ) 54. 初中国旅游可到哪些地斱(Tips on Traveling to China the First Time)第二部分英译汉1. A Ball to Roll Around(滚球)2. A Boupquet for Miss Benson(送给卞老师的一束花)3. A Boy and His Father Become Partners(父子伙伴情)4. A Gift of Dreams(梦寐以求的礼物)5. A Hard Day in the Kitchen(厨房里的一场闹刷)6. A Nation of Hypochondriacs(一个疑病症患者的国度)7. Are Books an Endangered Species? (书籍是即将灭绝的物种吗?)8. A Sailor‘s Christmas Gift(一个海员的圣诞礼物)9. A Tale of Two Smut Merchants(两上淫秽照片商的故事)10. A Visit with the Folks(探访故亲)11. Canadian Eskimo Lithographs(加拿大爱斯基摩人的石版画) 12. Divorce and Kids(离婚不孩子)13. Doug Heir(杜格?埃厄)14. Fame(声誉)s Journey(费利西娅的旅行) 15. Felicia‘16. Genius Sacrificed for failure(为育庸才损英才) 17. Glories of the Storm(辉煌壮丽的暴风雨) 18. Han Suyin‘s China(韩素音笔下的中国) 19. Hate(仇恨)20. How Should One Read a Book? (怎样读书?) 21. In Praie of the Humble Comma(小小逗号赞) 22. Integrity——From A Mother in Mannville(正直) 23. In the Pursuit of a Haunting and Timeless Truth(追寻一段永世难忘的叱实)24. Killer on Wings is Under Threat(飞翔的杀手正受到威胁) 25. Lifein a Violin Case(琴匣子中的生趣)26. Love Is Not like Merchandise(爱情不是商品) 27. Luck(好运气)28. Mayhew(生活的道路)29. My Averae Uncle(艾默大叔——一个普普通通的人) 30. My Father‘s Music(我父亲的音乐)31. My Mother‘s Gift (母亲的礼物)32. New Light Buld Offers Energy Efficiency(新型灯泡提高能效) 33. Of Studies(谈读书)34. On Leadership(论领导)35. On Cottages in General(农舍概述)36. Over the Hill(开小差)37. Promise of Bluebirds(蓝知更鸟的希望)38. Stories on a Headboard(床头板上故事多)39. Sunday(星期天)40. The Blanket(一条毛毯)41. The Colour of the Sky(天空的色彩)42. The date Father Didn‘t Keep(父亲失约)43. The Kiss(吻)) 44. The Letter(家书45. The Little Boat That Sailed through Time(悠悠岁月小船情) 46. The Living Seas(富有生命的海洋)47. The Roots of My Ambition(我的自强之源)48. The song of the River(河之歌)49. They Wanted Him Everywhere——Herbert von Karajan(1908-1989) (哪儿都要他)50. Three Great Puffy Rolls(三个又大双暄的面包圈) 51. Trust(信任)52. Why measure Life in Hearbeats? (何必以心跳定生死?)53. Why the bones Break(骨折缘何而起)54. Why Women Live Longer than Men(为什么女人经男人活得长)丑石 An Ugly Stone贾平凹 Jia Pingwa我常常遗憾我家门前的那块丑石呢:它I used to feel sorry for that ugly 黑黝黝地卧在那里,牛似的模样;谁也不知black piece of stone lying like an 道是什么时候留在这里的.谁也不去理会它。
《荷塘月色》两个英译本的对比赏析——基于功能对等
Key words Moonlight Over the Lotus Po以,contrastive analyses and appreciation,Functional Equiva一
】ence
引言
翻译的历史十分悠久,在中外翻译史上, 许多学者也提出了不少翻译的原则与标准,如 我们所熟知的奈达功能对等,纽马克的交际、 语义翻译,严复的“信达雅”,许渊冲的“三美 论”等等,这些原则与标准为翻译实践和批评 提供了理论依据。其中,由著名美国翻译家奈 达提出的功能对等理论在翻译史上有着十分重 要的影响和地位。功能对等,就是指在翻译时 不以死板的文字与结构对应为标准,而是力求
杂结构之间尽管在形式上存在着某些差异,但 它们可以彼此重叠,在功能上有些相似。在奈 达看来,翻译就是在不同语言之间不断建立同 构体的过程,应重视译文和原文在语言功能上 的对等。事实上,功能对等理论经过了从动态 对等到功能对等很长一段时间的发展,其核心 是读者反应论。奈达认为,翻译是翻译意义而 不是文字,是交际,是为读者服务,也应以读 者为中心。读者的反应是评价翻译好坏的标准。
从翻译标准视角浅析朱纯深《荷塘月色》的英译文
从翻译标准视角浅析朱纯深《荷塘月色》的英译文作者:周晓亮来源:《考试周刊》2012年第47期摘要:在翻译中既做到形似又做到神似并非易事。
朱纯深先生在英译文《荷塘月色》中运用了许多常见且灵活度很高,富于表现力的小词,运用各种翻译技巧及修辞手法,在整体效果上追求原文所体现的意境和美感,力求做到与朱自清先生的原文最大限度地近似,从而再现了原文清新自然的风格。
本文通过归纳总结中西方代表性的翻译标准理论,并以此视角分析朱纯深先生《荷塘月色》的英译文,阐述译文在各个层面上如何合乎翻译标准,最终成功再现原文内容、形式和风格,旨在对翻译实践有所启发。
关键词:翻译标准《荷塘月色》英译文翻译是文化交流的重要桥梁。
什么样的译文才算标准,中西方翻译家对翻译标准的探索从未停止过。
严复在维新变法时期提出“译事三难:信、达、雅”的说法;而西方传统翻译以等值、等效为标准,如尤金奈达的翻译原则。
朱自清先生所著《荷塘月色》作为现代经典散文之一,其清新自然的语言风格及以乐景写哀情的写作手法,展现了这篇散文独特的魅力。
国内许多翻译家将其译成英文,以期更多外国读者能欣赏到朱先生的优美文笔。
在众多英译文本中,朱纯深先生的译文脱颖而出。
朱纯深先生的译文语言准确、生动、自然,在传达原文信息方面,恰到好处,符合译文语言习惯,没有“不同语言习惯的差异而露出生硬牵强的痕迹”(钱钟书先生语)。
他的译文在内容、形式和风格等不同的层次上将翻译标准体现出来了。
本文拟从翻译标准的视角浅析朱先生《荷塘月色》英译文。
1.翻译标准概论翻译标准指翻译实践时译者所遵循的原则,也是翻译批评家批评译文时必须遵循的原则。
翻译标准的真正建立,在西方当推泰特勒的“翻译三原则”,在中国则属严复的“信、达、雅”。
1.1中国翻译标准不同时期翻译者对翻译标准持不同观点。
古代佛经翻译家之谦和道安提倡直译,而鸠摩罗什推崇意译,清末严复提出“信、达、雅”的翻译标准,当代翻译家张培基主张“忠实、通顺”,林语堂在《论翻译》中提出“忠实、通顺、美”的说法,翻译家傅雷指出“以效果而论,翻译应当像临画一样,重在神似而不是形似。
散文翻译中的美学视角:以《荷塘月色》英译为例
散文翻译中的美学视角:以《荷塘月色》英译为例一、本文概述本文旨在探讨散文翻译中的美学视角,并以朱自清的经典散文《荷塘月色》的英译为例进行深入分析。
散文,作为中国文学的重要分支,其独特的语言魅力和审美价值在翻译过程中往往面临诸多挑战。
如何在保持原文美学特色的实现有效的跨文化传播,成为散文翻译研究的重要课题。
《荷塘月色》以其细腻入微的笔触和独特的审美视角,成为中国文学的经典之作。
该文通过对荷塘月色的描绘,展现了作者对于自然之美的独特感悟。
在英译过程中,如何将这些美学元素准确传达给英语读者,既考验译者的语言能力,也考验其对中西方文化差异的理解和处理能力。
本文将从美学视角出发,分析《荷塘月色》英译过程中的语言转换、意象再现以及审美价值的传达等问题。
通过具体案例的剖析,探讨如何在保持原文美学特色的基础上,实现散文翻译的有效性和可接受性。
希望本文的研究能为散文翻译的实践和理论研究提供有益的参考和启示。
二、散文翻译的美学视角在散文翻译中,美学视角是一个不可或缺的理论框架。
它要求我们不仅关注语言的转换,更要捕捉到原文中的审美意蕴和艺术风格。
美学视角下的散文翻译,旨在通过语言的再创造,传递出原作的美学价值,使读者在译文中同样能感受到原作的美。
以朱自清的经典散文《荷塘月色》为例,其独特的写景抒情手法和深邃的美学意境,给译者带来了极大的挑战。
在翻译过程中,译者需要充分理解并捕捉到原文中的美学元素,如月色的朦胧美、荷塘的静谧美、蛙鸣的生动美等,并通过恰当的译文语言将这些美学元素传达给读者。
美学视角也强调译文的审美再创造。
由于语言和文化的差异,直接翻译往往难以完全传达原文的美学意境。
译者需要在忠实于原文的基础上,进行适当的调整和创新,使译文更符合目标读者的审美习惯。
这种审美再创造不仅体现在词汇的选择上,还体现在句式的构建、修辞的运用等多个方面。
美学视角为散文翻译提供了一个全新的思考框架。
它不仅要求译者具备扎实的语言功底,还需要具备敏锐的审美感知和创新能力。
《荷塘月色》英译文对比赏析
译者简介
朱纯深,英国诺丁汉大学博士,现为香 港城市大学中文、翻译及语言学系教授, 长年从事与翻译有关的教学研究工作。主 要译作有:《自深深处》《古意新声》 《似余(煜)者死 》等。 杨宪益戴乃迭夫妇,著名翻译家。合 作翻译全本《红楼梦》、全本《儒林外史》 等多部中国历史名著,在国外皆获得好评, 产生了广泛影响。
裹”之意,动作意味过于浓烈,置于此时安详、宁静的之 氛围中,略少几分贴切。
第六段:月光是隔了树照过来的,高处丛生的灌木, 落下参差的斑驳的黑影,峭楞楞如鬼一般;弯弯的杨 柳的稀疏的倩影,却又像是画在荷叶上。
朱译:The moonlight is streaming down through the foliage, casting bushy shadows on the ground from high above, dark and checkered, like an army of ghosts; whereas the benign figures of the drooping willows, here and there, look like paintings on the lotus leaves.
(选词角度) upset: afflicted with or marked by anxious uneasiness or trouble or grief; thrown into a state of disarray or confusion 表 示陷入了一种彷徨困惑焦虑不安的状态,心 情难以平静;而restless: unable to relax or be still; worried and uneasy 简单表示精神不能放 松,焦虑,结合作者的写作背景,upset更能 体现作者当时的心境。
《荷塘月色》语言特色译文赏析
《荷塘月色》语言特色译文赏析刘知洪【摘要】Moonlight Over the Lotus Pond by Zhu Ziqing shows plain and graceful linguistic features with remarkably appropriate diction,in particular,the employment of many reduplications,alliterations and assonances.This paper,starting from the vision of aesthetics in translation,attempts to explore how an excellent English version achieves the re-construction of aesthetics reflected in the Chinese origin by comparing the translation of those words in two different translated versions.%朱自清的《荷塘月色》语言朴素优美,遣词造句十分贴切准确,大量运用叠音词、双声叠韵词是文章一大突出特色。
本文拟从翻译美学角度出发,对比分析两个译本中对这些词语的翻译处理,意图探讨优秀的译文如何实现对原文的审美再现。
【期刊名称】《西昌学院学报(社会科学版)》【年(卷),期】2012(024)001【总页数】4页(P44-47)【关键词】叠音词;双声叠韵词;译文;美学【作者】刘知洪【作者单位】四川教育学院,四川成都610041【正文语种】中文【中图分类】I207.6散文《荷塘月色》是朱自清于1927年任清华大学教授时所写。
文章的时代背景是“四·一二反革命政变”后,作者彷徨苦闷、矛盾挣扎。
文中所描写的月色下的荷塘之景便是藉以抒发他那复杂的心情。
《荷塘月色》英译文 翻译批评与赏析
一.作者简介
朱自清(1898— 1948) 原名自华、号秋实,改名自清,字佩弦;原籍浙江绍兴,生 于江苏东海;现代著名散文家、诗人、学者、民主战士。 他的散文朴素缜密、清隽沉郁、语言洗炼、文笔清丽、极富 有真情实感。以独特的美文艺术风格,为中国现代散文增添 了瑰丽的色彩,为建立中国现代散文全新的审美特征创造了 具有中国民族特色的散文体制和风格。 主要作品有《背影》《春》《欧游杂记》《桨声灯影里的秦 淮河》《荷塘月色》 等。
于是又记起,《西洲曲》里的句子: 采莲南塘秋,莲花过人头;低头弄莲子,莲子清如水。 今晚若有采莲人,这儿的莲花也算得“过人头”了;只不见一些 流水的影子。这令我到底惦着江南了。——这样想着,猛一抬头, 不觉已是自己的门前;轻轻地推门进去,什么声息也没有,妻已 睡熟好久了。
采莲
gather VS pluck
散文介绍受用这无边的荷香月色好了就自然而然地过渡到第二部分段的夜景描写烘托出一片宁静之后让蝉声和蛙声打破宁静借此转下最后的第三部分写六朝采莲的热闹和江南故乡采莲的情状心境又回到现实生活了
翻 译 批 评 与 赏 析
荷 塘 月 色
By 谢瑶
Contents
一.作者简介 二.译者简介 三.散文介绍
四.译文赏析
引 用 了 信 息 布 局 理 论 ( i n f o r m a t i o n g r o u n d i n g theory )来说明在语篇构建过程中如何合理布局。该 理论认为,可接受的语篇既包括前景信息 ( foregrounded information ),又包括背景信息 (backgrounded information)。前者是指句子当中 新的或者被人们认为更为重要的主干信息,后者则是 指听话人或读者在理解新信息时所需要的信息,或者 是次重要的辅助信息。前景化信息围绕语篇的特定主 题或话题展开,且有助于突出所描写的对象。
汉英翻译第七讲主语的处理
汉英翻译第七讲主语的处理汉语翻译第七讲,句⼦的翻译主语的处理1.添加主语(1)改⾰开放胆⼦要⼤⼀些,要敢于试验。
分析:“改⾰开放”显然不能作主语。
故须另添主语。
We must be courageous enough to venture on experimentsin the reform and opening to the world.(2)北静王笑道:名不虚传,果然如“宝” 似“⽟”。
(曹雪芹《红楼梦》第⼗五回)分析:名不虚传,如“宝”似“⽟”,指谁?显然是指宝⽟,所以要加上主语“you”。
译⽂:“You live up to your name,”remarked the prince. “You are really like precious jade.”(3)得第⼀名获⾦牌,第四名什么也拿不到。
分析:”得第⼀名” 实际上是得第⼀名的⼈或运动员。
汉语可以省,英语⼀定要添上。
Whoever comes first wins a gold medal but anyone who comes fourth gets nothing.添加主语是⽆主句翻译的⼀个⽅法,这⾥添加的主语不能由原句中的其他成分来充当,是译者根据汉语意思推导出的逻辑主语,是英语完整表达中不可或缺的部分。
但并⾮所有的汉语⽆主句在英译时都需要增补主语。
2.主语必须是句中应该突出的信息,改变主语。
由于英汉两种语⾔对主语的不同要求,就是原⽂的句⼦有主语,也不完全可以在英译⽂中⽤来作相同的主语。
也就是说,汉语句⼦中的主语不⼀定都适合做英语句⼦的主语。
英语强调句⼦的重要住处应放在主要的位置上—主语位置上。
⽽汉语没有这⽅⾯的要求。
这样就要作调整。
(1)这次国家调动了160万军队去帮助守护⼤堤,将被洪⽔淹没地区的百姓迁⾛。
分析:汉语以“国家”作主语没有问题。
因为这⼀句⼦的住处重⼼是“160万军队”,⽽不是国家。
在翻译时让原⽂的宾语调到主语位置上。
《荷塘月色》四个译本比较(转载的)
《荷塘⽉⾊》四个译本⽐较(转载的)第⼀个译本是由朱春申翻译,他传达了原⽂的审美观念,并在《荷塘⽉⾊》的译本中选⽤了最合适的词语。
第⼆个译本是著名的译者王淑升翻译的,第三个译本是由杨宪益和他的妻⼦戴乃迭翻译的。
他们的翻译体现出:译出语⾔要忠实于译⼊语⾔的深层意义以及原⽂的⽂化:译出语⾔可有些许洋味,他们的审美思想在《荷塘⽉⾊》中很好地体现出来了。
第四个译本是李明在2005年翻译的。
因此在这个译本中,有很多新思想和新⽅法。
语⾳汉语是⼀种带声调的语⾔,英语是⼀种带重⾳的语⾔,散⽂的韵律相当重要。
对于英译本来说,展现汉语译本的韵律是⼀种很⼤的挑战。
C:“像闪电般。
”E1:“like streak of lightness.”E2:“with the suddenness of lightness.”E3:“in a flash.”E4:“like a streak of lightness”在汉语译本中,四个汉字会加快韵律。
读者能看到并感受到其震颤,正如汉字译本中的韵律⼀样,在E1⾥也有四个重⾳节。
翻译能给读者视觉和感觉上的强烈感觉。
在E2中,作者将四个⾳节挑战到九个,这使得句⼦速度变得更加的慢。
E4的韵律⼏乎和E1相同,E3的韵律⽐其他三个快。
词汇在汉语译本中,叠⾳词展现了声⾳与意义的美感。
在英译本中,译者使⽤形容词或副词⽽不⽤叠⾳词。
叠⾳词是汉语中⼀种普通的语⾔现象。
它使语⾔更加⽣动形象。
它的作⽤是强调情感,加重韵律。
在英语中很少有叠词。
它的⼤部分是拟⼈化,如bubble-bubble。
在汉译本中有27对叠⾳词。
其中⼗对在第四段。
他们可描述睡莲的状态、颜⾊、芳⾹、叶⼦和⽔。
但在英译本中,译者将叠⾳词都改成了普通词。
例如,汉译本中的“亭亭”传达了跳舞⼥孩苗条的⾝材。
“星星”描述了满天星的美丽。
英译本没能翻译出作者对睡莲的爱与⽂章的美丽。
这是由于不同的语⾔特点导致的。
修辞“隐喻或明喻可以使话语变得美不胜收,它可以深化作品的主题和宗旨”(GWTurner, 1973:133)。
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荷塘月色朱自清这几天心里颇不宁静。
今晚在院子里坐着乘凉,忽然想起日日走过的荷塘,在这满月的光里,总该另有一番样子吧。
月亮渐渐地升高了,墙外马路上孩子们的欢笑,已经听不见了;妻在屋里拍着闰儿,迷迷糊糊地哼着眠歌。
我悄悄地披了大衫,带上门出去。
沿着荷塘,是一条曲折的小煤屑路。
这是一条幽僻的路;白天也少人走,夜晚更加寂寞。
荷塘四面,长着许多树,蓊蓊郁郁的。
路的一旁,是些杨柳,和一些不知道名字的树。
没有月光的晚上,这路上阴森森的,有些怕人。
今晚却很好,虽然月光也还是淡淡的。
路上只我一个人,背着手踱着。
这一片天地好像是我的;我也像超出了平常的自己,到了另一世界里。
我爱热闹,也爱冷静;爱群居,也爱独处。
像今晚上,一个人在这苍茫的月下,什么都可以想,什么都可以不想,便觉是个自由的人。
白天里一定要做的事,一定要说的话,现在都可不理。
这是独处的妙处;我且受用这无边的荷香月色好了。
曲曲折折的荷塘上面,弥望的是田田的叶子。
叶子出水很高,像亭亭的舞女的裙。
层层的叶子中间,零星地点缀着些白花,有袅娜地开着的,有羞涩地打着朵儿的;正如一粒粒的明珠,又如碧天里的星星,又如刚出浴的美人。
微风过处,送来缕缕清香,仿佛远处高楼上渺茫的歌声似的。
这时候叶子与花也有一丝的颤动,像闪电般,霎时传过荷塘的那边去了。
叶子本是肩并肩密密地挨着,这便宛然有了一道凝碧的波痕。
叶子底下是脉脉的流水,遮住了,不能见一些颜色;而叶子却更见风致了。
月光如流水一般,静静地泻在这一片叶子和花上。
薄薄的青雾浮起在荷塘里。
叶子和花仿佛在牛乳中洗过一样;又像笼着轻纱的梦。
虽然是满月,天上却有一层淡淡的云,所以不能朗照;但我以为这恰是到了好处——酣眠固不可少,小睡也别有风味的。
月光是隔了树照过来的,高处丛生的灌木,落下参差的斑驳的黑影,峭愣愣如鬼一般;弯弯的杨柳的稀疏的倩影,却又像是画在荷叶上。
塘中的月色并不均匀;但光与影有着和谐的旋律,如梵婀玲上奏着的名曲。
荷塘的四面,远远近近,高高低低都是树,而杨柳最多。
这些树将一片荷塘重重围住;只在小路一旁,漏着几段空隙,像是特为月光留下的。
树色一例是阴阴的,乍看像一团烟雾;但杨柳的丰姿,便在烟雾里也辨得出。
树梢上隐隐约约的是一带远山,只有些大意罢了。
树缝里也漏着一两点路灯光,没精打采的,是瞌睡人的眼。
这时候最热闹的,要数树上的蝉声与水里的蛙声;但热闹是它们的,我什么也没有。
忽然想起采莲的事情来了。
采莲是江南的旧俗,似乎很早就有,而六朝时为盛;从诗歌里可以约略知道。
采莲的是少年的女子,她们是荡着小船,唱着艳歌去的。
采莲人不用说很多,还有看采莲的人。
那是一个热闹的季节,也是一个风流的季节。
梁元帝《采莲赋》里说得好:于是妖童媛女,荡舟心许:鷁首徐回,兼传羽杯;欋将移而藻挂,船欲动而萍开。
尔其纤腰束素,迁延顾步;夏始春余,叶嫩花初,恐沾裳而浅笑,畏倾船而敛裾。
可见当时嬉游的光景了。
这真是有趣的事,可惜我们现在早已无福消受了。
于是又记起《西州曲》里的句子:采莲南塘秋,莲花过人头;低头弄莲子,莲子清如水。
今晚若有采莲人,这儿的莲花也算得“过人头”了;只不见一些流水的影子,是不行的。
这令我到底惦着江南了。
——这样想着,猛一抬头,不觉已是自己的门前;轻轻地推门进去,什么声息也没有,妻已睡熟好久了。
一九二七年七月,北京清华园译文一:Moonlight Over the Lotus PondTr. Zhu Chunshen(朱纯深)I have felt quite upset recently. Tonight, when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by everyday, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the room, my wife was patting the son, Run-er, sleepily humming a cradle song. Shrugging on an overcoat, quietly, I made my way out, closing the door behind me.Alongside the Lotus Pond runs a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks more solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some others whose names I do not know. The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, greyish veil.I am on my own, strolling, hands behind my back. This bit of the universe seems in my possession now; and I myself seem to have been uplifted from my ordinary self into another world.I like a serene and peaceful life, as much as a busy and active one; I like being in solitude, as much as in company. As it is tonight, basking in a misty moonshine all by myself. I feel I am a free man, free to think of anything, or of nothing. All that one is obliged to do, or to say, in the daytime, can be very well cast aside now. That is the beauty of being alone. For the moment, just let me indulge in this profusion of moonlight and lotus fragrance.All over this winding stretch of water, what meets the eye is a silken field of leaves, reaching rather high above the surface, like the skirts of dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud, like scattering pearls, or twinkling stars, or beauties just out of the bath. A breeze stirs, sending over breaths of fragrance, like faint singing drifting from a distant building. At this moment, a tiny thrill shoots through the leaves and flowers, like a streak of lightning, straight across the forest of lotuses. The leaves, which have been standing shoulder to shoulder, are caught trembling in an emerald heave of the pond. Underneath, the exquisite water is covered from view, and none can tell its colour; yet the leaves on top project themselves all the more attractively.The moon sheds her liquid light silently over the leaves and flowers, which, in the floating transparency of a bluish haze from the pond, look as if they had just been bathed in milk, or like a dream wrapped in a gauzy hood. Although it is a full moon, shining through a film of clouds, the light is not at its brightest; it is, however, just right for me —a profound sleep is indispensable, yet a snatched doze also has a savour of its own. The moonlight is streaming down through the foliage, casting bushy shadows on the ground from high above, dark and checkered, like an army of ghosts; whereas the benign figures of the drooping willows, here and there, look like paintings on the lotus leaves. The moonlight is not spread evenly over the pond, but rather in a harmonious rhythm of light and shade, like a famous melody played on a violin.Around the pond, far and near, high and low, are trees. Most of them are willows. Only on the path side can two or three gaps be seen through the heavy fringe, as if specially reserved for the moon. The shadowy shapes of the leafage at first sight seem diffused into a mass of mist, against which, however, the charm of those willow trees is still discernible. Over the trees appear some distant mountains, but merely in sketchy silhouette. Through the branches are also a couple of lamps, as listless as sleepy eyes. The most lively creatures here, for the moment, must be the cicadas in the trees and the frogs in the pond. But the liveliness is theirs, I have nothing.Suddenly, something like lotus-gathering crosses my mind. It used to be celebrated as a folk festival in the South, probably dating very far back in history, most popular in the period of Six Dynasties. We can pick up some outlines of this activity in the poetry. It was young girls who went gathering lotuses, in sampans and singing love songs. Needless to say, there were a great number of them doing the gathering, apart from those who were watching. It was a lively season, brimming with vitality, and romance. A brilliant description can be found in Lotus Gathering written by the Yuan Emperor of the Liang Dynasty:So those charming youngsters row their sampans, heart buoyant with tacit love, pass on to each other cups of wine while their bird-shaped prows drift around. From time to time their oars are caught in dangling algae, and duckweed float apart the moment their boats are about to move on. Their slender figures, girdled with plain silk, tread watchfully on board. This is the time when spring is growing into summer, the leaves a tender green and the flowers blooming, —among which the girls are giggling when evading an outreaching stem, their shirts tucked in for fear that the sampan might tilt.That is a glimpse of those merrymaking scenes. It must have been fascinating; but unfortunately we have long been denied such a delight.Then I recall those lines in Ballad of Xizhou Island:Gathering the lotus, I am in the South Pond, / The lilies in autumn reach over my head; / Lowering my head I toy with the lotus seed, / Look, they are as fresh as the water underneath.If there were somebody gathering lotuses tonight, she could tell that the lilies here are high enough to reach over her head; but, one would certainly miss the sight of the water. So my memories drift back to the South after all.Deep in my thoughts, I looked up, just to find myself at the door of my own house. Gently I pushed the door open and walked in. Not a sound inside, my wife had been asleep for quite a while.Qinghua Campus, BeiiingJuly, 1927译文二:The Lotus Pond by MoonlightTr. David E. Pollard The last few days I have been quite troubled in my mind. Tonight as I sat in the yard enjoying the cool of evening I suddenly thought of the lotus pond I passed every day: it must surely look different now in the light of the full moon. The moon was mounting high in the sky, and the sounds of the children at play in the road outside had died away. Indoors my wife was putting our little Runer to sleep, drowsily humming a lullaby. I quietly slipped on my gown and went out, pulling the gate to behind me.At the edge of the pond is a winding narrow cinder path. This path, being out of the way, is little used even in the daytime, and at night is all the more deserted. All around the pond grow many trees, lush and dense, while on one side of the path there are some willows, and other trees whose names are unknown to me. On moonless nights the path is overcast and gloomy, somewhat eerie. But tonight all was well, even though the moonlight was only dim.I was the only person on the path, pacing along with my hands clasped behind my back. It was as if this domain belonged to me; and also as if I had transcended my normal self, had crossed into another dimension. I like excitement, and also like calm; I love to be in crowds, and also love to be on my own. On a night like this, alone in the all-pervading moonlight, one could think about everything, or about nothing, and so believe oneself to be a free man. One’s daytime obligations, in terms of what one had to do and say, could be entirely ignored. This was the beauty of solitude.I resolved to make the best of this abundance of lotus and moonlight.On the surface of the serpentine lotus pond all one could see was fields of leaves. The leaves stood high above the water, splayed out like the skirts of a tall slim ballerina. Here and there among the layers of leaves were sown shining white flowers, some blooming glamorously, some in shy bud, just like unstrung pearls, or stars against a blue sky. Their fresh fragrance wafted on the faint breeze, like snatches of song from some distant tower. At each breath of wind the leaves and flowers also gave a shiver, which passed over the entire breadth of the pond in a flash, like lightning. The leaves being so densely massed together, this gave the impression of an emerald wave. Beneath the leaves were channels of flowing water, but they were hidden from view, not even a hint being visible; but that only served to give the leaves more presence.The moonbeams spilled placidly onto this expanse of leaves and flowers like living water. A thin mist floated up from the lotus pond. The leaves and flowers seemed to be washed in milk, and at the same time trapped in a dream of flimsy gauze. Although the moon was full, there was a veil of light cloud, which prevented it from shining brightly; but to me this was just right —we cannot do without deep sleep, admitted, but a quiet doze also has its pleasures. The moonlight was filtered through the trees, while the clumps of bushes on the high ground cast heavy irregular mottled shadows. The spare silhouettes of the arching willows appeared to be painted on the lotus leaves. The moonlight on the pond was not all smooth and even, but the rhythm of light and shade was harmonious, like a musical masterpiece played on a violin.On all sides of the pond, near and far, high and low, were trees, the majority being willows. These trees ringed the pond like a fortress. Only on the side where the path was were a few gaps left, as if on purpose for the moonlight. The trees were all of sombre hue, and at first sight looked like a bank of fog; but the grace of the willows could still be perceived. Above the crests of the trees a range of far hills could be dimly seen, but only in outline. A few gleams from street lights also leaked through the interstices of the trees, but they were wan and lifeless, eyes heavy with sleep. At this time the most animated of things were the thrumming of the cicadas in the trees and the croaking of the frogs in the water. But animation was their affair: it had nothing to do with me.I suddenly bethought myself of the business of gathering lotuses. This was an old custom in the lower Yangtze region, apparently of very early origin, and most popular during the Six Dynasties. A rough idea of it can be got from poetry. I went on to recall these lines from “Song of the Western Eyot”:We gather lotus from the South Pond in autumnThe lotus flowers are higher than a man’s headWe bend to get the lotus seeds upThe lotus seeds are as green as water.If those lotus gatherers had been here tonight, they would have been satisfied that the lotuses were “higher than a man’s head”, but disappointed that there was not even a glimpse of flowing water. This led me to feel thoroughly nostalgic for the country south of the Yangtze. Absorbed in such thoughts, I suddenly raised my head, and found myself back at my own gate. I opened the door quietly and went in. Not a sound was to be heard. My wife had long since fallen asleep.译文三:The Lotus Pool by MoonlightTr. Chinese Literature Press(《中国文学出版社》)The last few days have found me very restless. This evening as I sat in the yard to enjoy the cool, it struck me how different the lotus pool I pass every day must look under a full moon. The moon was sailing higher and higher up the heavens, the sound of childish laughter had died away from the lane beyond our wall, and my wife was in the house patting Run’er and humming a lullaby to him. I quietly slipped on a long gown, and walked out leaving the door on the latch.A cinder-path winds along by the side of the pool. It is off the beaten track and few pass this way even by day, so at night it is still more quiet. Trees grow thick and bosky all around the pool, with willows and other trees I cannot name by the path. On nights when there is no moon the track is almost terrifyingly dark, but tonight it was quite clear, though the moonlight was pale.Strolling alone down the path, hands behind my back, I felt as if the whole earth and sky were mine and I had stepped outside my usual self into another world. I like both excitement and stillness, enjoy both a crowd and solitude. Take tonight, for instance. Alone under the full moon, I could think of whatever I pleased or of nothing at all, and that gave me a sense of freedom. All daytime duties could be disregarded. That was the advantage of solitude: I could savour to the full that expanse of fragrant lotus and the moonlight.As far as eye could see, the pool with its winding margin was covered with trim leaves, which rose high out of the water like the flared skirts of dancing girls. And starring these tiers of leaves were white lotus flowers, alluringly open or bashfully in bud, like glimmering pearls, stars in an azure sky, or beauties fresh from the bath. The breeze carried past gusts of fragrance, like the strains of a song faintly heard from a far-off tower. And leaves and blossoms trembled slightly, while in a flash the scent was carried away. As the closely serried leaves bent, a tide of opaque emerald could be glimpsed. That was the softly running water beneath, hidden from sight, its colour invisible, though the leaves looked more graceful than ever.Moonlight cascaded like water over the lotus leaves and flowers, and a light blue mist floating up from the pool made them seem washed in milk or caught in a gauzy dream. Though the moon was full, a film of pale clouds in the sky would not allow its rays to shine through brightly; but I felt this was all to the good —though refreshing sleep is indispensable, short naps have a charm all their own. As the moon shone from behind them, the dense trees on the hills threw checkered shadows, dark forms loomed like devils, and the sparse, graceful shadows of willows seemed painted on the lotus leaves. The moonlight on the pool was not uniform, but light and shadow made up a harmonious rhythm like a beautiful tune played on a violin.Far and near, high and low around the pool were trees, most of them willows. These trees had the pool entirely hemmed in, the only small clearings left being those by the path, apparentlyintended for the moon. All the trees were sombre as dense smoke, but among them you could make out the luxuriant willows, while faintly above the tree-tops loomed distant hills —their general outline only. And between the trees appeared one or two street lamps, listless as the eyes of someone drowsy. The liveliest sounds at this hour were the cicadas chirruping on the trees and the frogs croaking in the pool; but this animation was theirs alone, I had no part in it.Then lotus-gathering flashed into my mind. This was an old custom south of the Yangtze, which apparently originated very early and was most popular in the period of the Six Kingdoms (*222-587 AD), as we see from the songs of the time. The lotus were picked by girls in small boats, who sang haunting songs as they paddled. They turned out in force, we may be sure, and there were spectators too, for that was a cheerful festival and a romantic one. We have a good account of it in a poem by Emperor Yuan of the Liang dynasty called Lotus Gatherers: Deft boys and pretty girlsReach an understanding while boating;Their prows veer slowly,But the winecups pass quickly;Their oars are entangled,As they cut through the duckweed,And girls with slender waistsTurn to gaze behind them.Now spring and summer meet,Leaves are tender, flowers fresh;With smiles they protect their silks,Drawing in their skirts, afraid lest the boat upset.There we have a picture of these merry excursions. This must have been a delightful event, and it is a great pity we cannot enjoy it today.I also remember some lines from the poem West Islet:When they gather lotus at Nantang in autumnThe lotus blooms are higher than their heads;They stoop to pick lotus seeds,Seeds as translucent as water.If any girls were here now to pick the lotus, the flowers would reach above their heads too —ah, rippling shadows alone are not enough! I was feeling quite homesick for the south, when I suddenly looked up to discover I had reached my own door. Pushing it softly open and tiptoeing in, I found all quiet inside, and my wife fast asleep.July 1927Tsinghua University, Beijing译文四:Moonlight over the Lotus PondTr. Wang Jiaosheng(王椒升)Of late, I have been in a rather uneasy frame of mind. Sitting in my courtyard enjoying the cool evening, I suddenly thought of the lotus pond that I pass on my way day in and day out. Tonight, it must have a charm all its own, bathed in the light of the full moon. The moon was now rising slowly. Beyond the wall, the happy laughter of children on the road had died away. So putting on my coat quietly, I went out closing the door softly behind me.A path paved with coal-dust zigzags along the lotus pond, so secluded as to be little frequented in the daytime, to say nothing of its loneliness at night. Around the pond grows a profusion of luxuriant trees. On one side of the path are some willows and other plants whose names are unknown to me. On moonless nights, the place has a gloomy, somewhat forbidding appearance. But on this particular evening, it had a cheerful outlook, though the moon was pale.On the uneven surface of the pond, all one could see was a mass of leaves, all interlaced and shooting high above the water like the skirts of slim dancing girls. The leaves were dotted in between the layers with white flowers, some blooming gracefully; others as if bashfully, still in bud. They were like bright pearls and stars in an azure sky. Their subtle fragrance was wafted by the passing breeze, in whiffs airy as the notes of a song coming faintly from some distant tower. There was a tremor on leaf and flower, which, with the suddenness of lightning, soon drifted to the far end of the pond. The leaves, softly hidden from view, water was rippling, even its color was not discernible so that the leaves looked more enchanting.Moonlight was flowing quietly like a stream down to the leaves and flowers. A light mist overspread the lotus pond. Leaf and flower seemed washed in milk. It was a full moon, but a pale cloud hanging overhead made it lose some of its brilliance. Moonlight was glowing from behind the trees, and the dense shrubs above cast down gloomy ghost-like shadows of arching willows were like a picture etched on the lotus leaves. Uneven as was the moonlight over the pond, there was a harmony between light and shade, rhythmic as a well-known melody played on the violin.Skirting the lotus pond, far and near, high and low, are trees among which willows predominate. They entirely envelop the pond, leaving only a few spaces on one side of the path, as if purposely for the moonbeams to penetrate. The trees were now all enshrouded in a heavy gloom, which at first sight looked like a pall of mist, but the lovely shape of the willows remained distinguishable in spite of it. Distant hills loomed above the tree-tops in dim outline. Here and there, a few rays from street-lamps filtered through the trees, listless as the eyes of one who is dozing. At this moment, most lively were the cicadas chirping in the trees and the frogs croaking under the water. But theirs was all the merrymaking, in which I did not have the least share.Then all of a sudden, I was reminded of the custom of plucking lotus seeds prevalent in Jiangnan, handed down probably from a very remote period and becoming quite popular during the Six Dynasties, as may be seen roughly in songs and poems that survive. This in turn revived my memory of the following lines in the “West Islet Ditty”:In autumn I pluck lotus seeds in the South Pond,Tall are the lotus plants, taller than me.My head bent low, with lotus seeds I play,Green, green as water all the lotus seeds I see.If there were people plucking lotus seeds here tonight, they might indeed find lotus plants exceeding them in height; but the absence of the merest shadow of flowing water would spoil it. And that is what has set me thinking about Jiangnan.。