采薇详解及翻译ppt

《诗经》采薇采薇•采薇采薇，薇亦作止。

曰归曰归，岁亦莫止。

靡室靡家，玁狁之故。

不遑启居，玁狁之故。

[xiǎn yǔn]•薇菜采了又采，薇菜冒出了芽尖。

说要回家了回家了，但已到了年末仍不能实现。

没有妻室没有家，都是为了和玁狁打仗。

没有时间安居休息，都是为了和玁狁打仗。

•注释：薇：豆科野豌豆属的一种，学名救荒野豌豆，现在叫大巢菜，种子、茎、叶均可食用。

、•作：指薇菜冒出地面。

•止：句末助词。

•曰：句首、句中助词，无实意。

•莫：通“暮”，也读作“暮”。

本文指年末。

•不遑（huáng）：不暇。

遑，闲暇。

•启居：跪、坐，指休息、休整。

启，跪、跪坐。

居，安坐、安居。

古人席地而坐，两膝着席，危坐时腰部伸直，臀部与足离开；安坐时臀部贴在足跟上。

•玁（xiǎn）狁（yǔn）：中国古代少数民族名。

•采薇采薇，薇亦柔止。

曰归曰归，心亦忧止。

忧心烈烈，载饥载渴。

我戍未定，靡使归聘。

•薇菜采了又采，薇菜多么鲜嫩。

说回家呀道回家，心中是多么忧闷。

忧闷的心好像烈火在燃烧，饥渴交加实在难忍。

驻防的地方还不安定，没有人可委托去打听家里的消息。

•注释：•柔：柔嫩。

“柔”比“作”更进一步生长。

指刚长出来的薇菜柔嫩的样子。

•烈烈：炽烈，形容忧心如焚•载（zài）饥载渴：则饥则渴、又饥又渴。

载……载……，即又……又……。

•戍（shù）：防守，这里指防守的地点。

•聘（pìn）：问，谓问候。

•采薇采薇，薇亦刚止。

曰归曰归，岁亦阳止。

王事靡盬，不遑启处。

忧心孔疚，我行不来。

•薇菜采了又采，薇菜已经又老又硬。

说回家呀道回家，又到了十月小阳春。

征役没有休止，哪能有片刻安身。

心中是那么痛苦，到如今不能回家。

•注释：•刚：坚硬。

阳：农历十月，小阳春季节。

今犹言“十月小阳春”。

•靡：无。

盬（gǔ）：止息，了结。

启处：休整，休息。

孔：甚，很。

疚：病，苦痛。

•我行不来：意思是：我出征以来从未有人来慰问。

来，通“勑”，慰勉。

•彼尔维何？维常之华。

彼路斯何？君子之车。

戎车既驾，四牡业业。

岂敢定居，一月三捷。

•那盛开着的是什么花？是棠棣花。

那驶过的是什么人的车？当然是将帅们的从乘。

兵车已经驾起，四匹雄马又高又大。

哪里敢安然住下？一个月就多次打胜仗。

•注释：•常：常棣（棠棣），既扶移，植物名。

•维常之华（华，通“花”，花朵）•路：假作“辂”，大车。

斯何，犹言维何。

•君子：指将帅。

•戎（róng）：车，兵车。

•牡（mǔ）：雄马。

•业业：高大的样子。

•定居：犹言安居。

•捷：胜利。

谓接战、交战。

一说，捷，邪出，指改道行军。

此句意谓，一月多次行军。

•驾彼四牡，四牡骙骙。

君子所依，小人所腓。

四牡翼翼，象弭鱼服。

岂不日戒，玁狁孔棘。

•驾起四匹雄马，四匹马高大而又强壮。

将帅们坐在车上，士兵们也靠它隐蔽遮挡。

四匹马训练得已经娴熟，还有象骨装饰的弓和鲨鱼皮箭囊（指良的装备）。

怎么能不每天戒备呢？玁狁之难很紧急啊。

•注释：•骙（kuí）：雄强，威武。

这里的骙骙是指马强壮的意思。

•小人：指士兵。

•腓（féi）：庇护，掩护。

•翼翼：整齐的样子。

谓马训练有素。

•弭（mǐ）：弓的一种，其两端饰以骨角。

象弭，以象牙装饰弓端的弭。

鱼服，鱼皮制的箭袋。

•日戒：日日警惕戒备。

•棘（jí）：急。

孔棘，很紧急。

•昔我往矣，杨柳依依。

今我来思，雨雪霏霏。

行道迟迟，载渴载饥，我心伤悲，莫知我哀。

•想起我离家的时候，杨柳依依随风飘飞。

如今我在归乡的途中，纷纷扬扬的雪花漫天。

路途泥泞步履艰难，饥渴交加满身疲惫。

我的心是多么凄凉悲伤，满心的伤痛又有谁能体会!•注释：•昔：从前，文中指出征时。

往：当初从军。

依依：形容柳丝轻柔、随风摇曳的样子。

•思：用在句末，没有实在意义雨：音同玉，为“下”的意思。

•霏（fēi）霏：雪花纷落的样子。

迟迟：迟缓的样子。

•感情基调•寒冬，阴雨霏霏，雪花纷纷，一位解甲退役的征夫在返乡途中踽踽独行。

道路崎岖，又饥又渴；但边关渐远，乡关渐近。

此刻，他遥望家乡，抚今追昔，不禁思绪纷繁，百感交集。

•全诗六章，可分三层。

既是归途中的追忆，故用倒叙手法写起。

前三章为一层，追忆思归之情，叙述难归原因。

这三章的前四句，以重章之叠词申意并循序渐进的方式，抒发思家盼归之情；而随着时间的一推再推移，这种心情越发急切难忍。

译文1：At first, when we set out,The willows were fresh and green;Now, when we shall be returning,The snow will be falling clouds.Long and tedious will be our marching;We shall hunger; we shall thirst.Our hearts are wounded with grief,And no one knows our sadness.（Tr. by James Legge）译文2：Long ago, when we started,The willows spread their shade.Now that we return back,The snow flakes fly.The march before us is long,We are thirst and hungry.Our hearts are stricken with sorrow,But no one listens to our plaint.（Tr. by Arthur Waley）昔我往矣，杨柳依依。

今我来思，雨雪霏霏。

行道迟迟，载渴载饥。

我心伤悲，莫知我哀。

昔我往矣，杨柳依依。

今我来思，雨雪霏霏。

行道迟迟，载渴载饥。

我心伤悲，莫知我哀。

译本4：At first, when we started on our track,The willows green were growing .and now, when we think of the journeyback,‘Tis raining fast and snowing.and tedious and slow the march will be,And food and drink will fail us.Ah, hard to bear is the misery!None knows what grief assail us.（Tr. William Jennings ）译本3：Willows were green when we set out, it ’s blowin ’an ’snowin ’as we go down this road, muddy and slow, hungry and thirsty and blue a doubt （no one feels half of what we know ）（Tr. By Ezra Pound ）昔我往矣，杨柳依依。

今我来思，雨雪霏霏。

行道迟迟，载渴载饥。

我心伤悲，莫知我哀。

译文6:When I set our so long ago,Fresh and green was the willo.When now homeward I go,There is a heavy snow.The homeward march is slow,My hunger and thirst grow.My heart is filled with sorrow;Who on earth will ever know.(Tr. Wang Rongpei & Ren Xiuhua)译文5：When I left here, Willow shed tear. I came back now, Snow bends the bough. Long, long the way; Hard, hard the day. Hunger and thirst, Press me the worst. My grief overflows.Who knows? Who knows?（Tr. by Xu Yuanchong ）James Legge(missionary & Scholar）•He was a noted Scottish sinologist,and first professor of Chinese at Oxford University (1876–1897). he went in 1839 as a missionary to China.•Convinced of the need for missionaries to be able to comprehend the ideas and culture of the Chinese, he began in 1841 a translation in many volumes of the Chinese classics.•the third and final editor of Chinese serial《遐迩贯珍》这是香港最早的中文报刊，出版于一八五三年八月，停刊于一八五六年五月。

•the headmaster of Anglo-Chinese College there. The College was subsequently moved to Hong Kong, where Legge lived for nearly thirty years.•His object was to unfold the Chinese field of thought and reveal the foundation of the moral, social, and political life of the people.Arthur Waley•Waley(England) was appointed Assistant Keeper of Oriental Prints and Manuscripts at the British Museum in 1913. During this time he taught himself Chinese and Japanese, partly to help catalogue the paintings in the Museum's collection.•Of the popular appeal of this book, Waley later had this to say:•"I think one of the reasons that it remained in fairly steady demand for forty years is that it appeals to people who do not ordinarily read poetry. When in 1940 I was working in a Government office a number of young girl typists and clerks brought me copies of the Hundred and Seventy to sign. Several of them said they did not ordinarily read poetry and had, before coming across my book, always supposed that it was something special anddifficult."•Well, some Chinese poetry is special and difficult. Such poems, on the whole, Waley avoided. He preferred to pick his spots, and the spots hepicked are those which leave little to be explained to the foreign reader, and which do not depend on purely musical effects. His audience from first to last remained the general public, not a specialized scholarly audience, nor yet an esoteric "poetic" one.Ezra Pound•American expatriate poet•promotion of Imagism•Pound's style was clear, economical and concrete:•"Great literature is simply language charged with meaning to the utmost possible degree," he once said. As an essayistPound wrote mostly about poetry.•Pound hoped, that fascism could establish the sort of society in which the arts could flourish. He also argued that poetry is not "entertainment", and as an elitist he did not appreciate thecommon reader.William Jennings•Jennings was chaplain of St. John’s Cathedral in Hong Hong and the translator of the classic collection of Chinese poetry known as the Shih Ching.•From the earliest times, music and poetry have always been held in higher estimation than the plastic arts; and he willusually be found to prefer the poetic exposition of a subject to its treatment in matter-of-fact prose.•Chinese verse began with rhyme, and it seems (see the Festal Odes of Shang, the oldest in the book) that the older the poetry is, the greater is the frequency of rhymes; whereas, in Western poetry, as is well known,—whether Greek, Latin, orEnglish,—measure and not rhyme was its characteristic in the earliest stage.许渊冲•有人评价他是：“狂做文章信手书，一章一句真性情。