许渊冲的“三美”原则视角论中国古典诗歌翻译美学再现—以《天净沙·秋思》四种译本为例

On the Aesthetic Reproduction in Chinese Classical Poetry Translation from the Perspective of Xu Yuanchong’s Three Beauties Principle—Take the Four Versions of Autumn

Thoughts as Examples

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Abstract

As a special branch of art,poetry translation is similar to literature creation but has its own particular aesthetic principle. The translator should convey the original artistic concept in another language and enable the reader to undergo aesthetic experience. The language in classical Chinese poetry is characterized in implicit meaning, concise expression and rich artistic conception, so the translation of it not only is faithful and equal to the original language, but also reproduces beauty in the target language.

Chinese poetry is concise in language, distant un mood, clear in rhythm and strict in the building of verse-lines. It is a shining pearl in Chinese culture, To convey the beauty in the classic Chinese poems and let the English readers tend to have the same appreciation as we Chinese do, translating the classic Chinese poems into English. Therefore, it is of positive and profound significance in terms of translating practice to adopt the translation aesthetics in exploring how to represent in the target language at the original beauty that the classics Chinese poems show from artistic perspective.

In addition, it also attempts to make a multi-dimensional study of Mr Xu’s poetry translation techniques, summarize how he represents and displays the beauty and charm of the classic Chinese poems in the English versions that he has made Mr Xu’s translating experiences and three-beauty doctrine, to a large extent and in practical sense, will guide translation beginners to set foot on a correct track and serve as a valuable reference to translation beginners. What’s more, one point of view is put external dissemination of the Chinese classical poetry and greatly promote the international exchange between different culture.

Key words: aesthetic reproduction; poetry translation; Autumn Thoughts;

Xu Yuanchong; Three Beauties Principle

摘要

诗歌翻译是一个特殊的艺术门类, 既与文学创作相似, 又有其独特的审美原则。翻译者须用另一种语言把原作的艺术意境传达出来, 使读者在读译文的时候能像读原作时一样得到美的享受。中国古典诗歌语言含蓄隽永, 高度凝练, 意境丰富精深, 这就使得古诗英译不能仅仅满足于忠实对等, 更要在目的语中再现美感。

中国古典诗词文字练达, 句式严谨, 韵律鲜明, 意境悠远, 是中国文化中一颗灿烂光辉的明珠。用英语来传达中国古典诗词中的美, 使译入语读者能够象原作读者一样得到美的享受, 应是中国古典诗词英译的追求所在。因此, 运用翻译美学理论探讨在目的语中如何再现中国诗歌美的艺术对翻译实践有积极深刻的意义。

本文多维度地研究许渊冲先生诗歌翻译技巧, 总结在他的翻译中如何再现中国古典诗词之美、如何展现中国古典诗歌的无穷魅力。许渊冲先生的翻译经验和“三美”说对翻译学习者有现实的指导意义和借鉴价值。同时，对于中国古典诗歌翻译美学角度的研究不仅可以加强中国古典诗歌文化的对外传播, 对国际间不同文化的和谐交流也具有积极的促进作用。在回顾中西方翻译美学传统的基础上, 从许渊冲的“三美”原则视角论中国古典诗歌翻译美学再现—以《天净沙·秋思》四种译本为例。中国古典诗歌集意、音、形三美于一身, 因此笔者从美学角度探讨诗歌翻译并对译本的美学再现进行系统分析, 从而证明“三美”原则对中国古诗英译的翻译实践活动具有实用价值和许渊冲对诗歌翻译的巨大贡献。

关键词：美学再现，诗歌翻译，《天净沙·秋思》，许渊冲“三美”原则