译诗要往活处炼——翁显良古诗英译艺术研究
|
摘要
翁显良是我国著名翻译家,其对中国古典诗词的英译尤为引人注目。散体译法是翁译古诗最大的形式特征,为充分发挥自己的创造性提供了广阔空间,意境烘托则是其追求的艺术效果,也是译文魅力之所在。除此之外,翁译还广泛采用题目变更、开篇点题、人称显化、巧用引语、泛灵强化、修辞添加、话语重复、专名释意等技法,对原诗意境的营造和凸显都有一定的推动作用,也提高了翁译古诗作为独立文本的价值。
Weng Xianliang is a famous translator in China,and his English translation of classical Chinese poems has attracted a lot of academic attention. Prose-like translation is his most distinctive feature in form,enabling him to better recreate in fewer restrictions,and highlighting the ideorealm of the original texts is his artistic pursuit,giving rise to the lasting appeal of his translations. This paper has also summarized his other eight artistic techniques in translating,namely,changing the title,singling the theme out at the very beginning,explicating personal pronouns,using direct speech flexibly,strengthening animism,repeating words or part of the sentences,interpreting proper nouns etc. All these techniques are instrumental in enhancing and highlighting the ideorealm of the original poems as well as the esthetic value of his own translations as independent texts.
Weng Xianliang is a famous translator in China,and his English translation of classical Chinese poems has attracted a lot of academic attention. Prose-like translation is his most distinctive feature in form,enabling him to better recreate in fewer restrictions,and highlighting the ideorealm of the original texts is his artistic pursuit,giving rise to the lasting appeal of his translations. This paper has also summarized his other eight artistic techniques in translating,namely,changing the title,singling the theme out at the very beginning,explicating personal pronouns,using direct speech flexibly,strengthening animism,repeating words or part of the sentences,interpreting proper nouns etc. All these techniques are instrumental in enhancing and highlighting the ideorealm of the original poems as well as the esthetic value of his own translations as independent texts.
引文
陈伟英.2006.唐诗主语省略英译补出现象——解读文化差异及意境不可译性[J].浙江大学学报(人文社会科学版)(6):177-185.
冯全功.2016.文学翻译中的整体细译与整体细评——从霍译《红楼梦》分卷标题的汉译谈起[J].北京第二外国语学院学报(6):60-70.
冯全功,常敏扩.2017.中国古典诗词中的泛灵论及其英译研究[J].外国语文(5):103-110.
吕叔湘.2002.中诗英译比录[G].北京:中华书局.
荣立宇,张智中.2018.略论汉诗英译的散译传统[J].东方翻译(1):32-36.
童元方.2015.译心与译艺:文学翻译的究竟[M].北京:外语教学与研究出版社.
姚嘉五,钟书能.2010.翁显良译诗及其比照面[J].北京第二外国语学院学报(10):1-7.
翁显良.1982.本色与变相——汉诗英译琐议之三[J].外国语(1):22-25.
翁显良.1985.古诗英译[M].北京:北京出版社.
翁显良.1988.古诗英译二十八首[J].外国语(6):11-15.
翁显良.1981a.浅中见深——汉诗英译琐议之二[J].外国语(6):22-25.
翁显良.1980.情信与词达——谈汉诗英译的若干问题[J].外国语(5):18-23.
翁显良.1981b.以不切为切——汉诗英译琐议之一[J].外国语(5):25-28.
翁显良.1983.意态由来画不成?——文学翻译丛谈[M].北京:中国对外翻译出版公司.
翁显良.1981c.自由与不自由——试译稼轩词十首附言[J].外国语(2):23-27.
许渊冲.1988.诗词英译漫谈[J].中国翻译(3):40-43.
张保红.2013a.从书法视角看翁显良古诗英译的艺术[J].外国语文(4):96-101.
张保红.2013b.翁显良古诗意象英译的特色[J].翻译季刊(68):38-67.
张保红.2011.点染法:翁显良汉诗英译艺术研究[J].中国外国(4):87-94.
张积模.1992.试评翁显良教授《古诗英译》一书的得与失——兼谈散文体译诗的利弊[J].解放军外国语学院学报(4):93-97.
(1)学界有时也把译文为无韵诗体的译法称为散体,如吕叔湘、许渊冲等,这里的散体特指以翁显良为代表的不分行也不求押韵的译法。
(1)本文引自翁显良1985年出版的《古诗英译》中的译文较多,为节省篇幅,方便阅读,此后凡引自此书的译文(片段)只标明页码,不再一一标明出版信息。
冯全功.2016.文学翻译中的整体细译与整体细评——从霍译《红楼梦》分卷标题的汉译谈起[J].北京第二外国语学院学报(6):60-70.
冯全功,常敏扩.2017.中国古典诗词中的泛灵论及其英译研究[J].外国语文(5):103-110.
吕叔湘.2002.中诗英译比录[G].北京:中华书局.
荣立宇,张智中.2018.略论汉诗英译的散译传统[J].东方翻译(1):32-36.
童元方.2015.译心与译艺:文学翻译的究竟[M].北京:外语教学与研究出版社.
姚嘉五,钟书能.2010.翁显良译诗及其比照面[J].北京第二外国语学院学报(10):1-7.
翁显良.1982.本色与变相——汉诗英译琐议之三[J].外国语(1):22-25.
翁显良.1985.古诗英译[M].北京:北京出版社.
翁显良.1988.古诗英译二十八首[J].外国语(6):11-15.
翁显良.1981a.浅中见深——汉诗英译琐议之二[J].外国语(6):22-25.
翁显良.1980.情信与词达——谈汉诗英译的若干问题[J].外国语(5):18-23.
翁显良.1981b.以不切为切——汉诗英译琐议之一[J].外国语(5):25-28.
翁显良.1983.意态由来画不成?——文学翻译丛谈[M].北京:中国对外翻译出版公司.
翁显良.1981c.自由与不自由——试译稼轩词十首附言[J].外国语(2):23-27.
许渊冲.1988.诗词英译漫谈[J].中国翻译(3):40-43.
张保红.2013a.从书法视角看翁显良古诗英译的艺术[J].外国语文(4):96-101.
张保红.2013b.翁显良古诗意象英译的特色[J].翻译季刊(68):38-67.
张保红.2011.点染法:翁显良汉诗英译艺术研究[J].中国外国(4):87-94.
张积模.1992.试评翁显良教授《古诗英译》一书的得与失——兼谈散文体译诗的利弊[J].解放军外国语学院学报(4):93-97.
(1)学界有时也把译文为无韵诗体的译法称为散体,如吕叔湘、许渊冲等,这里的散体特指以翁显良为代表的不分行也不求押韵的译法。
(1)本文引自翁显良1985年出版的《古诗英译》中的译文较多,为节省篇幅,方便阅读,此后凡引自此书的译文(片段)只标明页码,不再一一标明出版信息。