《楚辞》英译研究
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摘要
文化人类学整体论是一个重要的学科范畴,其理论要旨在于强调事物的整体意识以及作为文化主体的人的意识,主要包括三方面的核心理念：其一,一种文化的整体特征并不等同于该文化整体中的部分特质简单相加,各种文化现象是一个内部有联系的整体。其二,注重民族文化的传承,关注历史文化是如何传递给下一代或异域群体的。其三,重视具有主体性的人以及人的主体性,人与其承载的各种文化之间的互动关系。
借助于文化人类学整体论这一跨学科的思维武器和视角,本研究以《楚辞》中的文化英译为取向,重点探索以下几个问题：《楚辞》英译的历史状况和发展态势如何?各译本在整体上呈现怎样的文化整体面貌和译者主体文化?原作的多学科、多层次的文化整体价值是否得以开采和传达?作品的后续生命是否得到延续?《楚辞》英译研究对中国典籍翻译有怎样启迪作用?
全文共分三个部分。第一部分为引言。该部分概述了《楚辞》的主要价值及影响,说明了研究的缘起与意义、内容与思路、方法与创新点。
第二部分为研究的主体,共五章。第一章对国内外《楚辞》英译及英译研究进行述评。现有的《楚辞》英译无论在翻译的范围、翻译视角、翻译目的还是翻译方法方面都具有局限性,各译本之间缺乏关联和互动。前人对《楚辞》英译的研究成果多为零星的散论,缺乏较为综合、全面的论证,对翻译中是否突出原文整体文化价值研究非常有限,因而,本章提出用文化人类学整体论这一跨学科的理论来研究《楚辞》中人类文化因素的翻译问题。
第二章为理论解读。文化人类学是文化诗学的一种特殊构成,它的整体观、普同观、跨文化比较观等范畴与翻译具有相互阐发的特征。它的首要原理整体论及其衍生的一些理念,如：主位和客位、整体和部分,历史与现实,整合、深描、主体性等与《楚辞》翻译具有普同性,能促使译者在翻译过程中坚持观察视野的整体性,避免对翻译本体的片面认识,这些理论视角对《楚辞》英译研究具有一定解释力。在此基础上,本章对原作的文化整体特征进行分析,并进一步对《楚辞》英译的整体性实现途径进行了初步构想。
第三章为《楚辞》译本的整体翻译面貌研究。此章分别对亚瑟·韦利的《九歌—中国古代巫文化研究》、戴维·霍克斯的《楚辞—南方的歌》、林文庆的《离骚》、孙大雨的《英译屈原诗选》等不同时代和文化背景下生成的四个经典译本的整体文化面貌特征、译者的主体文化和翻译视角进行考察,从而产生对译者的文化身份和诠释视角的思考,以及对《楚辞》英译整体模式如何构建的思考。
第四章研究《楚辞》中蕴含的人类文化各系统的英译状况,并反思和评价其中的翻译策略。此章通过考察《楚辞》中的表层技术系统、中层社会系统和深层意识系统的文化价值是否被译者准确解读和诠释,认为在翻译中对表层物质技术文化意象所隐蔽的意义有待于进行多层面关照,对中层社会科技文化知识的翻译应在整体上多重融合其历史视域、文化视域和功能视域,对于深层文化意识系统的因素应在翻译中接通中西文化因子在内涵上的相互关联之处,寻找二者的间性。在此基础上,本章进一步指出在翻译中应重视对原作丰富而宝贵的多科价值的开采。
第五章探讨本研究对我国典籍翻译理论建设的启迪。本章指出文化整体论视角下的典籍翻译是从文化本体到文化主体人的构建,其实质是文化资源的交流、共享和传承,是翻译主体间对话的平台,提出“互喻型”译者文化是译者的主体文化,以及文化人类学的“向后站”三维整体诠释视角与涵化策略对典籍翻译所起的积极作用。
第三部分为结语。该部分对本研究的主要内容及研究所反映的典籍翻译理论和方法的若干问题进行了回顾和思考,并指出研究所存在的不足之处与需要进一步拓展的方向。
Holism of Cultural Anthropology is an important disciplinary category with its theoretical thrusts emphasizing the holistic awareness of things and that of human as well, as cultural subjects. It mainly includes three key ideas:First, the overall characteristic of a culture is not simply equivalent to the sum of its partial traits for various cultural facts are internally integrated. Second, it concerns the inheritance of national culture and the ways to passing on its history and culture to the next generation and foreign community. Third, it values subjective human, their subjectivity as well as the interactive relationship between human and various cultures they carry.
Focusing on the culture of Chuci English translations, this dissertation mainly explores the following questions from the perspective of holism in Cultural Anthropology:What is historical status and future trend of Chuci English translations? What overall cultural outlook does different English translation of Chuci present? Whether has the multi-disciplinary and multi-level cultural value of the source text been explored and transmitted, and its continued life acquired an assurance of survival? What enlightments does the study give to the translations of other Chinese classics?
The dissertation consists of three parts. Part One starts with an introductory overview of the significance and impact of Chuci, followed by a description of the purpose, significance, content, approaches and originality of the research.
Part Two is the highlight of the study, which comprises five chapters. The first chapter reviews Chuci English translation and its related research both at home and abroad, finding that the exiting English translations of Chuci are limited in terms of the range of texts, translation perspectives, translation purposes and approaches, there has been a lack of necessary correlation and interaction between different translated versions. Previous research findings of English translations are sporadic essays lack of more integrated and comprehensive demonstrations with quite little research into the question whether the translations highlight the overall cultural value of the source text. Therefore, the chapter proposes that holism of Cultural Anthropology, as an interdisciplinary theory, can be employed to study the translation of human cultural factors in Chuci.
Chapter Two makes a theoretical interpretation of Cultural Anthropology as a special form of cultural poetics whose core concepts like holism, universalism, cross-cultural comparism, are characterized by mutual elucidation with translation. Its primary principle, holism, and some conceptions derived from it such as emic and etic, history and reality, integration and vicissitudes, thick description, subjectivity, etc. enable translators to keep a holistic horizon and avoid one-sided understanding of translation subject and object because of the mutual interpretation relationship between holism and translation research. Therefore, Chuci translation can rely on the theories to acquire further illustration. The chapter analyzes the holistic cultural features of Chuci, and further depicts a preliminary conception of the approaches to realize the holistic English translations of Chuci.
Chapter Three focuses on the overall features of four Chuci English translations. The following four English translation versions generated at different times and cultural backgrounds are explored in terms of their holistic cultural features, translators'host culture:Author Waley's The Nine Songs:A Study of Shamanism in ancient China, David Hawks'Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology, Lim Boon Keng's The Li Sao, An Elegy on Encountering Sorrows by Chu Yuan, and Sun Dayu's Selected Poems of Quyuan,which results in a speculation on translators'cultural identity, interpretation perspective, and construction of holistic mode of Chuci translations.
Chapter Four examines the cases of translating the human cultural system inherent in Chuci to discover and evaluate its translating strategies. With an inspection about whether the cultural values of its surface technical system, middle-level social system and deep-level ideological system are accurately interpreted by translators, the chapter proposes that a multi-dimensional interpretation is offered for the former, for the intermediate, a holistic multiple fusion of historical, cultural, and functional horizons would be a good option, and for the latter, it is advisable to seek connections between connotations of Chinese and western cultural factors to meet their inter-centrality. On this basis, this chapter further notes that emphasis should be put on the exploration of the rich and precious multi-disciplinary value of the source text.
Chapter Five approaches the inspirations that the study offers to the development of classics translation theories. It points out those classics translation from the perspective of culture holism is a refractring from culture ontology of the works to humans, the subject of culture, which in essence means the exchange and sharing of cultural resources, and also a platform for dialogues between translation subjects. Afterwards, the chapter puts forward that configurative culture is the mainstay of translator culture and demonstrates the positive influence of three-dimensional holistic interpretation perspectives of "Stand back" and Cultural acculturation strategy on classics translation.
The last part, as a conclusion, reviews the main content of the study and reflects on some issues relevant to the theories and methods of classics translation, points out the inadequacies of the present study and the research orientation for further study.
借助于文化人类学整体论这一跨学科的思维武器和视角,本研究以《楚辞》中的文化英译为取向,重点探索以下几个问题：《楚辞》英译的历史状况和发展态势如何?各译本在整体上呈现怎样的文化整体面貌和译者主体文化?原作的多学科、多层次的文化整体价值是否得以开采和传达?作品的后续生命是否得到延续?《楚辞》英译研究对中国典籍翻译有怎样启迪作用?
全文共分三个部分。第一部分为引言。该部分概述了《楚辞》的主要价值及影响,说明了研究的缘起与意义、内容与思路、方法与创新点。
第二部分为研究的主体,共五章。第一章对国内外《楚辞》英译及英译研究进行述评。现有的《楚辞》英译无论在翻译的范围、翻译视角、翻译目的还是翻译方法方面都具有局限性,各译本之间缺乏关联和互动。前人对《楚辞》英译的研究成果多为零星的散论,缺乏较为综合、全面的论证,对翻译中是否突出原文整体文化价值研究非常有限,因而,本章提出用文化人类学整体论这一跨学科的理论来研究《楚辞》中人类文化因素的翻译问题。
第二章为理论解读。文化人类学是文化诗学的一种特殊构成,它的整体观、普同观、跨文化比较观等范畴与翻译具有相互阐发的特征。它的首要原理整体论及其衍生的一些理念,如：主位和客位、整体和部分,历史与现实,整合、深描、主体性等与《楚辞》翻译具有普同性,能促使译者在翻译过程中坚持观察视野的整体性,避免对翻译本体的片面认识,这些理论视角对《楚辞》英译研究具有一定解释力。在此基础上,本章对原作的文化整体特征进行分析,并进一步对《楚辞》英译的整体性实现途径进行了初步构想。
第三章为《楚辞》译本的整体翻译面貌研究。此章分别对亚瑟·韦利的《九歌—中国古代巫文化研究》、戴维·霍克斯的《楚辞—南方的歌》、林文庆的《离骚》、孙大雨的《英译屈原诗选》等不同时代和文化背景下生成的四个经典译本的整体文化面貌特征、译者的主体文化和翻译视角进行考察,从而产生对译者的文化身份和诠释视角的思考,以及对《楚辞》英译整体模式如何构建的思考。
第四章研究《楚辞》中蕴含的人类文化各系统的英译状况,并反思和评价其中的翻译策略。此章通过考察《楚辞》中的表层技术系统、中层社会系统和深层意识系统的文化价值是否被译者准确解读和诠释,认为在翻译中对表层物质技术文化意象所隐蔽的意义有待于进行多层面关照,对中层社会科技文化知识的翻译应在整体上多重融合其历史视域、文化视域和功能视域,对于深层文化意识系统的因素应在翻译中接通中西文化因子在内涵上的相互关联之处,寻找二者的间性。在此基础上,本章进一步指出在翻译中应重视对原作丰富而宝贵的多科价值的开采。
第五章探讨本研究对我国典籍翻译理论建设的启迪。本章指出文化整体论视角下的典籍翻译是从文化本体到文化主体人的构建,其实质是文化资源的交流、共享和传承,是翻译主体间对话的平台,提出“互喻型”译者文化是译者的主体文化,以及文化人类学的“向后站”三维整体诠释视角与涵化策略对典籍翻译所起的积极作用。
第三部分为结语。该部分对本研究的主要内容及研究所反映的典籍翻译理论和方法的若干问题进行了回顾和思考,并指出研究所存在的不足之处与需要进一步拓展的方向。
Holism of Cultural Anthropology is an important disciplinary category with its theoretical thrusts emphasizing the holistic awareness of things and that of human as well, as cultural subjects. It mainly includes three key ideas:First, the overall characteristic of a culture is not simply equivalent to the sum of its partial traits for various cultural facts are internally integrated. Second, it concerns the inheritance of national culture and the ways to passing on its history and culture to the next generation and foreign community. Third, it values subjective human, their subjectivity as well as the interactive relationship between human and various cultures they carry.
Focusing on the culture of Chuci English translations, this dissertation mainly explores the following questions from the perspective of holism in Cultural Anthropology:What is historical status and future trend of Chuci English translations? What overall cultural outlook does different English translation of Chuci present? Whether has the multi-disciplinary and multi-level cultural value of the source text been explored and transmitted, and its continued life acquired an assurance of survival? What enlightments does the study give to the translations of other Chinese classics?
The dissertation consists of three parts. Part One starts with an introductory overview of the significance and impact of Chuci, followed by a description of the purpose, significance, content, approaches and originality of the research.
Part Two is the highlight of the study, which comprises five chapters. The first chapter reviews Chuci English translation and its related research both at home and abroad, finding that the exiting English translations of Chuci are limited in terms of the range of texts, translation perspectives, translation purposes and approaches, there has been a lack of necessary correlation and interaction between different translated versions. Previous research findings of English translations are sporadic essays lack of more integrated and comprehensive demonstrations with quite little research into the question whether the translations highlight the overall cultural value of the source text. Therefore, the chapter proposes that holism of Cultural Anthropology, as an interdisciplinary theory, can be employed to study the translation of human cultural factors in Chuci.
Chapter Two makes a theoretical interpretation of Cultural Anthropology as a special form of cultural poetics whose core concepts like holism, universalism, cross-cultural comparism, are characterized by mutual elucidation with translation. Its primary principle, holism, and some conceptions derived from it such as emic and etic, history and reality, integration and vicissitudes, thick description, subjectivity, etc. enable translators to keep a holistic horizon and avoid one-sided understanding of translation subject and object because of the mutual interpretation relationship between holism and translation research. Therefore, Chuci translation can rely on the theories to acquire further illustration. The chapter analyzes the holistic cultural features of Chuci, and further depicts a preliminary conception of the approaches to realize the holistic English translations of Chuci.
Chapter Three focuses on the overall features of four Chuci English translations. The following four English translation versions generated at different times and cultural backgrounds are explored in terms of their holistic cultural features, translators'host culture:Author Waley's The Nine Songs:A Study of Shamanism in ancient China, David Hawks'Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology, Lim Boon Keng's The Li Sao, An Elegy on Encountering Sorrows by Chu Yuan, and Sun Dayu's Selected Poems of Quyuan,which results in a speculation on translators'cultural identity, interpretation perspective, and construction of holistic mode of Chuci translations.
Chapter Four examines the cases of translating the human cultural system inherent in Chuci to discover and evaluate its translating strategies. With an inspection about whether the cultural values of its surface technical system, middle-level social system and deep-level ideological system are accurately interpreted by translators, the chapter proposes that a multi-dimensional interpretation is offered for the former, for the intermediate, a holistic multiple fusion of historical, cultural, and functional horizons would be a good option, and for the latter, it is advisable to seek connections between connotations of Chinese and western cultural factors to meet their inter-centrality. On this basis, this chapter further notes that emphasis should be put on the exploration of the rich and precious multi-disciplinary value of the source text.
Chapter Five approaches the inspirations that the study offers to the development of classics translation theories. It points out those classics translation from the perspective of culture holism is a refractring from culture ontology of the works to humans, the subject of culture, which in essence means the exchange and sharing of cultural resources, and also a platform for dialogues between translation subjects. Afterwards, the chapter puts forward that configurative culture is the mainstay of translator culture and demonstrates the positive influence of three-dimensional holistic interpretation perspectives of "Stand back" and Cultural acculturation strategy on classics translation.
The last part, as a conclusion, reviews the main content of the study and reflects on some issues relevant to the theories and methods of classics translation, points out the inadequacies of the present study and the research orientation for further study.
引文
① 据周秉高统计,中国两岸三地(大陆、台湾、香港)在1990-2003年间出版楚辞著作780种。参见周秉高.楚辞解析[M],内蒙古大学出版社,2003：4。
① "...and Parker, always too hasty a translator, followed up with some serious mistakes."From Lim Boon Keng, The Li Sao An Elegy on Encountering Sorrows by Chu Yuan[M], Shanghai:The Commercial Press, Limited,1974:xxi.
② "It is really more a paraphrase than a translation". David Hawkes. Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M], Boston:Beacon Press,1962:215.
① "These are elegant and extremely readable, but free in a rather arbitrary way and sometimes tiresomely Europeanized".出处同上。
② 骐骥在中国文化中指千里马,比喻人才。“骐骥盛壮之时,一日而驰千里,及其衰老,驽马先之”,余邵鱼.《东周列国志》第106章http://www.wjsw.com/html/33/33093 /2662718.shtml.
① "Erkes's translations make painful reading, but they would be useful to a student beginning to study Chinese literature in the original." From David Hawkes. Chu Tzu The Songs of the South, Boston:Beacon Press,1962:215.
① 《天问》是屈原的代表作之一。全诗373句,1560字。该作品对天、地、自然、社会、历史、人生提出173个问题,鲍润生节选了前12句进行了英译。
② "These are workmanlike literal translations with no pretensions to literary merit".同①：216。
③ 具体篇目和出版情况参见附录I。
① "The footnotes are sometimes misleading, but the translations are fresh and readable,—The only extensive English translation of Ch'u Tz'u apart from Waley's which do not positively deter the reader."同前：217。
① 民国时期的官名。民国三年(1914年)5月,袁世凯公布省、道、县官制,分一省为数道,全国共九十三道,改各省观察使为道尹,管理所辖各县行政事务,隶属省长。
② "It has very copious and on the whole useful notes. But the translation is less accurate than Legge's and about equally avoid of literary merit. Indeed, Legge's flat prose would have been greatly preferable to such essay in blank verse..." David Hawkes. Ch' u Tz' u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:216.
③ "And this elaborate study of an ancient and difficult poem, seem to me to go far to leave the British Empire precisely where it was". From Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan[M]. Shanghai:The Commercial Press, Limited,1974:xxii.
① "The fact that many of the poems are in rhymed couplets apparently suggested to the author that a pastiche of Pope's Heroic style would be the most suitable medium of translation. The result is a monument of ingenuity, but to m mind bears about a much relation to the original as a chocolate Easter egg to an omelet. David Hawkes同前：217。
① 此类诗歌往往是选译,全文没有注解。如：帕克的《离骚》(The Sadness of Separation,);翟理斯《中国文学精华》(Gems of Chinese Literature)中选译的《卜居》、《渔夫》、《山鬼》等篇。
② 前苏联学者费德林等人对屈原的研究比较集中。英语国家有：艾约瑟通过翻译《天问》(《北京东方学会会志》Ⅱ,4(208-211)介绍屈原；海陶玮的《屈原研究》(1954)；理雅各的《离骚及其作者》(1895：839-864)；杰拉·约翰逊的《离骚：屈原解除痛苦的诗》(1959),等。
① "The lilt of his first verse impressed me very favorably....But the lilt did not last,... followed up with some serious mistakes"; "not much will be found to vitiate the president's result." From Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan [M]. Shanghai:The Commercial Press, Limited,1974:xxi-xxii.
② "…only a metrical translation could reflect the spirit of the poem. The original contains rimes, the absence of which in the translation may detract from its elegance and melodious effect."同上 xxix。
① 引自马克思恩格斯选集第二卷上[M],中共中马克思恩格斯列宁斯大林著作编译局,北京：人民出版社：1972：93。
① “屈原者,名平,楚之同姓也,为楚怀王左徒,博闻强志,明于治乱,娴于辞令,入则与王图议国事,以出号令；出则接遇宾客,应对诸侯”。司马迁,史记(全十册)屈原贾生列传第24卷[M],中华书局,1959：2481。
② 胡适认为《九歌》反映的是“湘江民族的宗教歌舞”。胡适：《读楚辞》[A],见《胡适古典文学论文选》[M]上册,上海：上海古籍出版社,1985。
① “相形之下,中国古代之道,比较能够摆脱宗教和宇宙论的纠缠。中国没有古希腊那种追究宇宙起源的思辨传统”引自余英时.士与中国文化[M].上海：上海人民出版社,2006：33。
① “宓”为多音字,做姓氏读着“Fu”.做“安静”解释时读着“mi”。卓译音译为“mi”,实为音译失误。
② 《离骚》L231-232：“保厥美以骄傲兮,日康娱以淫游”,这一例证说明宓妃平日自持美貌而骄傲,纵欲爱玩的性情。
① Although it was recognized from the second century A.D.onwards that the moral interpretation was only a sort of ultimate meaning, and that taken in their literal sense they were Wu (shaman) songs. Arthur Waley, The Nine Songs:A Study of Shamanism in ancient China [M], London: George Allen and Unwin Ltd,1955:16.
② "In ancient China intermediaries used in the cult of spirits were called wu. They figured in old texts as experts in exorcism, prophecy, fortune-telling, rain-making and interpretation of dreams. Some wu danced, and they are sometimes defined as people who danced in order to bring down Spirits "同上：9。
③ "They were also magic healers and in later times at any rate one of their methods of doctoring was to go, as Siberian shamans do.......indeed, the functions of Chinese wu were so like those of Siberian and Tunguz shamans that it is convenient (as has indeed been done by Eastern and European writers) to use them as a translation of wu.同上。
① "among the common people the eldest daughter is not allowed to marry. She is called the 'shaman-child'(Wu-erh) and is in charge of the family religious rites. This custom still (i.e.c.A.D80) prevails"出处同前。
② The shaman, according to the text, is a person upon whom a Bright Spirit has descended, attracted to him because he is 'particularly vigorous and lively, staunch in adherence to principle, reverent and just; so wise that in all matters high and low he always takes the right side, so saintly (sheng)that he spreads around him a radiance that reaches far and wide....出处同前：9-10。
① "They were of remarkable beauty, wore magnificent costumes and sang and danced well. They also had the power to become invisible. At nightfall, to the accompaniment of bells and drums, strings and flutes, they would slit their tongues with a knife'swallow knives, spit fire from their mouths, fill the whole place with clouds till there was complete darkness.'or produce flashes of dazzling light".同前.11。
① "The Shaman's relation with the Spirit is represented as kind of love affair. One is, of course, vaguely reminded of temple prostitutes in the Near East， and of devadasi and Krishna's relation with the adoring cow-girls in India; but these are only vague analogies."出处同前：13-14.
② 'Possession'is not mentioned or implied in any of the other songs; but from the second century A.D onwards (and perhaps earlier) it was regarded in China as the typical form of shamanism, and it also holds this position among the Tunguz. It seems to figure little if at all in the shamanism of the Altai peoples and Mongols同前：4。
① 我国楚辞学界普遍认为湘君与湘夫人分别为舜之二妃,朱熹、林云铭、洪兴祖等均赞同此说。“事实上,有关湘君和湘夫人的历史原型,目前至少有20个左右的答案”。参见萧兵《九嶷山神和江燕子女神》,《楚辞新探》,天津古籍出版社,1988。
② 1940年,叶乃度在《通报》(Toung Pao)上发表了《古代中国的死神》(The God of Death in Ancient China)从《大司命》和《少司命》追溯掌管生死的神灵司命,认为大司命是决定人类寿命之神,而少司命的职责尚未能确定,他翻译并解释了诗歌的意义,对中国古代人思想意识中的“阴阳”两界有深入的探讨。
③ 《东君》是对太阳神的一曲颂歌。东君是传说中的日神,先人们崇拜太阳,尊为神祗,年年祭祀,渐成风俗。
④ "in the second century B.C. shamans from Chin (Shansi) served the Lord of the East (Tung-chun) at the Chinese Court. In cannot help thinking that, myth logically speaking, he is the same person as Eastern Brightness (Tung-ming), the North Korean culture-hero who at the age of seven made himself a bow and arrow, and hit everything he aimed at.Tung-ming's father was God in Heaven (T'ien-ti) who visited his mother in the form of a ray of sunshine. "出处同前：46。
① "If printed in a sinological journal or in a volume of miscellaneous studies it would be likely to escape the notice of most readers for whom it is intended."同前：46。
① "But the Nine Songs are also well worth reading simply as poetry, and I have tried, with in the limits of a literal translation, to make them sing as well as merely say", Arthur Waley, The Nine Songs:A Study of Shamanism in ancient China,George Allen and Unwin Ltd, London,1955:5.
① "Mr. Hawkes has made available to the English reader the same comprehensive body of texts on which the Chinese have for two millennims based their knowledge and appreciate of this great poet and his followers." From David Hawkes, Ch' u Tz' u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:.vi.
① "Sometimes I invent a name by translating the Chinese literally (e.g.'calt-halt'for chieh chu. on analogy of rest-harrow'), sometimes I follow a long-standing tradition which I know to be false (e.g. in translating Ian as'orchid'); and sometimes I invent a name by adding a qualifying word to the English term for the genus."出处同上：ⅶ-ⅷ。
① "I follow a long-standing tradition which I know to be false (e.g. in translation Ian as orchid)" From David Hawks Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston: Beacon Press,1962:vii-Viii.
① "To my mind there is little that in this context it refers to the Poet's king." David Hawkes. Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:212.
① "Tasselled-hat-strings were a badge of official rank, The meaning is that you should seek official employment in good times and retire gracefully when the times are troubled. The Fisherman thinks Chu'Yuan is taking things too seriously and should make less fuss about his principles出处同上：91。
② "The religion of which these songs are the liturgy is a frankly erotic one. The relationship of worshipper to the god reminds one of the espouses celestes of Siberian shamans"同上：35。
③ "My own view is that it was written for a court which enjoyed the performance of religious music composed by talented laymen. That this would have been a Ch'u court seems, for a number of reasons, beyond doubt. "出处同上：36。
① "...Tien Wen are not ordinary questions at all, but riddles. An riddle does not ask for information but playful challenges it"; "... was written as pure entertainment, and not with a view to fulfilling any religious or philosophical function."同上：46。
② "From it we are able to gain a comprehensive picture of the world and its history as seen through the eyes of a Chinese living in about the fourth century B.C"同上：45。
① "Pure Ones and Immortals are those who by ascetics have won perpetual youth, immunity from flood, fire, and wild beasts, and the ability to fly'出处同上：82。
① "Author Waley, doyen of translators, inspired my first interest in Chinese literature, and to him I owe a great debt of gratitude for the generous help and encouragement he has given in these studies."同前：viii。
② "Waley's translation of Chiu Ko—The Nine Songs, A Study of Shamanism in Ancient China (Allen and Unwin,1955) —is invaluable for its correlation of the relevant anthropological information. In this respect it is a landmark, and one hopes, made it impossible for anyone to attempt further translations of Ch'u Tz'u without having first made an intensive study of background and function of these poems"同前：217。
① "I cannot, however, help thinking that the Lady of Hsiang (Hsiang Fu-jen)is merely another name for the princess of Hsiang (Hsiang Chun),and that the two hymns represent local variants of hymn addressed to the same deity"; "The two songs are about the same length, so big and little cannot (as sometimes happens with Chinese song-title) mean a long song and a short song, addressed to the same deity. Arthur Waley. The Nine Songs:A Study of Shamanism in ancient China[M].George Allen and Unwin Ltd, London,1972:35,39.
② "In other words, Hsiang Fu Ren is an alternative version of Hsiang Chun, and Shao Ssu Ming of Ta Ssu Ming." David Hawkes. Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M]. Boston:Bacon Press,1962:36.
① "There are all sorts of reasons for believing not only that the Chiu Chang poems were not composed by the author of Li Sao,as was once commonly supposed but also that they were not all composed by the same person".出处同上：59.
因未能获取并亲睹《李鸿章杂记》与《基督教辟谬》二书,故出版日期等信息不详。
① "...is one of the famous books of the world, though probably it is scarcely known at all in the West except among Sinologues." Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company,1974:xxvii.
① "The verses of this poem carry in them a lament, political in character, which makes vivid to us the background of a great people's mind, whose best aspiration was for building a stable basis of society founded upon the spirit of moral obligation ". Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company,1974:XXi.
① “大学是培植领袖的地方,因为大学能给予个人以最高的思想和学问”。林文庆：《大学生活的理想》,见《厦大周刊》,第319期。
② "A good government has suitable officers in their right place, cooperation of individual leaders is essential to good government"; "Unrighteous government causes revolution". Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company, 1974:123,129,138.
① "The Chinese emperor who does not distrust his minister is a real ruler, but many emperors distrust their ministers"出处同上：153。
② "The poet compares his unchanging and inflexible determination to be good and pure to these evergreens.'出处同上：102。
① "He is the prototype of the Nietzschean superman— the masterful citizen whom a Marcius Coriolanus may respect. The world to-day has need of a man like him to teach the rabble that human civilization has never benefited from'the mob struggles for place and power.'" Lim Boon Keng,The Li Sao, An Elegy on Encountering Sorrows, Cheng Wen Publishing Company, Taipei, 1974:xxviii.
① 参见《厦大周刊》第346期之《林校长秋季开学式训词》,1934。
② 林文庆：《个人修养论》,见《厦大周刊》第279期。
① 1921年,林文庆将自己在新加坡兀兰地区的一块51英亩的土地的5分之3份额赠给厦门大学,其余的赠给新加坡莱佛士学院和亲人。他曾在家里接诊中外患者,将所得诊费以及他夫人的私房钱全部捐给厦门大学。1989年,其子遵照林文庆的遗嘱,将位于鼓浪屿笔架山顶环境幽雅的1018平方米的住宅及4316平方米的庭院捐赠给了厦门大学。严春宝.一生真伪有谁知—大学校长林文庆[M].福州：福建教育出版社2010：231-252。
② 林文庆指出：“大学是培植领袖人才的地方,因为大学能给予个人以最高的思想和学问,具有最高思想和学问,做起事来,自不会和常人一样的认错目的或是欠缺能力。假使没有大学,最高的思想和能力就无从获得。参见《厦大周刊》,《大学的生活的理想》,第319期。
③ "The poet is self-conscious of his own great intelligence as well as of his special gifts and varied knowledge"出处同前：120。
① "To-day, when the whole world is in chaos, and when men and women are on the verge of despair in search of the way to political salvation, this humble introduction to the feelings and aspirations of a great patriot whose ambition is'always to be pure and good', may help even the most timid to gain some self-confidence in fearlessly working for reward or recognition, in spite of popular misunderstanding, criticism, or attack."出处同前：xxvii-xxviii.
② 林文庆：《三民主义之心理的基础》,见《厦大周刊》,第250期。
① "The original contains rimes, the absence of which in the translation may detract from its elegance and melodious effect; but the principal aim of the translator is to provide a thoroughly readable and correct version." From Lim Boon Keng, The Li Sao An Elegy on Encountering Sorrows by Chu Yuan, Shanghai:The Commercial Press, Limited,1929:xxix.
① "...because without fidelity among the people, no leader will be trusted. Without confidence, there can be no union. Without cooperation, no real republic can exist. Therefore, this ancients tract still has great ethical value in these days when ideals are the melting pot."出处同上：42。
① "T'ih Suen of Neu(虞舜)is buried in the south of Suen-yuan where there is a temple to his memory."同上：491。
② 此段中文引自《水经注·河水》郦道元著,史念林等注.水经注(上)[M],北京：华夏出版社,2006：1。英文参见孙大雨译本492页。
① 因篇幅较长,此处略。参见孙大雨.《英译屈原诗选》[M],上海外语教育出版社,2007：485。
① "The religion of which these songs are the liturgy is a frankly erotic one. The relationship of the worshipper to the god reminds one of the epouses celestes of Siberian shamans. He also states that Chu Yuan used them as vehicle for expressing his personal sorrow and resentment. This is almost certainly untrue." David Hawks. Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:35.
① "Since it is figuratively used here to mean King Hwai of Ts'ou, it is personified and the word should be capitalized. As he is called the Beauteous One and Ling-sieu elsewhere in this ode, it is proper to give the name a feminine title Queen."孙大雨.英译屈原诗选[M].上海：上海外语教育出版社,2007：476。
① 公元前613年,《春秋》中就有“秋七月,有星孛入于北斗”的记载,西欧关于哈雷彗星的最早记录在66年。
① “地球并不是一个规则球体,而是一个两极稍扁赤道略鼓的不规则球体”。朱翔,陈民众.地理(7年级上册)义务教育课程标准实验教科书,长沙：湖南教育出版社,2001：15。
① 岁星摄提正是周显王三年之后岁星运行的第二个“恒星周期”,秦始皇出生于公元前259年,正是周显王三年之后岁星运行的第九个“恒星周期”。参见汤炳正著,屈赋新探[M].济南,齐鲁书社出版,1984：37。
① "This was in the best tradition of the virtuous of this land.'These glittering qualities may recede and become self-contained, but not the least lessened or despoiled—if the Way could hold away through him. the world would be benefitted; if it were prevented from so doing, one should elevate oneself alone."孙大雨.《英译屈原诗选》[M],上海外语教育出版社,2007：483。
① 《国语·鲁语上》云：“夫为四邻之援,结诸侯之信,重之以婚姻,申之以盟誓,固国之艰急是为”。上海师范大学古籍整理研究所校点.《国语·鲁语上》[M],上海古籍出版社,2009。
① "Mythical tree in the far east which the sun climbs up in his rising, According to one version of the myth, it had ten suns in its branches, one for every day of the week"; "In the far west. Its foliage gives off a red grow which illumines the earth below— presumably a mythological explanation of the sunset glow." From David Hawks Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M]. Boston:Beacon Press,1962:28.
① "...because without fidelity among the people, no leader will be trusted. Without confidence, there can be no union. Without cooperation, no real republic can exist. Therefore, this ancient's tract still has great ethical value in these days when ideals are the melting pot." Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan [M]. Shanghai:The Commercial Press, Limited.1974:42.
① “综摄”是指“各种旧特质混合形成一种新的制度,这可能导致大规模的文化变迁.”马广海,文化人类学[M],济南：山东大学出版社2003：403。
① In Post-figurative culture, children primarily learn from their forebears, in co-figurative culture, both children and adults learn from their peers, in pre-figurative culture, adults learn from their children because of accelerated social changes which have taken place simultaneously within the lifetime of one generation. Margaret Mead. Culture and commitments: A Study of the Generation Gap [M].The Bodley Head Ltd,1970:3.
① 按照刘宓庆的“本位关照”观,“本位观就是站在本体的基本立足点上观察事物”,指人作为主体对客体的全局性审视和剖析。参见刘宓庆.《翻译与语言哲学》[M],北京：中国对外翻译出版公司,2004：19。
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① "...and Parker, always too hasty a translator, followed up with some serious mistakes."From Lim Boon Keng, The Li Sao An Elegy on Encountering Sorrows by Chu Yuan[M], Shanghai:The Commercial Press, Limited,1974:xxi.
② "It is really more a paraphrase than a translation". David Hawkes. Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M], Boston:Beacon Press,1962:215.
① "These are elegant and extremely readable, but free in a rather arbitrary way and sometimes tiresomely Europeanized".出处同上。
② 骐骥在中国文化中指千里马,比喻人才。“骐骥盛壮之时,一日而驰千里,及其衰老,驽马先之”,余邵鱼.《东周列国志》第106章http://www.wjsw.com/html/33/33093 /2662718.shtml.
① "Erkes's translations make painful reading, but they would be useful to a student beginning to study Chinese literature in the original." From David Hawkes. Chu Tzu The Songs of the South, Boston:Beacon Press,1962:215.
① 《天问》是屈原的代表作之一。全诗373句,1560字。该作品对天、地、自然、社会、历史、人生提出173个问题,鲍润生节选了前12句进行了英译。
② "These are workmanlike literal translations with no pretensions to literary merit".同①：216。
③ 具体篇目和出版情况参见附录I。
① "The footnotes are sometimes misleading, but the translations are fresh and readable,—The only extensive English translation of Ch'u Tz'u apart from Waley's which do not positively deter the reader."同前：217。
① 民国时期的官名。民国三年(1914年)5月,袁世凯公布省、道、县官制,分一省为数道,全国共九十三道,改各省观察使为道尹,管理所辖各县行政事务,隶属省长。
② "It has very copious and on the whole useful notes. But the translation is less accurate than Legge's and about equally avoid of literary merit. Indeed, Legge's flat prose would have been greatly preferable to such essay in blank verse..." David Hawkes. Ch' u Tz' u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:216.
③ "And this elaborate study of an ancient and difficult poem, seem to me to go far to leave the British Empire precisely where it was". From Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan[M]. Shanghai:The Commercial Press, Limited,1974:xxii.
① "The fact that many of the poems are in rhymed couplets apparently suggested to the author that a pastiche of Pope's Heroic style would be the most suitable medium of translation. The result is a monument of ingenuity, but to m mind bears about a much relation to the original as a chocolate Easter egg to an omelet. David Hawkes同前：217。
① 此类诗歌往往是选译,全文没有注解。如：帕克的《离骚》(The Sadness of Separation,);翟理斯《中国文学精华》(Gems of Chinese Literature)中选译的《卜居》、《渔夫》、《山鬼》等篇。
② 前苏联学者费德林等人对屈原的研究比较集中。英语国家有：艾约瑟通过翻译《天问》(《北京东方学会会志》Ⅱ,4(208-211)介绍屈原；海陶玮的《屈原研究》(1954)；理雅各的《离骚及其作者》(1895：839-864)；杰拉·约翰逊的《离骚：屈原解除痛苦的诗》(1959),等。
① "The lilt of his first verse impressed me very favorably....But the lilt did not last,... followed up with some serious mistakes"; "not much will be found to vitiate the president's result." From Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan [M]. Shanghai:The Commercial Press, Limited,1974:xxi-xxii.
② "…only a metrical translation could reflect the spirit of the poem. The original contains rimes, the absence of which in the translation may detract from its elegance and melodious effect."同上 xxix。
① 引自马克思恩格斯选集第二卷上[M],中共中马克思恩格斯列宁斯大林著作编译局,北京：人民出版社：1972：93。
① “屈原者,名平,楚之同姓也,为楚怀王左徒,博闻强志,明于治乱,娴于辞令,入则与王图议国事,以出号令；出则接遇宾客,应对诸侯”。司马迁,史记(全十册)屈原贾生列传第24卷[M],中华书局,1959：2481。
② 胡适认为《九歌》反映的是“湘江民族的宗教歌舞”。胡适：《读楚辞》[A],见《胡适古典文学论文选》[M]上册,上海：上海古籍出版社,1985。
① “相形之下,中国古代之道,比较能够摆脱宗教和宇宙论的纠缠。中国没有古希腊那种追究宇宙起源的思辨传统”引自余英时.士与中国文化[M].上海：上海人民出版社,2006：33。
① “宓”为多音字,做姓氏读着“Fu”.做“安静”解释时读着“mi”。卓译音译为“mi”,实为音译失误。
② 《离骚》L231-232：“保厥美以骄傲兮,日康娱以淫游”,这一例证说明宓妃平日自持美貌而骄傲,纵欲爱玩的性情。
① Although it was recognized from the second century A.D.onwards that the moral interpretation was only a sort of ultimate meaning, and that taken in their literal sense they were Wu (shaman) songs. Arthur Waley, The Nine Songs:A Study of Shamanism in ancient China [M], London: George Allen and Unwin Ltd,1955:16.
② "In ancient China intermediaries used in the cult of spirits were called wu. They figured in old texts as experts in exorcism, prophecy, fortune-telling, rain-making and interpretation of dreams. Some wu danced, and they are sometimes defined as people who danced in order to bring down Spirits "同上：9。
③ "They were also magic healers and in later times at any rate one of their methods of doctoring was to go, as Siberian shamans do.......indeed, the functions of Chinese wu were so like those of Siberian and Tunguz shamans that it is convenient (as has indeed been done by Eastern and European writers) to use them as a translation of wu.同上。
① "among the common people the eldest daughter is not allowed to marry. She is called the 'shaman-child'(Wu-erh) and is in charge of the family religious rites. This custom still (i.e.c.A.D80) prevails"出处同前。
② The shaman, according to the text, is a person upon whom a Bright Spirit has descended, attracted to him because he is 'particularly vigorous and lively, staunch in adherence to principle, reverent and just; so wise that in all matters high and low he always takes the right side, so saintly (sheng)that he spreads around him a radiance that reaches far and wide....出处同前：9-10。
① "They were of remarkable beauty, wore magnificent costumes and sang and danced well. They also had the power to become invisible. At nightfall, to the accompaniment of bells and drums, strings and flutes, they would slit their tongues with a knife'swallow knives, spit fire from their mouths, fill the whole place with clouds till there was complete darkness.'or produce flashes of dazzling light".同前.11。
① "The Shaman's relation with the Spirit is represented as kind of love affair. One is, of course, vaguely reminded of temple prostitutes in the Near East， and of devadasi and Krishna's relation with the adoring cow-girls in India; but these are only vague analogies."出处同前：13-14.
② 'Possession'is not mentioned or implied in any of the other songs; but from the second century A.D onwards (and perhaps earlier) it was regarded in China as the typical form of shamanism, and it also holds this position among the Tunguz. It seems to figure little if at all in the shamanism of the Altai peoples and Mongols同前：4。
① 我国楚辞学界普遍认为湘君与湘夫人分别为舜之二妃,朱熹、林云铭、洪兴祖等均赞同此说。“事实上,有关湘君和湘夫人的历史原型,目前至少有20个左右的答案”。参见萧兵《九嶷山神和江燕子女神》,《楚辞新探》,天津古籍出版社,1988。
② 1940年,叶乃度在《通报》(Toung Pao)上发表了《古代中国的死神》(The God of Death in Ancient China)从《大司命》和《少司命》追溯掌管生死的神灵司命,认为大司命是决定人类寿命之神,而少司命的职责尚未能确定,他翻译并解释了诗歌的意义,对中国古代人思想意识中的“阴阳”两界有深入的探讨。
③ 《东君》是对太阳神的一曲颂歌。东君是传说中的日神,先人们崇拜太阳,尊为神祗,年年祭祀,渐成风俗。
④ "in the second century B.C. shamans from Chin (Shansi) served the Lord of the East (Tung-chun) at the Chinese Court. In cannot help thinking that, myth logically speaking, he is the same person as Eastern Brightness (Tung-ming), the North Korean culture-hero who at the age of seven made himself a bow and arrow, and hit everything he aimed at.Tung-ming's father was God in Heaven (T'ien-ti) who visited his mother in the form of a ray of sunshine. "出处同前：46。
① "If printed in a sinological journal or in a volume of miscellaneous studies it would be likely to escape the notice of most readers for whom it is intended."同前：46。
① "But the Nine Songs are also well worth reading simply as poetry, and I have tried, with in the limits of a literal translation, to make them sing as well as merely say", Arthur Waley, The Nine Songs:A Study of Shamanism in ancient China,George Allen and Unwin Ltd, London,1955:5.
① "Mr. Hawkes has made available to the English reader the same comprehensive body of texts on which the Chinese have for two millennims based their knowledge and appreciate of this great poet and his followers." From David Hawkes, Ch' u Tz' u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:.vi.
① "Sometimes I invent a name by translating the Chinese literally (e.g.'calt-halt'for chieh chu. on analogy of rest-harrow'), sometimes I follow a long-standing tradition which I know to be false (e.g. in translating Ian as'orchid'); and sometimes I invent a name by adding a qualifying word to the English term for the genus."出处同上：ⅶ-ⅷ。
① "I follow a long-standing tradition which I know to be false (e.g. in translation Ian as orchid)" From David Hawks Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston: Beacon Press,1962:vii-Viii.
① "To my mind there is little that in this context it refers to the Poet's king." David Hawkes. Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:212.
① "Tasselled-hat-strings were a badge of official rank, The meaning is that you should seek official employment in good times and retire gracefully when the times are troubled. The Fisherman thinks Chu'Yuan is taking things too seriously and should make less fuss about his principles出处同上：91。
② "The religion of which these songs are the liturgy is a frankly erotic one. The relationship of worshipper to the god reminds one of the espouses celestes of Siberian shamans"同上：35。
③ "My own view is that it was written for a court which enjoyed the performance of religious music composed by talented laymen. That this would have been a Ch'u court seems, for a number of reasons, beyond doubt. "出处同上：36。
① "...Tien Wen are not ordinary questions at all, but riddles. An riddle does not ask for information but playful challenges it"; "... was written as pure entertainment, and not with a view to fulfilling any religious or philosophical function."同上：46。
② "From it we are able to gain a comprehensive picture of the world and its history as seen through the eyes of a Chinese living in about the fourth century B.C"同上：45。
① "Pure Ones and Immortals are those who by ascetics have won perpetual youth, immunity from flood, fire, and wild beasts, and the ability to fly'出处同上：82。
① "Author Waley, doyen of translators, inspired my first interest in Chinese literature, and to him I owe a great debt of gratitude for the generous help and encouragement he has given in these studies."同前：viii。
② "Waley's translation of Chiu Ko—The Nine Songs, A Study of Shamanism in Ancient China (Allen and Unwin,1955) —is invaluable for its correlation of the relevant anthropological information. In this respect it is a landmark, and one hopes, made it impossible for anyone to attempt further translations of Ch'u Tz'u without having first made an intensive study of background and function of these poems"同前：217。
① "I cannot, however, help thinking that the Lady of Hsiang (Hsiang Fu-jen)is merely another name for the princess of Hsiang (Hsiang Chun),and that the two hymns represent local variants of hymn addressed to the same deity"; "The two songs are about the same length, so big and little cannot (as sometimes happens with Chinese song-title) mean a long song and a short song, addressed to the same deity. Arthur Waley. The Nine Songs:A Study of Shamanism in ancient China[M].George Allen and Unwin Ltd, London,1972:35,39.
② "In other words, Hsiang Fu Ren is an alternative version of Hsiang Chun, and Shao Ssu Ming of Ta Ssu Ming." David Hawkes. Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M]. Boston:Bacon Press,1962:36.
① "There are all sorts of reasons for believing not only that the Chiu Chang poems were not composed by the author of Li Sao,as was once commonly supposed but also that they were not all composed by the same person".出处同上：59.
因未能获取并亲睹《李鸿章杂记》与《基督教辟谬》二书,故出版日期等信息不详。
① "...is one of the famous books of the world, though probably it is scarcely known at all in the West except among Sinologues." Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company,1974:xxvii.
① "The verses of this poem carry in them a lament, political in character, which makes vivid to us the background of a great people's mind, whose best aspiration was for building a stable basis of society founded upon the spirit of moral obligation ". Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company,1974:XXi.
① “大学是培植领袖的地方,因为大学能给予个人以最高的思想和学问”。林文庆：《大学生活的理想》,见《厦大周刊》,第319期。
② "A good government has suitable officers in their right place, cooperation of individual leaders is essential to good government"; "Unrighteous government causes revolution". Lim Boon Keng. The Li Sao, An Elegy on Encountering Sorrows [M]. Taipei:Cheng Wen Publishing Company, 1974:123,129,138.
① "The Chinese emperor who does not distrust his minister is a real ruler, but many emperors distrust their ministers"出处同上：153。
② "The poet compares his unchanging and inflexible determination to be good and pure to these evergreens.'出处同上：102。
① "He is the prototype of the Nietzschean superman— the masterful citizen whom a Marcius Coriolanus may respect. The world to-day has need of a man like him to teach the rabble that human civilization has never benefited from'the mob struggles for place and power.'" Lim Boon Keng,The Li Sao, An Elegy on Encountering Sorrows, Cheng Wen Publishing Company, Taipei, 1974:xxviii.
① 参见《厦大周刊》第346期之《林校长秋季开学式训词》,1934。
② 林文庆：《个人修养论》,见《厦大周刊》第279期。
① 1921年,林文庆将自己在新加坡兀兰地区的一块51英亩的土地的5分之3份额赠给厦门大学,其余的赠给新加坡莱佛士学院和亲人。他曾在家里接诊中外患者,将所得诊费以及他夫人的私房钱全部捐给厦门大学。1989年,其子遵照林文庆的遗嘱,将位于鼓浪屿笔架山顶环境幽雅的1018平方米的住宅及4316平方米的庭院捐赠给了厦门大学。严春宝.一生真伪有谁知—大学校长林文庆[M].福州：福建教育出版社2010：231-252。
② 林文庆指出：“大学是培植领袖人才的地方,因为大学能给予个人以最高的思想和学问,具有最高思想和学问,做起事来,自不会和常人一样的认错目的或是欠缺能力。假使没有大学,最高的思想和能力就无从获得。参见《厦大周刊》,《大学的生活的理想》,第319期。
③ "The poet is self-conscious of his own great intelligence as well as of his special gifts and varied knowledge"出处同前：120。
① "To-day, when the whole world is in chaos, and when men and women are on the verge of despair in search of the way to political salvation, this humble introduction to the feelings and aspirations of a great patriot whose ambition is'always to be pure and good', may help even the most timid to gain some self-confidence in fearlessly working for reward or recognition, in spite of popular misunderstanding, criticism, or attack."出处同前：xxvii-xxviii.
② 林文庆：《三民主义之心理的基础》,见《厦大周刊》,第250期。
① "The original contains rimes, the absence of which in the translation may detract from its elegance and melodious effect; but the principal aim of the translator is to provide a thoroughly readable and correct version." From Lim Boon Keng, The Li Sao An Elegy on Encountering Sorrows by Chu Yuan, Shanghai:The Commercial Press, Limited,1929:xxix.
① "...because without fidelity among the people, no leader will be trusted. Without confidence, there can be no union. Without cooperation, no real republic can exist. Therefore, this ancients tract still has great ethical value in these days when ideals are the melting pot."出处同上：42。
① "T'ih Suen of Neu(虞舜)is buried in the south of Suen-yuan where there is a temple to his memory."同上：491。
② 此段中文引自《水经注·河水》郦道元著,史念林等注.水经注(上)[M],北京：华夏出版社,2006：1。英文参见孙大雨译本492页。
① 因篇幅较长,此处略。参见孙大雨.《英译屈原诗选》[M],上海外语教育出版社,2007：485。
① "The religion of which these songs are the liturgy is a frankly erotic one. The relationship of the worshipper to the god reminds one of the epouses celestes of Siberian shamans. He also states that Chu Yuan used them as vehicle for expressing his personal sorrow and resentment. This is almost certainly untrue." David Hawks. Ch'u Tz'u:the Songs of the South, an Ancient Chinese Anthology. Boston:Beacon Press,1962:35.
① "Since it is figuratively used here to mean King Hwai of Ts'ou, it is personified and the word should be capitalized. As he is called the Beauteous One and Ling-sieu elsewhere in this ode, it is proper to give the name a feminine title Queen."孙大雨.英译屈原诗选[M].上海：上海外语教育出版社,2007：476。
① 公元前613年,《春秋》中就有“秋七月,有星孛入于北斗”的记载,西欧关于哈雷彗星的最早记录在66年。
① “地球并不是一个规则球体,而是一个两极稍扁赤道略鼓的不规则球体”。朱翔,陈民众.地理(7年级上册)义务教育课程标准实验教科书,长沙：湖南教育出版社,2001：15。
① 岁星摄提正是周显王三年之后岁星运行的第二个“恒星周期”,秦始皇出生于公元前259年,正是周显王三年之后岁星运行的第九个“恒星周期”。参见汤炳正著,屈赋新探[M].济南,齐鲁书社出版,1984：37。
① "This was in the best tradition of the virtuous of this land.'These glittering qualities may recede and become self-contained, but not the least lessened or despoiled—if the Way could hold away through him. the world would be benefitted; if it were prevented from so doing, one should elevate oneself alone."孙大雨.《英译屈原诗选》[M],上海外语教育出版社,2007：483。
① 《国语·鲁语上》云：“夫为四邻之援,结诸侯之信,重之以婚姻,申之以盟誓,固国之艰急是为”。上海师范大学古籍整理研究所校点.《国语·鲁语上》[M],上海古籍出版社,2009。
① "Mythical tree in the far east which the sun climbs up in his rising, According to one version of the myth, it had ten suns in its branches, one for every day of the week"; "In the far west. Its foliage gives off a red grow which illumines the earth below— presumably a mythological explanation of the sunset glow." From David Hawks Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology [M]. Boston:Beacon Press,1962:28.
① "...because without fidelity among the people, no leader will be trusted. Without confidence, there can be no union. Without cooperation, no real republic can exist. Therefore, this ancient's tract still has great ethical value in these days when ideals are the melting pot." Lim Boon Keng. The Li Sao An Elegy on Encountering Sorrows by Chu Yuan [M]. Shanghai:The Commercial Press, Limited.1974:42.
① “综摄”是指“各种旧特质混合形成一种新的制度,这可能导致大规模的文化变迁.”马广海,文化人类学[M],济南：山东大学出版社2003：403。
① In Post-figurative culture, children primarily learn from their forebears, in co-figurative culture, both children and adults learn from their peers, in pre-figurative culture, adults learn from their children because of accelerated social changes which have taken place simultaneously within the lifetime of one generation. Margaret Mead. Culture and commitments: A Study of the Generation Gap [M].The Bodley Head Ltd,1970:3.
① 按照刘宓庆的“本位关照”观,“本位观就是站在本体的基本立足点上观察事物”,指人作为主体对客体的全局性审视和剖析。参见刘宓庆.《翻译与语言哲学》[M],北京：中国对外翻译出版公司,2004：19。
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