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浅谈诗歌翻译中的形与神

时间:2022-10-31 来源:未知 编辑:-1 阅读:
Abstract: Poetry is the purest art in literary works. The highest level of poetry translation is to have both form and spirit. This paper analyzes the origin and development of the theory of likeness of form and spirit in the translation of Chinese poetry into English. Many scholars have made their own views on the likeness of spirit and shape in poetry translation. These views are still helpful to our translation work today. This paper applies it to the specific context of translation and points out that the ideal realm of literary works is the similarity of form and spirit. If necessary, we can give up the form and protect the spirit, so as to follow the translation principle of "God before form". The translation of two ancient poems proves the importance and aesthetic value of both form and spirit.
 
 
 
Key words: poetry translation
 
 
 
Poetry is the purest art in literary works. Its language is rhythmic, concise and implicit, with clear rhythm and neat sentence patterns. The life of poetry seems to be handed down from generation to generation, and its values are all contained in poetry, so even under the greatest pressure, it will still exist for a long time. Compared with other literary genres, poetry is the product of the complete natural integration of the poet's thoughts and words in his works. Poetry condenses the essence of a national language and culture, and contains distinctive linguistic and cultural characteristics. Therefore, poetry translation is very difficult. Shelley, an English poet, once said that poetry could not be translated, and translating poetry was futile, "like putting a violet into a crucible, trying to explore the structural principle of its color and fragrance". Yan Fu also said that some literary works are untranslatable, especially poems. Because the content and form of poetry are closely combined, it is difficult to separate them.
 
 
 
However, with the development of the times and the increase of cultural exchanges between the two languages, the translatable or untranslatable factors in poetry translation are not fixed. We need excellent foreign poetry, and we also need to translate Chinese poetry into foreign languages, so as to convey the "beauty of meaning", "beauty of sound" and "beauty of form" of the original poetry as much as possible, so that foreign readers who read poetry can get as much resonance and beauty enjoyment from the translation as their native readers. How should we define the criteria for poetry translation? Professor Liu Chongde proposed that the highest level of English translation of Chinese poetry is the combination of form and spirit.
 
 
 
1、 Similarity of Form and Spirit in Poetry Translation
 
 
 
Similarity in form refers to keeping the translation consistent with the original in terms of words, sentence structure, means of expression and means of metaphor; The so-called spirit likeness refers to the effort to maintain the verve and charm of the original work and achieve the artistic effect of the original work when translating poetry. The spirit resemblance was first proposed by Fu Lei. He said: "As far as the effect is concerned, translation should be like a temporary painting. What we want is not similarity in form but similarity in spirit.". Zhu Shenghao also put forward the idea of "keeping the charm of the original works". He said: "The purpose of Yu's translation of this book is to keep the charm of the original work to the greatest extent possible; to be forced to be the second, and to faithfully convey the meaning of the original text with clear and fluent words and sentences; but he did not agree with the hard translation of word by sentence comparison.".
 
 
 
The so-called God refers to the spirit of the original work. Good literary works always have rich feelings, profound artistic conception, strong appeal and strong artistic effect. The God who can keep the original works in translation is certainly the best. But is there a contradiction between form and God? The answer is obviously no. This is because sometimes likeness in form is likeness in spirit. The ideological content and emotional charm of a literary work must be expressed in a certain form. Some metaphors or associations in the original are vivid and lifelike, with strong appeal. Emotions and artistic conception are on paper, and language habits are close to the target language. At this time, keeping the original form of the translation actually plays a vital role. If such a form is maintained, translation can achieve a unity of form and spirit. But in many cases, likeness in form and spirit cannot be combined.
 
 
 
The problem of form and spirit in translation can be traced back to Mao Dun's article "The Responsibility and Effort of New Literature Researchers" published in the Fiction Monthly in 1921, in which he proposed that "the most important artistic color of a literary work is its verve." In June 1929, Chen Xiying published the article "On Translation" in "New Moon", putting forward the theory of sculpture and painting. He pointed out: "Translation is the same as the temporary painting. Although the most important thing is imitation, the original copy of a painting uses the same brush color. The original text and the translated text of a book use very different languages and characters. The methods are different due to different tools." Chen Xiying also divided translation into three levels, namely, similarity in form, similarity in meaning and similarity in spirit. Chen's "Three Similarities" theory is the same as Zhu Shenghao's "Three Levels" theory of translation of Shakespeare's plays, including charm, interest and hard translation. Xu Yuanchong, a famous translator and professor of Peking University, also put forward the "Three Similarities" theory based on his own experience in poetry translation. In The Art of Translation, he said: "The degree of the similarity of meaning, sound and shape in translation can be changed to convey the 'beauty of meaning, sound and shape' of poetry." Jiang Feng, a translator, pursues "likeness in form and then in spirit". In the postscript to the translation of Shelley's Selected Poems, he said: "In poetry translation, we should strive to be alike in form and spirit", because "God exists in form, and those who lose their form will inevitably lose their spirit". Bian Zhilin also advocates both form and spirit. He always advocates that poetry translation should follow the original form step by step. Therefore, as far as poetry translation is concerned, Mao Dun and Fu Lei advocate spiritual likeness rather than physical likeness, Jiang Feng advocates both physical and mental likeness, and Bian Zhilin advocates both physical and mental likeness. The predecessors of translators and theorists left us many precious works with their creation, theory or practice. It is undoubtedly a great spiritual enjoyment and intellectual improvement for us to visit their spiritual products. To sum up the brilliant ideas of predecessors, we may say that in poetry translation, we should first pursue the combination of form and spirit. If we can't, we should first look like spirit and then look like shape.
 
 
 
2、 Application of the Combination of Form and Spirit in Translation
 
 
 
We use the translation of this poem to illustrate the application of the combination of form and spirit in poetry translation
 
 
 
Original text: It is a sorrow of separation, and it is not a general taste in my mind.
 
 
 
Let's look at two different translations:

    (A)
    Unsevered
    Though sundered
    In chaos yet
    In order set
    This strange commotion In the heart
    Is but the wanderer' woe
                            一一The Herald Wind, p. 34(Clara Candlin)
 
    (B)
    Cut It yet unsevered
    Order It the more tangled
    Such Is pafting sorrow,
    Which dwells in my heart too sustle a feeling to tell
                                                一一Chinese Lyrics

A word "sorrow" points out the theme of the original poem. The writing background of this poem is an infinite melancholy feeling sent by the author when he was imprisoned . According to our Chinese aesthetic view, the language used is short in rhythm and the plot is undulating. The whole poem emits a sad beauty that is difficult to express. It is the combination of beauty in meaning, sound and form. The three beauty theory is based on the same logic theory. When translating this poem, it is necessary to realize the beauty in meaning, sound and form from the aesthetic perspective of the target language's native language. The same logic is about the law of thinking accuracy. The content of the identity is: "In the same thinking process, the thought of the same object must be certain, and the thought itself maintains its identity". That is to say, the certainty and consistency of thought are the logical basis of identity. In the process of using concepts, organizing judgments, and reasoning to express ideas, they cannot be arbitrarily changed and transformed. Therefore, when translating poetry, we must abide by the identity.
 
 
 
In translation A, the translator retains the form of the original poem. The verb in the original poem has no object, and the translation is just a combination of several verbs. However, the translator ignores that many Chinese verbs can still express their complete meaning without an object, and the reader can still understand the author's meaning: English verbs are far less free than Chinese, and they often need to rely on the object to explain their meaning. Translation A seems to retain the form beauty of the original text, but from the perspective of English readers, it destroys the form beauty instead. The beauty of English language, to a large extent, depends on "shape" to express "meaning". In the original poem, the author borrowed the beauty of vagueness of language, followed the characteristics of Chinese and used a few verbs to vividly depict the feeling of sadness, thus destroying the beauty of meaning. In this translated poem, the sound beauty is even less important, and the artistic conception of the poem disappears in the translated poem. For translation B, the artistic conception of the original poem mainly consists of linguistic rhetoric, such as "chaos", "sorrow" and other words to show the artistic conception of the work. The translator uses self translation techniques, such as "cut" of the original text into "cut" and "reason", and "order". At the same time, in terms of word use, the translator does not rigidly adhere to the grammar and rhetoric of the original poem, and truly displays the characteristics of English, adding objects to verbs, inheriting the form of the original poem, and coordinating the voice of the original poem, It vividly represents the artistic conception of the original poem.
 
 
 
Secondly, generally speaking, the artistic conception of poetry is beyond words. How to make the target language readers accept the beauty of the artistic conception of poetry without destroying the beauty of the artistic conception of the original poem is an important issue for the reproduction of the artistic conception of poetry. If we mechanically convey the "three beauties", it is actually a destruction of the "three beauties". In that way, we can't achieve the effect of both form and spirit. For example, Ma Zhiyuan's Xiaoling "Tian Jing Sha Qiu Si" has reached the peak of Chinese ancient poetry and has been translated into many languages. Now let's look at two different English versions:
 
 
 
Bitter vines, old trees, faint crows, small bridges, flowing water, people, the ancient road, the west wind, thin horses, the sunset, heartbroken people in the horizon.

    译文A
    Withered vines, olden trees, evening crows.
    Tiny bridge, flowing brook, hamlet homes.
    Ancient road, wind from cast bony horse.
    The sun is setting.
    Broken man, far from home, roams and roams
 
    译文B
    At dusk old trees wreathed with withered vine fly crows
    Neath tiny bridge besides a cot a clear stream flows
    On ancient road in western breeze a lean horse goes
    Westward declines the sun
    Fan far from home is the heartbroken one

Ma Zhiyuan, the author of the original poem, based on the characteristics of Chinese emphasizing parataxis, used the form of several positive phrases, and different images superimposed to outline a bleak picture of homesickness. That is, in late autumn, when the scenery is bleak and the wandering people are desolate, they feel more homesick when they think of the long journey day and night, such as Kuteng, crow, thin horse, Kuteng, crow, thin horse, which makes them feel sad when reading.
 
 
 
In translation A, the translator retains the language form of the original poem, which is also the accumulation of several nominal phrases, and uses the literal translation method to translate the full text. Unfortunately, the translator did not take into account the characteristics of the composition of the artistic conception of the original language poetry. It is composed of words based on the unique aesthetic concept of Chinese language and culture. Many images can only be experienced by Chinese people, such as Kuteng, faint crow and thin horse, which contain a kind of desolation in Chinese. We can understand these images without any conjunctions. This is the expression of the beauty of meaning in our Chinese.
 
 
 
Compared with Chinese, the formal beauty of English has its own uniqueness. English is a hypotactic language, which forms meaning from form. It translates Chinese form into English as it does in the translation, mechanically retaining the formal beauty of the original, giving up the meaning of the original, and making people confused when reading. Obviously, it is not feasible to use literal translation following the "three beauties" here. Only when the connotation logic of beauty embodied in the original poem is reproduced in the translated poem, can the artistic conception of the original poem be correctly reproduced. Translation B uses this theory to abandon the form of the original poem and reproduce the meaning of the original poem by means of free translation. After careful study of translation B, the beauty of language form of this poem is obvious from the perspective of English. The author uses dull low-key words throughout the article, such as written, followed vine, tiny bridge, and lean horse. When reading, he feels a deep sense of desolation. Especially, the end of the first three lines of the poem ends with "s", which contains a thick and long feeling of homesickness and has a musical effect. It is poetic, sound and shape, and has achieved the effect of both form and spirit. According to the aesthetic logic of English speaking countries, the translator flexibly reproduced the artistic conception of the original poem, making the target language readers enjoy the same aesthetic feeling as the original language readers.
 
 
 
3、 Conclusion
 
 
 
Poetry translation should reproduce the artistic beauty of the original. Poetry is a work of art created by using special language and artistic techniques. It is vivid and artistic, expresses certain plot content, thoughts and feelings, reflects the writer's unique artistic style, and has a fascinating artistic realm. In translating poetry, it is far from enough to convey meaning by light (that is, to be faithful in meaning). We should also pay attention to preserving the feelings, charm and artistic conception of the original work, and convey the artistic conception created by the original poem. Poetry is formed according to certain artistic principles that meet the general aesthetic requirements of people. Rhythm, phonology, imagination and other elements have certain artistic meanings. Only by grasping these elements well can the translated poetry reach the highest level of both body and spirit.
 
 
 
Poetry translation is a creative activity.The literary and artistic means adopted in poetry translation are characterized by distinctive subjectivity and creativity. In the process of translation, the translator is not only the appreciation and receiver of the artistic beauty of the original, but also the performer of it. From appreciation to expression, there is an important link, namely, the translator's aesthetic recreation, or the recreation of the mind, and the recreation of the emotional form. The key to this re creation is to grasp the thoughts and feelings of the author contained in the original work, on this basis, get rid of the original form, select the best sentence structure and expression techniques, and express the original text. When translating, the translator should not follow the structure of the original poem mechanically, but play his creativity after thoroughly understanding the spirit of the original poem, integrate and refine the original poem, and reproduce it with exquisite language. As poetry translation is a creative activity to reproduce the artistic beauty of the original, we should strive to make the translation "like the original". "God" refers to the spirit of the original work, its rich feelings, profound artistic conception, strong appeal and strong artistic effect. In addition to passing on accidents, we should try our best to preserve the charm, richness and artistic beauty of the original work. When translating, if you just translate word by word, sentence by sentence, the charm will be lost and the richness will be lost. Even if the words are smooth, faithful and smooth, but not vivid, you will not be a good and qualified translation.
 
 
 
The ideal realm of literary works is the similarity of form and spirit. If necessary, you can give up your appearance and protect your spirit. It can be seen that translation style is the top priority in translation. In the process of translation, if the translator can pay attention to these, the style of the original will naturally appear on the paper.
 
 
 
Bibliography:
 
 
 
1. Gu Zhengkun: Comparative Appreciation and Translation Theory of Chinese and Western Poetry, 2003 edition.
 
 
 
2. Wang Hongyin. A Classic Interpretation of Chinese Traditional Translation Theory, Hubei Education Press, 2003.
 
 
 
3. Huang Zhending: Translation Studies, Hunan Education Press, 1998.
 
 
 
4. Luo Chuanwei: Form, Tradition and Translation -- An Analysis of the Treatment of Language Forms of Chinese Classical Poetry in English Translation, Journal of Zhejiang Institute of Education, 2006, Issue 3.
 
 
 
5. Yu Fubin, Lu Yanli: Poetry Translation Should Be the Combination of Science and Art, China Translation, 2005, Issue 5.
 
 
 
6. Chen Ting, Han Lei: Treatment of Cultural Images in Poetry Translation, Journal of Shandong University of Technology (Social Science Edition), No. 1.
 
 
 
7. Xu Jun: On the Relationship between Translation and Original Works, Foreign Language Teaching and Research, 2002, Issue 6.
 
 
 
8. Yang Yansong: The Ancient Paradox - Translatable and Untranslatable, Foreign Language and Foreign Language Teaching, 2000, Issue 9

 

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