诗歌的意象翻译——李清照

江南大学太湖学院

本科生毕业设计（论文）

题目：Expression of Sense from C-E Translation of Li Qingzhao’s Two Lyrics by Xu Yuanchong

语言文学系英语专业

学号0654106

学生姓名廖静雯

指导教师刘燕

二〇一〇年三月

Contents

Abstract& Key Words (3)

摘要 (3)

1. Introduction (4)

Previous Findings and Researches in This Respect (4)

Motivations for Present Study (5)

2. Xu Yuanchong and Classical Chinese Lyrics Translation (5)

2.1 Translation Theories for Classical Chinese Lyrics (5)

2.2 Xu Yuanchong's Theory of Three Beauties (6)

3. Sense in Translation of Li Qingzhao’s Two Classical Chinese Lyrics (6)

3.1 A Brief Introduction of Li Qingzhao and Her Style (6)

3.2 Expression of Sense in Xu Yuanchong's Translation of声声慢 (8)

3.3 Expression of Sense in Xu Yuanchong's Translation of渔家傲 (9)

3.4 Comparison of Translations of These Two Chinese Lyrics in Terms of Sense (9)

4.Conclusion (10)

Bibliography (12)

Abstract & Key Words

Abstract：

C-E translation of Chinese poem especially Chinese lyrics is a difficult task. The success of translation of Chinese poems depends on whether it can approximately express artistic conception of Chinese poems. It is impossible for translator to convey completely the primary taste and artistic conception of Chinese poetry to every reader without a deep understanding of the artistic conception. Not all poets’ style is fixed. We must the correctly apply of translation theory and techniques to explain a poet at different stages of creative state of mind. The expression of sense in poetry translation should not only convey the beauty of poetry, but also become a true port rayal of the poets’ life and mood. This thesis aims to explain how a translator reproduces scenarios based on author’s intent to give readers immersive experience of the author's feelings by comparing Xu Yuanchong's translations of Li Qingzhao’s two lyrics in different style.

Key words: English translation of Chinese poetry; sense; lyrics

摘要

汉诗英译是否成功就在于能否成功的传达意境。要成功的传达意境是不容易的，许多好的汉语诗歌翻译成英语后总是会失去原作的艺术魅力。其实要想把诗歌的意境完整的传达，最根本的前提是译者本身对诗歌的意境有深刻透彻的认识。因为每个诗人的风格不全是固定的，我们要通过正确的运用翻译理论和技巧，把同一位诗人在不同人生阶段创作的心境诠释出来。意境的翻译不仅要传达诗歌的韵味，而且要成为诗人生活和心境的真实写照。本文通过比较许渊冲对著名女词人李清照不同阶段的两首风格各异的词的英译，说明如何在理解作品原意的基础上通过翻译来情景再现，让读者身临其境的体会到作者的感受。

关键字：汉诗英译；意境；诗词翻译

Expression of Sense from C-E Translation of Li Qingzhao’s Two Lyrics by Xu

Yuanchong

1.Introduction

Previous Findings and Researches in This Respect

The English translation of classical Chinese poetry has gone through nearly a half-century journey since British missionary James League published the English translation of "Book of Songs". Now, the practical English translation of the ancient poetry has achieved gratifying results. There appear so many translators and a lot of English translations of old versions of poetry, which arouses a contention of a hundred schools of thought. In the past 3 decades, the theoretical research of English translation of ancient Chinese poetry has grown from nothing. C-E translation of Chinese poem grows into maturity from a single paradigm to a variety of paradigm, from techniques to the exploration of the theory-building journey. Looking ahead, researchers and practitioners should take the development of Chinese classical culture as their responsibility and continue to strengthen basic research on a variety of paradigms to build a diverse complement of Chinese Poetry Translation Theory system based on the learning from each other.

Chinese culture has a long history and is profound. Ancient literati left enough immortal poems to make people amazed. Which has been the focus of contention is how to translate them into English so that westerners can appreciate the beauty of ancient Chinese poetry. Chinese and Western language and culture are quite different; therefore the English translation of ancient Chinese poetry is quite difficult. Nevertheless, we should first be convinced of its translatability, and use the appropriate translation skills to convey their "genuine" to the west in order to promote Chinese culture to the world as far as possible. [1]

1.2 Motivations for Present Study

"Poetry is a super art of language.”[2] A well-known statement is made by Robert Frost “Poetry is what gets lost in translation”. [3] Poetry translation is a difficult task and it is especially true in the Chinese poetry translation. “Indeed, poetry translation is a creative task.”[4] Burton Raffe l says, “The translated poem should first be a new

poem, a good one, and should be the favor of life, instead of lifeless academic accuracy.”[5]

Literary translation can be taken express of the mood of a culture, poetry translation in particular because poetry translation is at a very high state of literary translation. It is the most concise expression of the richest of human emotions and the most complex imagery. The mood in poetry of a nation is usually unique can represent the unique spirit. To translate ancient poetry，the most important thing is to express the sense. However, due to differences between English and Chinese languages, to convey the sense in translation is particularly difficult. Studies found that due to the differences in cultural background of the translator or the different perspectives of cultural images, the sense in the poetry has been destroyed. The old, mediocre image is replaced by the fresh image, resulting in the loss and distortion of cultural imagery. Image formation and transmission requires the participation of translators and readers.

In fact, in order to convey a complete conception of poetry, the most fundamental premise is the translator’s deep understanding of the artistic conception.

2. Xu Yuanchong and Classical Chinese Lyrics Translation 2.1 Translation Theories for Classical Chinese Lyrics

In order to use the proper theory to express the sense of Chinese lyrics in C-E translation, we must have a brief understanding of the theory system.

In 2002, the first English translation of the national books (mainly the English translation of classical Chinese poetry) workshop has been held in Shijiazhuang, marking the beginning of building the theory system of English translation of ancient Chinese poetry. Then, in 2003 and 2004, the third national seminar on the English translation of books in Suzhou University and Dalian University of Technology were successively held, a group of the English translations of the ancient poetry, monographs have been published, pushed the theory-building sector into a climax.

In 2003, the publication of Professor Zhuo Ying’s "Studies of Chinese Poetry Translation theory” was the first attempt to build theory system of the English translation of ancient poetry. Zhuo Ying built a relatively complete English translation theory system of ancient poetry from the English translation of Chinese Poetry. After a long time of examination and continuous improvement, Professor Xu Yuanchong’s theory of English translation of the ancient poetry formed a highly instructive and more rigorous "Chinese classical poetry translation theory." Xu called his poetry translation theory the "Chinese school" because this theory has condensed the history of Chinese translation history and literature of many masters of the academic thinking. Zhuo Ying’s and Xu Yuanc hong’s theory of English translation of the ancient poetry are both attempt of poetics Translation of Ancient Chinese Poetry paradigm theory-building. These two theoretical systems bring out the best in each other. [6]

2.2 Xu Yuanchong's Theory of Three Beauties

Over the past decade, different patterns of theoretical research on translation of ancient Chinese poetry have rivaled in development and are now in the climax of their theoretical constructions. Among them, the poetic pattern is the most developed which represented by Xu Yuanchong. [7]

Xu Yuanchong has translated a number of ancient Chinese poetry in order to spread Chinese culture and enhance China’s position in the world literature and made a great contribution. His own theory of translation of the ancient poetry is called “Three Beauties”. To sum up, it is better and quite similar to the shape, translation of literary works of the time to convey the original meaning based on the “Three Beauties” theory was put forward at home and abroad and has aroused widespread influence.

Xu Yuanchong holds the view that English translation of the ancient poetry must try to express the original meaning of the pome. However, in his view, among the "Three Beauties", the most important is "beauty in sense" followed by "beauty in sound", then the "beauty in style”. Due to differences in both languages, as well as the cultural, historical, ideological and other differences, it is very difficult to express the original “beaut y in sense "fully. Xu Yuanchong considered that the main thing of C-E translation of the ancient poetry is the contradiction between truth and beauty. If the truth and beauty can be unified, it will be perfect. He pointed out: "translation of literature, not only to understand and make others to understand, not only to enjoy but also to let other people enjoy, not only to understand and enjoy but also be able to feast for the eyes and can also be enjoyable for others.”Professor Xu Yuanchong carefully sketched out the original poem and the translation between the Eastern and Western art and culture understanding and harmony lines with deep foundation of both Chinese and English languages and capture the beauty of poetry in translation.

[8]

3.Sense in Translation of Li Qingzhao’s Two Classical Chinese Lyrics

3.1 A Brief Introduction of Li Qingzhao and Her Style

Here, I’d like to give you a brief introduction of Li Qingzhao so that we can understand the sense in her works easier.

As we all know, Li Qingzhao is an outstanding female Chinese poet and literature writer of Song Dynasty. Her work contains the lofty exquisite sentiment and the social culture environment. She saw poetry as especially important and congenial because it

revolutionized their existence. She used poetry as a vehicle to voice some frustrations with their lower status as women and was able to turn cultural and social disadvantages into creative advantages in poetry writing. Li Qingzhao’s words, with women's unique delicate, which makes her graceful to send representatives and express all the emotions in women's lives and the joys and sorrows. The creation of her works can be divided into two parts. The first part, her work expressed soft and slight emotion while the second part changed to gloomy sorrowful feelings and became too worry about the country. The reason her works have a strong sense of reality is the emotional words are her personal experience. Since her works and her life have such close links and causal relations, then trace the trajectory of her life in order to more deeply understand the mood is indispensable. [9]

3.2 Expression of Sense in Xu Yuanchong's Translation of声声慢

《声声慢》——李清照

寻寻觅觅，冷冷清清，凄凄惨惨戚戚

乍暖还寒时候，最难将息

三杯两盏淡酒，怎敌他晚来风急?

雁过也，正伤心却是旧时相识

满地黄花堆积，憔悴损而今有谁堪摘?

守着窗儿，独自怎生得黑?

梧桐更兼细雨，到黄昏点点滴滴

这次第，怎一个愁字了得!

Translated by Xu Yuanchong：

Tune:"Slow,slow song"

I look for what I miss;

I know not what it is.

I feel so sad, so drear,

So lonely, without cheer.

How hard is it

To keep me fit

In this lingering cold!

Hardly warmed up

By cup on cup

Of wine so dry,

Oh, how could I

Endure at dusk the drift

Of wind so swift?

It breaks my heart, alas!

To see the wild geese pass,

For they are my acquaintances of old.

The ground is covered with yellow flowers.

Faded and fallen in showers.

Who will pick them up now?

Sitting alone at the window, how

Could I but quicken

The pace of darkness that won't thicken?

On plane's broad leaves a fine rain drizzles

As twilight grizzles.

Oh, what can I do with a grief

Beyond belief? [10]

“Miss”, what did she miss? Losing her husband deeply human loneliness and boredom of life. In such a situation, the scenes of the sad events of the past emerge in her mind, what a miserable experience, unhappy and extremely sad. It has pairs of overlapping words, women were widowed after the word psychological process of change, but also highly summed up her deep sorrow and old age miserable. “so sad, so drear, s o lonely”, the three”so” express her miserable feeling lively. Such unhappy situation is can’t be deduced in a short period of time, and it was mixed feelings and long-term accumulation.” Sitting alone at the window” look forward different ways of life and the death of her hate. The scene of night has been flooded, how can she endure such torment.”On plane's broad leaves a fi ne rain drizzles”her depressed mood had a more humid due to continuous drizzle, not only wet, it "minor", endlessly dropping on the leaves and the window, which is in fact dropping on her broken heart.” Beyond belief?” this sentence point out the main idea of the poem. Apparently left a imagination to the readers. Imagine a huge world, full of grievances and actually no people or even an animal that can understand her feelings. The autumn wind ravaged her thin body; a light rain hurt her bleeding hearts. Such unhappy situation, how can a woman bear? [11]

3.3 Expression of Sense in Xu Yuanchong's Translation of夏日绝句

夏日绝句——李清照

生当作人杰，

死亦为鬼雄。

至今思项羽，

不肯过江东。

Translated by Xu Y uanchong ：

A Quatrain

Be man of men while you are alive;

Be soul of souls even though you’re dead!

Think of Xiang Y u who’d not survive

His men, whose blood for him was shed. [12]

In this "Summer quatrains," her changed the graceful style, just 20 words, expressed the spirit, ambition, pride, state, life and death span of emotion which no one today can reached.

Xun uses “man of men” to express “hero” and compares it with” soul of souls” to express Xiang Yu's heroic spirit.This is the first concise and grand ditty, straightforward and subtle, profound and dignified implication.The author take this subject, by extolling the calmly Xiang Yu, the profound irony in order to sue for peace in exchange for the South East seek temporary ease, and then did not want to recover the lost territory north of the Southern Song Dynasty rulers.Xiang Yu refused to give in and seek security by only paying attention to escape. She used the bitter irony of the Southern Song Dynasty Jun-chen. In the absence of heroes, that they would be particularly missed, and call for a hero. [13]

3.4 Comparison of Translations of These Two Chinese Lyrics in Terms of Sense

British writer Siegfried Sassoon once wrote a line immortal aphorism: In me the tiger

sniffs the rose. The original human nature contains two sides: One is male; one was female; one, such as goshawk, such as waterfalls, such as anger horse; one, such as nightingales, such as static pool, such as tame sheep. The so-called grand and beautiful, so-called outward and inward, so-called theater-type and picture type,so-called "quiet as a virgin, move as rabbit ", the so-called masculine and feminine, are nothing more than these two temperament footnote. The two glances are complementary opposite to each other in reality. In fact every person more or less has the combination of these two kinds of temperament, but the ratio is different.

Firstly-women's portrayal feelings of the desolate

After unrestrained, cheerful and lively age, Li Qingzhao and Zhao Mingcheng became

husband and wife. She won a happy marriage and a very good family life. However, Zhao Mingcheng has his own career, his trips outside the school as officials and can not be

accompanied all day in the person's apartment, so his wife always feels lonely. Therefore, it all comes from the experience of her, the true feeling, deep and delicate.

Second-a portrayal of social reality

Jingkangzhichi, hundreds of thousands of people are involved in the war. Just two years of time, her life has repeatedly been dealt to a heavy blow. Zhao Mingcheng died, their houses burned and exhausted. In turn travel around with the flow of people. Li Qingzhao’s mental outlook had changed. Her pain, depression heart covered with gloom, "thin" as Li Qingzhao’s symbol of the column in their twilight years life was full of miserable and gloomy colors. Her family's misfortune formed the later style of her works.

Thus, Li Qingzhao is not only a weak woman, but also an ambitious, visionary extraordinary woman, personal and national suffering of the unfortunate together constitutes the inner contradictions of her complex and unique performance. Compose a self-soul, and describe sadness and describe women’s tenderness and her heroic ideal. [14]

4. Conclusion

We can find that the conveyance of artistic conception is not easy. However, through the proper means, we still can effectively transmit artistic conception by experiencing the emotion and imaging the image of original poems. The author discusses three strategies: expressing feelings and ideas; unearthing images; stimulating imagination. In addition, there is one point that we should notice: when we proposed request to the translators, we should pay attention to the fact that the readers should be qualified to comprehend the poems’ artistic conception.

The study of translation of ancient poems is endless. The translation of expressive, translation

balance implication, temperament, forms a harmonious unity. It should not only make the foreign readers a sense of the unique charm of Chinese classical poetry and rich spiritual content, but also express beautiful and fluent translation to show the charm of the English language.

Therefore, the translation of classical Chinese poetry should be for the purpose, non-stick form, and ingenious compensation, flexibility to maximize the advantages of target language, and strive to achieve the translation with the original "spirit likeness" of the realm.

To reproduce the original work of art and the formation of functionally equivalent with the original, the process is to find cross-linguistic and cultural differences in the most balanced point of process. Classical poetry of this splendid culture of Chinese art treasures in the form of a more accurate representation to the western readers. This is the translation sector, never give up the pursuit.

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