（英语语言文学专业论文）查良铮诗歌翻译艺术评析——以诗译诗.pdf

论文独创性声明 本人郑重声明： 所提交的学位论文是本人在导师的指导下进行的研究工 作及取得的成果。除文中已经注明引用的内容外，本论文不含其他个人或其 他机构已经发表或撰写过的研究成果。对本文的研究作出重要贡献的个人和 集体，均已在文中以明确方式标明。本人承担本声明的法律责任。 研究生签名： 日期： 论文使用授权声明 本人完全了解广西师范大学有关保留、使用学位论文的规定。广西师范 大学、中国科学技术信息研究所、清华大学论文合作部，有权保留本人所送 交学位论文的复印件和电子文档，可以采用影印、缩印或其他复制手段保存 论文。本人电子文档的内容和纸质论文的内容相一致。除在保密期内的保密 论文外，允许论文被查阅和借阅，可以公布（包括刊登）论文的全部或部分 内容。论文的公布（包括刊登）授权广西师范大学学位办办理。 研究生签名： 日期： 导 师签名： 日期： 3 acknowledgements upon the completion of my thesis, i would like to extend my deep gratitude and great appreciation to all those who have contributed to this thesis. my sincere and heartfelt thanks go firstly to professor tang gaoyuan, my supervisor, who gave me inspiring encouragement, invaluable suggestions and informative instruction. his profound insight into poetry translation studies and practice, and his effective guidance have enlightened me in this field, and have led me through all the stages of writing the thesis. i am also greatly indebted to professor bai jingze, professor xu jiwang, professor luo yaoguang, professor yuan binye, professor zhang shuning, and professor liu yuhong, from whom i have learned a lot. finally, my gratitude goes to my parents and all my friends and classmates who have offered me constant and ceaseless help, and understanding in one way or another. 4 查良铮诗歌翻译艺术评析 以诗译诗 研究生：苏绘泉 年级：2 0 0 6 级 学科专业：英语语言文学 指导老师：唐高元教授 研究方向：翻译理论与实践 中文摘要 abstract in chinese 诗歌作为一种特殊的文学形式，注重用高度浓缩的语言和优美的形式来表达丰富的情 感和意境。诗歌在不同的文化背景下都具有很重要而又不尽相同的意义。常言道“译事难， 译诗更难” 。因此，诗歌翻译对译者有更高的要求。英诗汉译是诗歌翻译界一个不小的领 域，虽然其难度较大，但是我国翻译界也取得了巨大的成就，由此可见诗歌是可以翻译的。 众所周知，不同的文本类型对翻译的要求不同，因此需要不同的翻译策略。德国著名翻译 理论家凯瑟琳娜赖斯( k a t h a r i n a r e i s s ) 提出的文本类型理论对于诗歌翻译具有巨大的 借鉴意义。诗歌作为一种特殊的文学体裁，在翻译的过程中非常注重传达原诗的内容和形 式，并在此基础上重现原诗的美学效果。我们推崇诗人译诗，以诗译诗，就在于诗人译者 往往对诗歌有较高的理解和欣赏能力，凭借自身的汉语素养和诗歌才能，诗人译者可以更 容易重建一种汉译诗歌的节奏，再现原诗的美学效果。另外，相比于普通译者而言，诗人 译者在语言的敏感度和节奏感方面往往能显露其诗人的悟性与表现力，容易获得读者的偏 爱。查良铮是中国现代翻译史上少数几个精通英汉两种语言的诗人之一。他既能写诗，也 能译诗，而且在两个领域都取得了巨大的成就。他在诗歌翻译中始终坚持以诗译诗，追求 译语文本和原语文本的形似和神似，即保留原诗的整体效果。因此他的译作深受国内广大 学者和读者的推崇。国内对诗人穆旦（查良铮的笔名）的诗歌做了大量的研究，并出版了 大量相关的论文和专著；但是对于翻译家查良铮的研究却不多，表现在到目前为止还很少 有文章或者是著作专门研究查良铮的诗歌翻译艺术。尽管查良铮为数众多的译作得以出 版，有的甚至多次再版，但对查良铮翻译艺术与成就的有效讨论却始终匮乏。翻译承载了 查良铮后半生的极大心血，忽略其翻译成就，查良铮的形象也将会是残缺的。 在对诗人穆 旦这一面的广泛讨论与对翻译家查良铮这一面的讨论远不够之间，形成了强烈的不 对称或反差现象。 本文加上引言和结尾部分共分为五章，主要研究查良铮的翻译思想和实践。 第一章是引言部分，介绍本文的研究背景、研究目的和意义以及研究方法。 第二章文献综述，主要综述目前国内对查良铮作为诗人和作为诗人翻译家的研究情 况，并指出对于他的诗歌创作研究和诗歌翻译研究之间的不对称现象应引起我们高度重 视。 5 第三章首先通过分析诗歌的定义、特点，和英语诗歌跟汉语诗歌的异同来讨论“以诗 译诗”这一翻译原则的内涵；其次，作者将进一步分析本文的理论基础德国功能主义 理论中赖斯的文本类型理论，指出查良铮在诗歌翻译中所坚持的“以诗译诗”正符合了这 一理论所倡导的观点：不同的文本类型需要不同的翻译策略。 第四章通过阐释查良铮的翻译思想、翻译实践和翻译成就来说明诗人译诗，以诗译诗， 以此论证查良铮先生译作颇具文采之成因。同时通过分析其翻译的英国浪漫主义诗歌及现 代主义作品指出查良铮在诗歌翻译中坚持的以诗译诗的原则与赖斯的文本类型理论不谋 而合。查良铮在力求忠实传达原诗意义的基础上，努力复制原诗作者的风格、韵律、音步 和格律等美学特征，这都是文本类型翻译理论对表达功能文本翻译的要旨所在。他的译作 不仅内容忠实于原文，而且形式优美、辞藻华丽、意境优雅，保留了原诗的音乐性，集“音 美、意美、形美”于一体，具有极高的欣赏价值和艺术价值。本章后半部分通过分析查良 铮的部分译作中所体现的诗歌翻译策略和技巧，探讨其诗歌翻译艺术的特点，指出其在翻 译过程中始终坚持“以诗译诗”的原则，重现了原诗的整体的审美效果，影响深远，符合 了文本类型翻译理论对诗歌这种特殊文本的翻译要求。 第五章是结论部分。除了针对本文的主要内容做个概括性的总结外，作者还将指出本 文研究的不足之处。最后指出，对于查良铮的诗歌翻译艺术的研究还有很大的空间，我们 应该从更多不同的角度对查良铮的诗歌翻译艺术进行深入探讨，这样才能不辜负他身后留 下的卷帙浩繁的译著，和他在逆境中仍旧不改初衷、孜孜不倦地献身诗歌翻译事业的敬业 精神。 关键词：查良铮；诗歌翻译；以诗译诗；文本类型理论 6 an analysis of zha liangzheng s art of poetry translation: translating verse as verse postgraduate: su huiquan grade: 2006 major field of study: english language moreover they can rebuild the rhythm of the st in its chinese version and reproduce its aesthetic effect as a whole more easily because of their skillful master of chinese and poetic talents. zha liangzheng is one of these poets who are proficient in both english and chinese in the translation history in modern china. he is a famous poet and an outstanding poetry translator as well. he has gained great achievements in both of these fields. he insists on translating verse as verse in poetry translation. he pursues a close resemblance between the source text and the target text, expressing the original verse with verse, emphasizing both formal similarity and spiritual similarity, which means maintaining the whole aesthetic effect of the original poem. therefore his translation works are welcomed and beloved by many scholars and readers in our country. many poetry critics and scholars involved in studying his 7 poetry writing, his writing styles, techniques, diction, significance and so on. only until recently are there a few scholars spare some time and energy for the studies of his poetry translation activities. this thesis tries to analyze his poetry translation (translating british poetry into chinese poetry) from the perspective of reiss s text typology theory, and the author hopes that this thesis can elicit other valuable opinions by offering her humble ones, and at last many further researches from various perspectives in this aspect will be done. this thesis consists of five chapters, including the introduction and conclusion parts. chapter 1 is an introduction of the background, objectives, significance of the study, this thesis s structure and research methodology. chapter 2 generally reviews studies on zha liangzheng as a poet and studies on him as a poetry translator respectively. in chapter 3, the connotation of “ translating verse as verse” will be analyzed first, and then the theoretical basis of this thesis, reiss s text typology theory, is covered. chapter 4 mainly concerns with the characteristics of zha liangzheng s art of poetry translation by analyzing his translation views, practice, achievements and renderings. an intensive analysis of some strategies and techniques embodied in zha s translation works is a good display of zha s principle of “ translating verse as verse” and the dynamic relationship between text types and translation strategies, conforming to the text typology theory s requirements on poetry translation this special text type. chapter 5 gives a general summary for this thesis, reflects on some limitations of the study and proposes some suggestions for further research. key words: zha liangzheng; poetry translation; translating verse as verse; text typology theory 8 chapter 1 introduction in the modern world where life is of a pace so fast, as we are demanded to do many urgent and necessary things, it seems unwise to devote our precious time and energy to read, learn, appreciate and research poetry. however, poetry has a very close connection with our human being, and it s impossible to isolate ourselves from its influence. in modern society we are surrounded by poetry more than we realize. in our daily life, nursery rhymes and skipping games are unofficial forms of poetry. unofficial poetry can also be found in advertising, on toilet walls, in football chants, at political demonstrations, in churches, in the bible and so on. for example, the following is an example of unofficial poetry at political demonstrations: black and white, unite and fight! the main official form of poetry, however, learned and conducted at schools and colleges by students and teachers, studied by poets, judged by poetic critics, and handed down in form of writing, is that of high cultural tradition from the renaissance to the present day. as it is mentioned in a course of english poetry, “ poetry is as universal as language and almost as ancient. the most primitive peoples use it, and the most civilized have cultivated it” (dai jiguo, 2005:2). poetry has been written and eagerly read or listened to by various people from all walks of life, including both the educated and the uneducated, such as lawyers, farmers, doctors, philosophers, soldiers, clergymen etc. poetry can bring people a lot of enjoyment, because through reading, chanting, reciting or listening to poetry people can express their feelings, even sometimes can avoid being annoyed by the cruel reality. “ poetry has always been regarded as important, not simply as one of several alternative forms of amusement. rather, it has been regarded as something central to men s existence, something having unique value to the fully realized life, something that is better off for having and spiritually impoverished without” (dai jiguo, 2005:2). considering the significance and importance of poetry, we can t help thinking that how wonderful it were if people from different countries could share their poetry, which is a highly condensed form of literature of a country. augusto de campos, a famous brazilian poet and translator, believes that poetry doesn t belong to a particular language or culture. poetry should be the common treasure of peoples in this whole world. we also may wonder that how can people who speak different kinds of languages share their poetry. the only way to do this is through translation. as we all know, not all people can have the chance and capacity to learn and master one or several foreign languages. in this case, the spread of culture must be done through translation. translation activity also enjoys a history as long as that of human history and language itself. translation has always been playing an ever- increasing role in cross- cultural 9 communication. when it comes to poetry translation, a famous saying made by robert frost must be mentioned here. he once remarked that “ poetry is what gets lost in translation” . this implies that poetry is some intangible, ineffable thing which, although constructed in language cannot be transposed across languages. and many writers and translators have struggled to define the difficulties of translating poetry, even shelley, the famous english poet whose poetry have been translated by many translators until now, famously declared that “ it were as wise to cast a violet into a crucible that you might discover the formal principle of its color and odor, as to seek to transfuse from one language into another the creations of a poet. the plant must spring again from its seed, or it will bear no flower and this is the burthen of the curse of babel (susan bassnett, 2001:58).” sometimes people take this passage as an example of the impossibility of poetry translation. it is as absurd to consider subjecting a flower to scientific analysis to determine the basis of its scent and color as it is to try and render a poem written in one language into another. susan bassnett insists that there is another way to read shelley s very graphic description of the difficulties of the translation process. she considers the translation of poetry is “ transplanting the seed” . “ he argues that though a poem cannot be transfused from one language to another, it can nevertheless be transplanted. the seed can be placed in new soil, for a new plant to develop. the task of the translator must then be to determine and locate that seed and to set about its transplantation” (susan bassnett, 2001:58). poetry translation really presents knottier problems for translators than ordinary literature translation. the fact that poetry translation is very difficult is a universally truth. although it s very difficult to transfer the poetic flavor of the original poems, which m ay be what robert frost tried to convey in that famous saying, however, in reality, a lot of translating activities, plus great achievements gained by generations of poets and translators so far, has showed the translatability of poetry. the translatability and untranslatability of poetry has always been a hot topic in poetry translation circle. maybe susan bassnet s “ poetry is not what is lost in translation, it is rather what we gain through translation and translators” can give a perfect explanation for the translatability of poetry (bassnet, 2001:74). in this thesis, the author isn t going to touch this aspect. the author will hold on to the translatability of poetry, being on a basis that though not all elements of a poem can find their completely equivalent expressions in the target language, poetry translators can try their best to fully reproduce the aesthetic effect of the original poem by utilizing various suitable translating strategies. in this introduction part, the background of the study, the objectives and significance of the study, the thesis s structure and its research methodology will be discussed. 10 1.1 the background of the study zha liangzheng(1918- 1977), a famous chinese poet as well as a distinguished poetry translator, has been dead for more than thirty years. in 2007, an article written by wang hongyin (王宏印), a professor from the english department of nankai university, aiming at memorizing zha liangzheng for the 30th anniversary of his death, was published in chinese translators journal. in his article he mentioned that nowadays less and less people know zha liangzheng, this great chinese modern poet and poetry translator. “ zha liangzheng s name is only been mentioned in discussing the anecdotes of pushkin and tyutchev, besides being printed on the front covers of byron s and shelley s translated poems” (wang hongyin, 2007:32). compared to his enormous achievements in writing chinese modern poetry and translating a lot of important russian and english poetry into chinese poetry, this phenomenon is unfair for the deceased. jiang ping(剑平) also wrote an article named zha liangzheng s art of poetry translation with a subtitle (memorizing the 30th anniversary of zha liangzheng s death) and published it on foreign literatures. this article, h owever, mainly gave a detailed account of zha s principles and techniques of translation by citing examples from his version of pushkin s lyrical novel eugene onegin. but this is not enough to show our respect to this famous poet and poetry translator, because through analyzing the translation practice, we can find that most of the later part of zha s life was involved in translating russian and english poetry into chinese poetry, and he had gained fantastic achievements in this field. although there already been many researches on zha liangzheng, most of them discuss his poems and poetic theory, and his translation theory and practice are ignored intentionally or unintentionally. so we should pay attention to this unbalanced reality. zha liangzheng did have his own translating principles and techniques, but he didn t propose them systematically and theoretically. on the contrary, other chinese poetry translators such as his teachers wen yiduo, feng zhi, bian zhilin, his classmates and good friends wang zuoliang and yuan kejia, they all have their own systematical poetry translation theories and principles. even though, we can still research zha s translation views, principles and characteristics by analyzing his translation works. in order to have a better research on poetry translation, it s quite necessary to know that poetry is a special text type first. poetry is a kind of st- oriented translating text type, which means poetry is a text type that focuses on the form and the expressive function. therefore poetry translators should emphasize on transferring the source text s original form, and reproducing an analogous aesthetic effect in the tt, besides sincerely expressing the original content. the text typology theory of reiss in the functionalist approaches does a great favor for poetry translation. in his translating activities, zha liangzheng always stressed a lot on transferring both the original poems forms and contents, insisting on translating verse as verse, 11 which makes his translation strategies and techniques confirm to the translation requirement of text typology theory, which is different text types need different translation strategies. 1.2 objectives and significance of the study this thesis is intended to discuss and conclude zha liangzheng s art of poetry translation, including his translation characteristics and principles, and point out his translation views by analyzing his translating practice and some specific translation works such as don juan, the waste land and other british romantic and modern poetry etc. the author will employ the translation strategies of text typology theory to analyze the poetry translation techniques of zha liangzheng, and at the end come to a conclusion that as a poet translator zha insists on translating verse as verse in his translation practice, and his translation works do realize the aesthetic reproduction on the basis of transferring the original content and form successfully. his translating principle is translating verse as verse, so that his translation works conform to the standards of poetry translation and highly fulfill “ faithfulness, expressiveness and elegance” , the three translating standards proposed by yan fu. furthermore, his achievements are recognized by many famous translators in the circle of poetry translation. zha liangzheng (mu dan) is not only a chinese modernist poet, but also an outstanding and successful poetry translator. “ mu dan research” has once been a hot issue during the 1980s. many poetry critics and scholars involved in studying his poetry writing, his writing styles, techniques, diction, significance and so on. only until recently are there a few scholars spare some time and energy for the studies of his poetry translation activities. considering the great contribution he has made to the russian and british poetry translation cause, these studies are not enough and systematical. and compared to the studies of his poetry creation, we have more things to do to spread his views on poetry translation. his translation of russian and british poetry has very high artistic value, and enjoys good reputation