浅析庞德在翻译中国忧伤古典诗时意象的处理.doc

本科学士学位论文An Analysis of the Processing of Image in Ezra Pounds Translations of Sad classical Chinese Poetry浅析庞德在翻译中国忧伤古典诗时意象的处理 院 系 外语学院 专 业 英语教育 姓 名 马南翁 学 号 084211150 指导教师 于长青 职称 讲师 2012年5月15日An Analysis of the Processing of Image in Ezra Pounds Translations of Sad Classical Chinese PoetryA DissertationSubmitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of ArtsWrittenByMa NanwengSupervisedByYu ChangqingDepartment of Foreign LanguagesSchool of Arts and ScienceYunnan Normal UniversityKunming, YunnanP.R. ChinaMay, 2012云南师范大学文理学院本科毕业设计（论文）原创性声明本人郑重声明：所呈交的毕业论文，是本人在指导教师的指导下独立研究、撰写的成果。论文中引用他人的文献、数据、图件、资料，均已在论文中加以说明，除此之外，本论文不含任何其他个人或集体已经发表或撰写的成果作品。对本文研究做出重要贡献的个人和集体，均已在文中作了明确说明并表示了谢意。本声明的法律结果由本人承担。毕业设计（论文）作者签名： 马南翁 2012年5月AcknowledgementsMy deepest gratitude goes first and foremost to Mr. Yu, my supervisor, for his constant encouragement and guidance. He has walked me through all the stages of the writing of this thesis. Without his consistent and illuminating instruction, this thesis could not have reached its present form. Second, I would like to express my heartfelt gratitude to Mr. Yu, who led me into the world of study. I am also greatly indebted to the professors and teachers at the Department of English: Mr. Yu, who have instructed and helped me a lot in the past months. Last my thanks would go to my beloved family for their loving considerations and great confidence in me all through these years. I also owe my sincere gratitude to my friends and my fellow classmates who gave me their help and time in listening to me and helping me work out my problems during the difficult course of the thesis.ContentsAbstract (English version)Abstract (Chinese version).Part One Introduction1Part Two Literature review.22.1International studies.22.2 Domestic studies.3Part Three Theoretical Framework.63.1Imagism.63.2 Ezra Pound with Imagism6.Part Four the Relations between Pounds imagism and classic Chinese poetry84.1The influences of classic Chinese poetry to Ezra Pound.84.2 The fusion of Ezra Pounds Imagism and Classic Chinese Poetry9Part Five Ezra Pounds Translation Skill to Sad Classical Chinese Poetry115.1 Faithful translation.115.2 Rebellion translation.125.3 Translators-oriented translation. .14Part Six Pounds managing of image166.1 The method of feeling and setting happily bladed166.2 The method of Adjusting the Structure of the Verse . 186.3 The method of associative meaning . 196.4 The method of superimposed image . 196.5 The method of Detached Syntax and Interbank Skill . 21Part Seven Conclusion.23References24AbstractAbstractIn contemporary Western literature, Imagism is not a very influential factions, but Pound be the representatives of Imagism has a great many Imagism poetries and ideas, even they has theoretical value influence cant be ignored to modern poetry. Pound in its English translation of Chinese classical poem full use of the image to express the poem s implication , this is not rigidly stick with the original form of creative illustrates translation highlight the subjectivity of the process of translation , and he translated in the Chinese occupies a unique position in the history of poetry translation . This paper first introduces the Pound, Imagism, Ezra Pound and Imagism very deep relationship, but Introduction West Pound Imagism and its translation sad classical poetry translation techniques, and then elaborated Pound and China sadness wonderful classical poetry and cant be cut off fate, analysis Pound translation of classical poetry of Chinas sorrow, how clever Imagism into which Pound is processing the image of success in the translation of Chinese poetry, focusing on meaning.Key Words: Ezra Pound; Imagism; Translation; Sad Classical Chinese Poetry; the Processing of Imagei摘要摘 要在当代西方文学中，意象派并不是一个很有影响的派别，然其代表人物庞德的意象主义诗论与主张却对现代诗歌产生了深远的影响，有其不可忽视的理论价值。庞德在其英译的中国古典诗中充分运用了意象来表达原诗的意蕴，这种不拘泥与原文形式的创造性阐译彰显了译者在翻译过程的主体性，且他的译作在汉诗英译的历史上占有独特的地位。本文首先介绍庞德、意象主义，及庞德与意象主义间甚是深厚的关系，再而是概论中西方对庞德意象主义及其翻译中国忧伤古典诗时的翻译手法，然后阐述庞德与中国忧伤古典诗间奇妙且不可切断的缘分，分析庞德在翻译中国忧伤古典诗时是如何巧妙的把意象主义融入其中，重点挖掘庞德是在翻译中国诗时处理意象的成功之处。关键词: 庞德；意象主义； 翻译；中古典诗歌；意象处理iiPart One IntroductionPart One Introduction Ezra Pound (18851972) was a significant Modern American poet and critic, also be the principal exponent of Imagism. In the beginning of modern American poetry, the new-style poetry movement, Pound provided a famous principles “The three Principles of the Imagism” to lay the theoretical principle for the creation of Imagism poetry. Pound was the first man who explicitly announced the Imagism idea, meanwhile, he was an active practitioner of his Imagism, so we often can find his own poetics from his translations. He translated a lot of poetry books in Greek, Latin, Old English, Provencal, Italian, French, German, Japanese, and Chinese and so on, especially, the Chinese poetry and Confucian classic were his favorite, and Cathay is typical of his Chinese poetry translations.Poetry is a special type of literature, and it is difficult to reproduce the thoughts and the style of the original, so one who translates poetry should be a poet as well as a translator. It covers the cream of language and rich cultural connotations of one nation. In our country because of our historical characteristics, sad classical Chinese poetry has become very popular from the old time to today. Hu yinglin of the Ming Dynasty said: “the essence of poetry is to dig out its images” (GU, 2004:6). Ezra pound was a founder of imagist poetry and he had great interest in Chinese classical culture so this becomes the motion for him to translate great many of Chinese classical poetry. Then the sad classical Chinese poetry takes highly proportion of all poems that he translated. The paper will focus on Pounds translation of image concept, scratching the creative way how Pound handle the images in the process of translating sad classical Chinese poetry from these three respects: fidelity, rebellion, translators subjectivity.1Part Two Literature ReviewPart Two Literature review2.1 International studiesWhen comes to translation, Sir William Jones was the first scholar to translate classical Chinese poetry into English. James Legge was the second one and he translated the book of poetry in two English: one literal and the other metrical. In the twentieth century，translators who devoted to translating classical Chinese poetry into English roughly fall into three schools: prose translation that represented by H. A Giles and Weng Xianliang; verse translation represented by Arthur Waley for his free verse translation and Herbert A. Giles, John Tuner and Xu Yuanchong for their rhymed verse translation; Imitation represented by Ezra Pound. Prose translation. Its always disputable whether the verse should be translated in form of prose. For example Goethe also says：I respect both rhythm and rhyme because they are what make poetry into poetrydeedYet what is left to a poet when he translates the original text into prose is what isreally deeply and thoroughly operative, what really shapes and improvesWhat remains is the pure, perfect essence (Lefevere, 1992:176).Verse Translation. This school is divided into free verse translation and rhymed verse translation. Free verse translation: there are many great translation of classical Chinese poetry in the form of free verse. It is practiced by many translation because of two reasons: firstly, they advocate that classical Chinese poetry should be translated as verse; secondly, they give up the rhyme and form rendering for the following concerns: the exquisite beauty of sound in classical Chinese poetry cant be reproduced in English and seeking such impossible work will undoubtedly destroys the original sense beauty. Their translation is actually a kind of paraphrase. Their proposition of translation is similar to prose translation. The only difference between free verse translation and prose translation lies in that the former arranges divided lines in the form of poetry while the latter completely discarded the form of poetry (Duan, 2003:98).Imitation. In translation theory, “imitation” refers to wandering too far and too freely from the words and sense of the source language text. John Dryden lists three ways of translation, he says: “The third way is that of imitation, where the translation assumes the liberty, not only to vary from the words and sense, but to forsake them both as he sees occasion; and taking only some general hints from the original, to run division on the groundwork, as he pleases” (Schulte, 1992:142-143). This is a away for a translator to create his own poems by borrowing ideas from the original. The word “Imagism” was first appeared on Owlett of Hilda Du Patel, it published on the fourth period of poetry in 1913. Many of western scholars have studied Pound and Imagism, but no one could specific study than Kenner. In Kenners Ezra Pound Era, Kenner made a full range of evaluation from different angle that Pounds words, form, appreciation. Ford Madox Ford a English critic wrote a paper said “Pounds translation were exquisite in Cathay, could be referred to as a model of poetry. If a fresh breath of an imagery and techniques could bring benefits to our poetry, and the fresh breath must be from Cathay”（Ford, 1915: 165-166）. Michael Alexanders Ezra Pound made the full recognition to Pounds poetic achievement, and worked out the basis of Imagist poetry creation.Ezra Pounds translation theory focuses on the precise rendering of details，of individual words，and of imagesHe believes that the charm of poetry lies in its powerful emotionsIn his mind，the duty of the translator is to revive such force of emotion of the originalPound takes great liberty in translating classical Chinese poetry without much stress on formal and musical properties of the originalBecause he thinks that the forms are by no means equivalent across literatures and the same music effect cant be reproduced across different poetic traditions. traditionsAs indicated in his many notes and comments on translation, Pound stresses on the reading of the source text and vivid image creation in target language for translatorsPound holds that a translation should be a work of aft in its own right，for anything less is pointless(Jiang,2001:56).2.2 Domestic studiesChinese poetry accepted Imagism is diverse and complex performance in the different periods of new culture of development register as different levels and significance. In the early of May Fourth New Literature Movement, the acceptance of Chinese poetry for Imagism is not the art of poetry and poetic images innovation , but rather to create a new rhythm then written in plain spoken language the idea of free verse and anti - traditional spirit, we also can say that the theory of Imagism inspired greater than the reference of the arts .During Hu Shi studied in United State, he had attention the Imagist movement also made “Imagist Manifesto” clip in his study dairy, believed the manifesto is similar with his own avocations. As inspired by Imagism, Hu Shi put forward “the literature eight”, advocated Literary Revolution Movement. The famous article “on Chinese New Poetry cited the Imagist manifesto and put out one idea that writing the “specific,” could cause a sharp attack human imaging, form of free verse poetry. In 1920s, Wen Yiduo went to America for study so had the opportunity to direct and intimate contact with American new poet, so that Wens works evidently influenced by the Imagist poet.Chinese modernism poet consciously emulated the image poets, created many novel, unique images. Images aesthetic way not only role in image, color, movement, in a word is visual beauty. Xu Chi in the translation of the Imagist understand the image of the facial features, color, smell, taste, touch , sound and feel things. The Imagist advocate the poem presents the image; do not reveal emotion, not involving the concept, emphasizing the aesthetic intuition. In the understanding of the nature of poetry and imagery aesthetic value , the Western Imagism poetry to convey the aesthetic experience of the poet to resort to feeling imagery intuitive sensitivity greater than the subjective metaphor . The image of America is an important part of the aesthetic character of the poetry. Imagist advocate Free verse poetry, emphasis on poetry to objective image showing, at the same time to abandon the direct expression of the poet , opposed to made poetry as the mood jet, Imagist poetics is simply the right medicine for the flaws to correct Chinas poetry is very timely and necessary.1920s, Hu Shi, Kang Baiqing are representative of vernacular poet put their views on Modern Poetry Circles in the West. Hu Shi published English-Chinese poetry over the roofs on The Renaissance showed Chinese peoples first time attention to Pound as well as Imagism. Ye Weilian of Chinese scholar completed a book named Ezra Pounds Cathay , it said although translation has some loopholes, Pound “always as if got the Gods help, with his special insight directly caught the main idea of original poem even achieved harmony with original poet on spirits”(Ye,2002:69-70).26Part Three Theoretical FrameworkPart Three Theoretical Framework3.1 ImagismImagism is a movement set off in the early 20th century English and American poetry session, this campaign to promote poetry should follow the image accuracy, clear and precise language. The formation process of Imagism was influenced by many parts, in addition to Eastern classical poetry also Symbolism and Intuitionism. French symbolism be spread in the United Kingdom by Arthur Symons and Ye Zhi, and then their successors Hume and Pound criticized it, absorbed it even used it in the Imagism. It supports have to fight with common language this kind of popular things by the means that using fresh metaphor or fantasy to “Describe the exact curve of what you really want to express.”The Imagism emphasized a return to a more classical style, such as the direct expression of the intuitive language advocates to try nontraditional poetry format. They believe that the object is an object; this view reveals the development of the contemporary avant-garde art, especially Cubism later. This literary movement initiated by the Pound, his friends and him thought the poetry of the nineteenth century has the disadvantage of: a pile of vocabulary, language obsolete, language repeated, form complicated, especially the chapter and audio step. The Imagist poet advocates that direct reflection of things, and rhyme by the sense of music. Pound and his followers believe that emotions should be generated by the image rather than the author tells the reader should have what kind of feelings.3.2 Ezra Pound with Imagism In all ages many Chinese and foreign poets and literary critics defined “Image” in different meanings. Pound held that Image is a kind of complex that can present sense and sensibility in a moment; a popular poet Yu Guangzhong of Tai Wan thought Image is a loop that poet with Image instead of his idea, and reader to restore the Image into poets idea. From these definition we can see that the image is the poet put rational thoughts expressed emotional material, and then, Readers according to the emotional material to understand the rational thinking of the poets（Xie,2006(1):53）.Pound made the poem as a means of beautifying reality, enhancing mens inner feelings, and realizing a poetic soul, he still thought poet can sublimate readers spirit. In his view, the Image of poem could bring poet, reader, and the object created by poem these three parts into a poetic cumstance: “The presentation of this complex make people have three sense: a sudden liberation feeling, a feeling of freedom from the constraints of time, and a kind of abrupt feeling of growing up when we face a great artwork”. In a word, his view of Imagism poetry is “ Describing a perfect image is better than writing lots of poetry works”（Zhang,2001(1):43）.Part Four The Relations between Pounds Imagism and Classic Chinese PoetryPart Four the Relations between Pounds imagism and classic Chinese poetry4.1 The influences of classic Chinese poetry to Ezra PoundPound first met classic Chinese poetry was benefited from an orientalist and poet Ernest Fenollosa who translated a large quantity Japanese translation of Chinese poetry into English but died before he had edited and published his works. Fenollosas manuscripts surprising Pound that Chinese peoples pioneering work also claimed he found “new Greece” from Chinese culture, thus, Pound launched a new “cultural renaissance”. Pound considered that Chinese characters have specific accuracy, and when he read Chinese characters felt not only read but also skimmed the specific evolution of things. He depended on using Chinese character to write poem of Fenollosa have translated a lot of Chinese poetry. In his Cathay has eighteen poem are translations, including one poem of the book of odes, two poems of old Yue Fu p