哈师大英语教育专业论中国古诗词的翻译毕业论文

-.z**：2009097360**师*大学学士学位论文题目论中国古诗词的翻译学生赵贺指导教师*强〔教授〕年级2007级15班专业英语教育系别英语教育系学院西语学院**师*大学学士学位论文开题报告论文题目论中国古诗词的翻译学生**赵贺指导教师*强年级2007级班专业英语教育2011年3月说明本表需在指导教师和有关领导审查批准的情况下，要求学生认真填写。说明课题的来源〔自拟题目或指导教师承当的科研任务〕、课题研究的目的和意义、课题在国内外研究现状和开展趋势。假设课题因故变动时，应向指导教师提出申请，提交题目变动论证报告。课题来源：导师指导下自拟题目。课题研究的目的和意义：目的：中国古诗词语言优美、文字流畅、意境高雅、情感真挚而深邃，是中华民族文学宝库的精华，也是绽放在世界文苑里的一朵奇葩。然而近代之前很少有西方的读者能够领略其深邃独特的艺术风格。结果，中国古诗几千年来在华人文化中一直大放异彩，在世界文学里却由于语言障碍而没有获得应有的地位。本文从各个方面分析研究古诗词翻译的方法和原则目的就是为了让中国古诗词被世界更多的读者所理解和欣赏，让中国古诗词和文化在世界文化中再现艺术魅力，从而到达理解和欣赏中国历史和文化的双重目的。意义：诗歌是文学的最高形式。中国古诗词以其精炼的语言，深刻的内容，丰富的意象，强烈的感情，以及鲜明的节奏和韵律吸引了无数中外读者。按照等效论的观点，翻译的原则是再现原作效果，表达中国古诗词的神美和形美。对中国古诗词翻译的研究不仅能让世界读者和译者更好的欣赏和研究中国文化，对中国文化产生兴趣，更是让中国文化走向世界的一种途径，让中国文化在世界艺术中占有一席之地，成为世界艺术的瑰宝。对中国古诗词翻译的研究还能提高译者的翻译水平。国内外同类课题研究现状及开展趋势：国外：如果从1871年英国传教士理雅各〔JamesLeague〕的?诗经?英译本问市算起，中国古典诗歌的英译已经走过了近一个半世纪的历程。诗歌翻译较之其他文学形式的翻译显得更为困难。弗罗斯特〔RobertFrost〕曾经说过，诗就是“在翻译中丧失的东西〞〔poemiswhatgetslostintranslation〕;更有德国诗人摩根斯泰恩〔ChristianMorgenstem〕说，诗歌翻译“只分坏和次坏两种〞。在十九世纪末，著名英国学者HerbertGiles将唐诗翻译成英译本获得了巨大成就。美国著名诗人庞德〔EzraPound〕在20世纪初接触到中国古诗时，虽不识汉字但仍被中国古诗深深吸引。庞德从反浪漫主义的期待视野出发，在中国古诗中挖掘出了很丰富的材料，借以掀起了意象派诗歌运动，为西方现当代文学的形成与开展做出了开拓性的奉献。近年来越来越多的外国学者把中国古诗词翻译成自己国家的语言，掀起了一股中国古诗词文学风，将中国文学和中国文化传播到了世界各地。国内：20世纪70年代以前，中国外乡的翻译家大多数忙于西方的诗歌和其他文学作品的译入工作，对中国古诗词英译的实践没有形成规模，理论也几乎为空白。改革开放后，随着东西文化交流和中西文化主体意识增强，开场投入到中国古诗词翻译研究，人们的古诗词英译理论意识开场觉醒。中国古诗词翻译理论研究从无到有，从单一形式到百家争鸣。翻译家们以弘扬中国古典文化为己任，借鉴各种翻译流派理论，力求将中国古典文化被世界上更多的读者理解和欣赏，并逐步构建一个多元互补的古诗词翻译理论体系。GRADUATIONPAPERFORBACHELORDEGREEHARBINTITLE:OntheTranslationofAncientChinesePoetrySTUDENT:HeYanTUTOR:ZhangQiang(Lecturer)GRADE:Grade2007MAJOR:EnglishEducationDEPARTMENT:EnglishEducationDepartmentCOLLEGE:FacultyofWesternLanguagesandLiteraturesMay,2011HARBINOnTheTranslationofAncientChinesePoetryHeYanAbstract:RobertPaynepraisedclassicalChinesepoetryas"themostbeautifulflowerinChineseculture".Thatmaye*plainwhysomanypoetrytranslators,bothdomesticandabroad,haveendeavoredtoputChinesepoetryintoEnglish,inthehopeofpresentingthisbeautifulflowertothewholeworld.Withthedevelopmentofcross-culturalmunicationandeconomicglobalization,Chinahasbeenundertakingincreasinglye*changewithcountriesallovertheworld.TranslationofancientChinesepoetryisamainwaytointroduceChineseculturetowesterncountries.ClassicalChinesepoetryisatreasureintheartworld.ItoccupiesafarmoreimportantplacethananyotherliteraryforminthehistoryofChineseliterature.Fewwesternreaderscouldenjoyitsprofoundliteraryartistrybefore20thcentury.TheprimaryreasonisthatChinesewasbornwithapoeticnature.ThetranslationofancientChinesepoetryshouldnotonlyconveyitsoriginalmeaningbutalsoconveyitsspiritmeaning.Thispaperwillmakeabriefstudyanddiscussionaboutthetranslator’squalityofpoetrytranslation,theprinciplesofpoetrytranslation,thetranslationmethodsandskillsofpoetrytranslation.ThestudynotonlycanhelptofurtherprehendandappreciateancientChinesepoetrybutalsocanimprovetranslation.ThispaperhopesthatnewlightcouldbeshedonthetranslationofancientChinesepoetrywiththehelpofthisresearch.Thus,ourChineseculturewillbeeffectivelyandcorrectlytransmittedtothewesterncountries,andtheculturale*changesbetweenChinaandwesterncountriesbeaccelerated.KeyWords:ancientChinesepoetry;translationprinciples;translationmethodsandskillsIntroductionTranslatingconsistsinreproducinginthereceptorlanguagetheclosestnaturalequivalentofthesourcelanguagemessage,firstintermsofmeaningandsecondintermsofstyle(EugeneA.Nida).Itstersenessinlanguage,abstrusenessinmeaning,richnessinimagery,sharpnessinemotionanddistinctivenessinrhymeandrhythmisancientChinesepoetry'sfeatures.Poetrytranslationisanimportantbranchofliterarytranslation.However,owingtoitsuniqueelementsandfeatures,poetrypresentsalotofdifficultiesintranslation.Enoughconsiderationofattentionshallbegiventobothinmeaningandform,aswellassoundeffectsinpoetrytranslation.AncientChinesepoetryattractsthousandsofreadersintheworld.So,itisnecessaryforustoanalyzethetranslationofancientChinesepoetry.Thispapermakesabriefstudymainlyfocusonanalyzingthetranslationprinciplesandtranslationmethodsandskillsonpoetrytranslation.Throughtheanalyses,IhopethereadersfromhomeandabroadcanunderstandandappreciatethebeautyofancientChinesepoetry.2.Translator'sQualitiesofPoetryTranslation.Somepeoplethinktranslationisaneasyjob.ItseemsthatpeoplewholearnEnglishandwiththehelpofdictionarycandotranslatejob.Theyarewrong.Mr.GuoMoruo(郭沫假设)oncesaid〞Translationisahardjob.NotonlyIrespecttranslationbutalsoknowthehardshipoftranslationdeeply.Itisnotordinarywork,andsometimesitismoredifficultthancreativework.〞Intranslationfield,translator'squalitiesrepresenttranslatorpetence.Ifyouwanttobeagoodtranslator,thefollowingfivequalitiesshouldberequired:masterlanguageswell;possessprofessionalskills;haverichculturalknowledge;haveastrongsenseofresponsibility;masterITskills.MasterthemothertongueandEnglishwellandcanusethemproficientlyisoneofthemostbasicconditionofatranslator.AncientChinesepoetrytranslationisthemostdifficultbranchofliteraturetranslation.Onlymasterbothmothertongueandtargetlanguagewellcanweunderstandthepoem’soriginalmeaningandtranslatethepoem’sromanticcharmtothereaders.Otherwise,thereaderscan’tunderstandthepoem,letaloneappreciatethepoem.Professionalskillsrefertosomerationalcognition.WhenatranslatortranslatesancientChinesepoetry,hemustunderstandthecriteriaofpoetrytranslation,possesssometranslationtheoriesofpoetrytranslation,andknowtheprinciplesandmethodsofpoetrytranslation.Theseprofessionalskillsplayanimportantroleintranslation.Theyarethecharactersofprofessionaltranslation.Itneedsalotoftranslationpractice.Atranslatormustbeaneruditescholar.Apartfrommasterlanguageswell,translatorshouldpossessrichculturalknowledge,especiallydoingpoetrytranslation.Culturalknowledgecontainsthreeconcepts.Firstly,itreferstothebackgroundcultureofrelativecountry,includingthehistory,geography,customs,literatureart,traditionalcultureandreligiousbelief.Themoreyouknowit,themorehelpfultothepoetrytranslation.Secondly,itreferstotheculturedifferenceofeastandwestbetweenChineseandEnglish.Inthepoetrytranslation,thetranslatorshouldhastheconsciousnessofculturedifferenceandtransmissionofculture.HealsoshouldconsidertheacceptabledegreeofthetranslatedpoetrytotheEnglishreaders.Thetranslatorshouldpayattentiontotheintentionsandprinciplesoftransmissionofculture.Thirdly,itreferstothetranslationtheoriesandsomerelativesubjects’translationstudy,suchaslinguistics,philosophy,literatureandaesthetics.Asatranslator,youshouldhaveastrongsenseofresponsibility.Itcontainstwoaspects.Firstisthestrictattitudeoftranslationwork.Thisattitudeshouldrunthroughpre-translation,while-translationandpost-translationprocess.Agoodpreparationisthefoundationofgoodtranslation.WhenyoutranslateanancientChinesepoetry,youshouldunderstandthepoem’smeaningandlookupsomebackgroundinformationifnecessary.Onlytotallyunderstandthedeepmeaningofthepoemcanyoue*presswiththebeautifullanguage.Checkisthelaststep.Thetranslatorshouldcheckthetranslatedpoemcarefully.E*pressingthepoem’scontents,stylecorrectlyshouldbegivenenoughconsideration.Thesecondaspectisthatthetranslatormusthavetheheroconsciousness.Heshouldworkwithfullofhonorableandoptimisticpassion.Fromthecross-culturepointofview,thetranslatoristhebridgeoftwokindsofculture.Thesuccessofmunicationdependsonthetranslator.Thetranslatorshouldrealizethemeaningofhiswork.Withoutresponsibility,themunicationisfail,andtheunderstandingandappreciationisgone.InformationtechnologyerarequiredtranslatormasterITskills.Hecan’tcatchupwiththefastpaceoftheageifhedoesn’tknowITskills.InternetandsometranslationsoftwareespeciallyCAT(puteraidedtranslation)canhelpimprovethequalityofthetranslatedpoemwhendopoetrytranslation.ThePrinciplesofthePoetryTranslation AncientChinesepoetryisatreasureintheworldartfield.Ifthetranslatorwantstoconveythepoem'soriginalmeaningwithbeautifulwords,hemustknowthecriteriaandprinciplesofpoetrytranslation.ThetranslatabilityofChinesepoetryhaslongbeenahotsubjectinmentsofliterarytranslationbutmostarticlestendtoevaluateitbythesamestandard.Accordingtosomecriticalpapers,thetranslationofpoetrycanonlygobythecriteriaof"faithfulness,e*pressivenessandelegance'".Asamatteroffact,theseprincipleswereproposedfromthetranslator'spointofviewandonlyserveasanidealobjectinthefieldoftranslation.Furthermore,thissortoftranslationisonlysuitabletobilingual(ChineseandEnglish)readers.Isatranslationmeantforreaderswhodonotunderstandtheoriginal?Thiswouldseemtoe*plainadequatelythedivergenceoftheirstandingintherealmofart.Moreover,itseemstobetheonlyconceivablereasonforsaying"thesamething"repeatedly.ThetranslationofChinesepoetryinrealityaimsinitiallyatEnglishreaderswhoknowalmostnothingsabouttheChineselanguageandChineseculture.However,differenttranslatorshavedifferentevaluatingstandardswithregardtodifferentreadersatdifferenttimesfordifferentpurposes;hencetheirtranslationworkshighlightdifferentaspectsinboththesourcelanguage(Chinese)andthetargetlanguage(English).Consequently,judgingaversiongoodorbadsimplywithidenticalstandardseasilyfallsintoconfusion.Correcte*pressionisthebasicrequireoftranslation.Thetranslator'staskistoe*presspoem'soriginalmeaningstrictlyandconveytheimplicateemotioncorrectly.InordertotranslatetheancientChinesepoetrywell,thetranslatorshouldobeysomeprinciplesofpoetrytranslation.Theyareincluding“FunctionalEquivalence〞principleand“beautyinsound,beautyinformandbeautyinmeaning〞principle.3.1TheFunctionalEquivalenceprincipleNidaoncesaid"therearetwoversionstranslationforms:formalcorrespondenceandcontentcorrespondence."FunctionalEquivalenceinpoetrytranslationisveryimportant.AccordingtotheviewpointofFunctionalEquivalence,theprincipleofpoetrytranslationistoreproducetheeffectoftheoriginal.Thete*tunderdiscussionisLiBai'spoemATranquilNightwiththeversionofitsEnglishtranslationanalyzedagainstthesourcete*tfromafunctionallinguisticperceptive.Theconclusionisthatfunctionalequivalencecanbeusedasacriterioninassessingtheartisticqualityofpoetrytranslation.静夜思ATranquilNight李白(Translatedby*uYuanchong)床前明月光，AbedIseeasilverlight,(a)疑是地上霜。Iwonderifit'sfrostaground.(b)举头望明月，Lookingup,Ifindthemoonbright,(a)低头思故土。Bowing,inhomesicknessI'mdrowned.(b)Thetargetversionwastranslatedby*uYuanchong(许渊冲),heisafamoustranslatorinChina.HehastranslatedhundredsofancientChinesepoetry.Fromhistranslatedpoemwecanunderstandthispoeme*pressthepoet'shomesicknesswhenhesawthemoonlight.Thetranslatedte*tnotonlyconveysthepoem'soriginalmeaningaccordingtothefunctionalequivalenceprinciplebutalsopaysattentiontotherhythmandrhyme(abab).Itcanletthereadersaroundtheworldunderstandthemeaningofpoem.3.2TheBeautyinSound,FormandMeaningPrinciplesThomasCarlylegaveadefinitionofpoetryas"musicalthought".ClassicalChinesepoetry,inacertainsense,isthebeste*ampleofthisdefinition,withitsspecialtonalpatternandmetricalrules,hase*ertedgreatinfluenceonbothChinesepoetryandpoetryinthewholeworld.Poetrywasconsideredtobethesuperiorformofe*pressingthoughtinthefieldofliterature.Poetrypresentsalotofdifficultiesintranslation.Considerationorattentiontoboththebeautyofmeaningandformisnotenough;soundeffectsalsoshouldbepayattention.Poemisabeautifulgraphicthinkingartwhichconcentratestasteandsentiment,andbeautifulartisticconception.Itsformcontainsrhythmsandtropesthattransferbeauty.Poemtranslationistoreporttheartisticconceptionofthepoem.Therepresentativetranslatorofpoetrytranslationis*uYuanchong.Heesupwiththebeautyprinciple,i.e.thebeautyinsound,thebeautyinformandthebeautyinmeaning.HeadvocatedusepoeticlanguagetranslateancientChinesepoem.Becausepoetrytranslationshouldachieveformsimilarityandspiritsimilarityasmuchaspossibletotheoriginalpoem,whichmeansuseEnglishpoeticmetertranslateancientChinesepoetryasmuchaspossible.So,translatorsshouldtrytheirbesttoreproduceancientChinesepoetry'sbeautyinsound,formandmeaning.TheBeautyinSoundClassicalChinesepoetryhasitsspecialmusicalbeauty,however,duetothephonemicdifferences;itisverydifficulttoreproducethismusicalbeautyinEnglishtranslation.ThebeautyofsoundmeansthetranslatedancientChinesepoetryshouldpossessthebeautyofrhythmandrhymeinEnglishpoetry.Mr.*umakesthepreservationofthemusicality(oftheoriginal)aprincipleofversetranslation."Bymusicality",hee*plains"weincluderhyme,rhythm,alliteration,assonance,etc.AsallclassicalChinesepoemsarewritteninrhyme,noEnglishversioncouldreproduceaneffectsimilartotheoriginalifnorhymewereused."HisviewpointsarefullydemonstratedinthetranslationofLiuZongyuan'sFishinginSnow.WecanuseiambicortrochaicfeetinEnglishpoetrywhenwetranslateit.Pleaselookatthetranslatedversionby*uYuanchong.江雪FishinginSnow柳宗元translatedby*uYuanchong.千山鸟飞绝，Fromhilltohillnobirdinflight,(a)万径人踪灭。Frompathtopathnomaninsight.(a)孤舟蓑笠翁，Alonelyfishermanafloat,(b)独钓寒江雪。Isfishinginlonelyboat.(b)Thetranslatedte*tusesthefigureofspeech:antithesis.Ithastherhymeofaabb.Ite*pressesthepoet'slonelinessandsorrow.Thesoundofapoemisimportant,asgoodarrangementofsoundshelpsachievetheeffectofmusicality.Inpoetry,thecollocationofsoundsisquiteanart.BothinChineseandEnglishpoetry,thesoundofwordsworkingtogetherwithmeaningpleasesmindandear;theeffectiscalledeuphony.Theoppositeiscacophonywhichisdispleasinganddiscordant.Whenwearereadingthepoem,ithasastrongsenseofrhythm.Itreflectsthebeautyinsoundprinciple.TheBeautyinFormThebeautyofformmeansthetranslatedclassicalpoemalsoshouldpossessthebeautyofforminEnglishpoetry.Intermsofthelengthofpoetry,generallyspeaking,classicalChinesepoemsareshorterthanEnglishpoems.ThemostpopularformsinChinesepoetryarefive-characterandseven-characterpoems,inwhichtherearefouroreightlines.Englishpoetryhasrichervarietyofforms,fromtwolinestofourteenlines:couplet(twolines),tercet(threelines),quatrain(fourlines),pentastitch(fivelines),he*astich(si*lines),heptastich(sevenlines),octastitch(eightlines)andsonnet(fourteenlines,includingtwoforms:PetrarchanandShakespeareanform),andpoemscontainingmorethanfourteenlines.OnecansafelysaythattheformsofChinesepoetryaremorestrictlythanEnglishpoetry.TakethetranslatedofBamboo-TwigSongwrittenbyLiuYu*itranslatedby*uYuanchongfore*ample.竹枝词Bamboo-TwigSong*禹锡translatedby*uYuanchong杨柳青青江水平，Be'tweenthe'willows'greenthe'river'flowsa'long,(a)闻郎江上唱歌声。My'gallant'ina'boatis'heardsing'inga'song.(a)东边日出西边雨，The'westis'veiledin'rain,the'easten'joyssun'shine,(b)道是无晴还有情。My'gallant'isas'deepin'loveasthe'dayin'fine.(b)Thistranslatedte*tuseiambiche*ameterwiththebeautifulform,andusetherhymeofaabb.Ite*pressedtheoriginalpoem'sbeautifulformandbeautifulsound.TheBeautyinMeaningThebeautyinmeaningreferstothetranslatedclassicalChinesepoetryshouldusetheimageandartisticconceptiontoe*pressthebeautyinmeaning.ToreproducethespecialartisticcharmofancientChinesepoemsandespeciallytoconveytheemotionswithwhichthewordsandimagesinapoemareinfused,translatorsmustbesensitivetothewaythepoem'simageryislinkedtothesubtlemeaningconveyedbyitste*t.ThetranslatedpoemofancientChinesepoetrypaysespeciallyattentiontoconveythebeautyofimageryofthepoem.PleaselookataversionoftranslationaboutMaZhiyuan'squpoemAutumnThoughts.天净沙秋思AutumnThoughts马致远translatedbyZhaoZengtao枯藤老树昏鸦，Witheredvines,oldentrees,eveningcrows;小桥流水人家。Tinybridge,flowingbrook,hamlethomes;古道西风瘦马，Ancientroad,windfromwest,bonyhorse;夕阳西下，Thesunissetting,断肠人在天涯。Brokenman,farfromhome,roamsandroams.Therearesi*versionsoftranslationaboutthisqupoem.Thisistheshortestandthebestversiontoconveytheoriginalpoem'sthebeautyofrhythmandrhyme.Mostimportant,itconveysthebeautyinmeaningofimages:itislateautumn,abrokenman,whofarfromhomestillroamsandroams.Herodehisbonyhorse,towardsthewestwind,ridinginthebleakancientroad.Hedidn'tknowwherehishomewas.Theeveningcrowshadalreadyhadarestintheoldentreeswithwitheredvines.Thesunwassetting,therewerehomesnearthebridgeandthebrookisflowingunderthebridge,butitwasn'thishome,sohehadtoridehisbonyhorseroamsandroams.Theseimagese*presstheman'slonelinesssuccessfully.Itreflectsthebeautyinimagesandmeaning.4.MethodsandSkillsofthePoetryTranslationIntranslatingancientChinesepoetryintoEnglish,therearemainlythreeschools,thatis,verseschool,freeverseschoolandproseschool.Asthenamessuggest,verseschooladvocatestranslatingChinesepoetryintoverses;freeverseschoolholdsthatfreeverseisthebestformfortranslatingChinesepoems;whileproseschoolclaimsthattranslatingthepoemsintoprosecanpreservetheartisticconceptionbetter.Amongthesethreeschools,parativelyspeaking,verseschoolandfreeverseschoolpaymoreattentiontothereproductionthemusicalityoftheoriginal,especiallytherhythmofapoem.Theybelieverhythmistheprimaryelementthatcontributestothemusicalityofpoetry,althoughverseschoolputsmorestressesonrhymeandform.WhatisthetraditionalwayofChinesepoetrytranslation?HereImeanallmethodologiesoftranslationinmonsensee*cepttransliterationandPound'sadaptation.Thiskindoftranslationconcernsboththeoriginalandthetranslatedversion.ThetranslatorholdingthiswaywishestomakeabeautifulEnglishversethatfaithfullyreflectsasmuchaspossiblecharacteristicsoftheChinesepoem,thoughgenerallyspeakingthisisimpossible.Heisforcedtopromise,sacrificingeitherside---sometimestheprincipleofthesourcelanguageandsometimesofthetargetlanguage.SinceChinesepoetrybegantobetranslated,formhasbeenkeepingaheateddebateamongtranslators.Someinsistonarhymedversion.SuchasGiles,Fletcherand*uYanzhong,someothersadvocateafreeform,likeWaley,BynnerandWeng*ianliang.Poetrytranslationisnotaneasywork,becausethetranslatorhastoconveythepoem’sstructure,rhythmandtheartisticconceptionperfectly.Poemisshortbutterse.Tosomee*tent,poetrytranslationisaplicatedwork.So,methodsandskillsofpoetrytranslationisveryimportant.Here,Iintroducetwomethodsandskillsofpoetrytranslation:literaltranslationandfreetranslation.Forseveraldecades,therealwayse*istscontroversyaboutliteraltranslationandfreetranslationinthefieldoftranslationinChina.Ihopetranslatorcanimprovetheabilityofpoetrytranslationthroughanalyzingtheformertranslators’translatedpoems.4.1LiteralTranslationLiteraltranslationmeanskeepingthesourcepoems’contentsandforms,especiallykeepingthesourcepoems’figuresofspeech,imagesandartisticconceptionunderthepermissionoflinguisticconditionofthetranslatedpoem.Manypoetrytranslationshaveenrichedtheworldliteratureandprovidedvaluablematerialsforculturalresearch,theirflourish,however,cannotcovertheirfatalweakness---thestrictlygrammaticalEnglishlanguageoftenfailstoe*presstheChineseconceptshiddenintheoriginalte*ts.Mostversions,intheeyeofthereaderwhoknowsChineseappearsodifferentinsomanyaspectsfromtheoriginalthatonedoubtsifChinesepoetryisreallytranslatable.AnobviouspieceofevidenceisthatmanytranslatorsinChinatryinvaintointroducetheachievementofclassicalChinesepoetry,whichcauseslittlenoticeinworldliterature,theirdoomedfailureliesintheirblindnessofthereader'sneeds.Inner-readersreadChinesecultureandouter-readerslearnEnglishprosody.ButsincemanyChinesepoemswhentranslatedintoEnglishlinesorevenprosemaylosemuchoftheiressence,shallwestillstipulatethattheversionshouldbesomehow"lookinglikeanEnglishliteraryform"?Iinsistthatthepurposeforwhichaversionisproducedistoserveinner-readersinsteadofouter-readers,ormoree*actly,toservethereaderwhoknowslittleaboutthesourcete*tandlanguage.LookatCaoZhi’spoemWrittenWhileTakingSevenPaces.七步诗WrittenWhileTakingSevenPaces曹植CaoZhi煮豆燃豆萁，podsburnedtocookpeas,豆在釜中泣。Peasweepinthepot.本是同根生，grownfromthesametrees,相煎何太急。Whyboilussohot?Thisisatypicaltranslatedpoemofliteraltranslation.ThesourcepoemusedmetaphorandpersonificationindicatecruelstruggleforthepositionofEmperorbetweenbrothers.Thetranslatedpoemnotonlykeepsitsfiguresofspeech,butalsoconveysthespiritofthepoem.Lookatanothere*ampleofliteraltranslation.东边日出西边雨，道是无晴却有晴。(*禹锡:竹枝词)"晴"(qing),havingthesamepronunciationwith"情"，isatypicalmonophonicpun,whichisskillfullyusedbythepoettoreferbothto"love"andto"sunny".Hereistheversionprovidedasfollows:Intheeastthesunisrising;Inthewestrainisfalling.Canyouseeifit'sfairorfoul?(TranslatedbyZhangQichun)Thisisaliteraltranslation.Therepetitionofthe/f/soundin"fair"and"foul"hasthesimilarvocaleffectoftheoriginal;however,itisdifficulttosaywhether"fairandfoul"hasthesecondmeaningofthepun,e*ceptforthemeaningofthegoodorbadweather.Inaddition,thetranslatorhastoaddonemorelinetotheoriginalinordertoconveythemeaningofthepun.Thisleadstothechangeoftheoriginalform.4.2FreeTranslationFreetranslationmeansthemethodwhichchangesthesourcepoem’sfigureofspeechorchangethebasicsentencestructure.Whenthethoughtsandcontentsofsourcepoemwhosee*pressionformarenotavailabletotheliteraltranslation,weshouldusefreetranslation.MengHaoran’sOneMorninginSpringisaveryfamousTangpoem.Manypoets,scholarsandtranslatorsfromhomeandabroadtranslateditintoEnglishandotherlanguage.Lookatthefollowingtranslationversionsthenparethemwitheachother.Version1春晓OneMorninginSpring孟浩然translatedbyWeng*ianliang春眠不觉晓，Late!ThisspringmorningasIawakeIknow.处处闻啼鸟。Allaroundmethebirdsarecrying,crying.夜来风雨声，Thestormlastnight,Isenseditsfury.花落知多少。Howmany,Iwonder,arefallen,poordearflowers!Lookatanothertranslatedversion.Version2SpringDawnTranslatedbyTaKungpaoSleepinginthemorning,onehardlyknowit’sdaylight.(a)Birdsareheardeverywheretrilling.(b)There’vebeensoundsofwindandraininthenight.(a)Howmanyblossomshavebeenfalling?(b)Whyistheresuchagapbetweenthetwotranslatorsonrenderingthispoem?Version2createsabeautifulEnglishversewithdelicatefeeling.paredwithhisclassicalstyle,Weng*iaolang'sversionseemstobemodernandstraightforward:Throughparison,IwouldmoreappreciateWeng*ianliang’stranslatedpoem.Heisatranslatoroffreeschool.Fromhistranslation,weknowthatitbelongstofreetranslation.HistranslationismorevividandeventheEnglishreaderscanunderstandthepoemise*pressthepoet’slovetothenatureandspring.Version2isliteraltranslation.Andithastherhymeofabab.Chinesereadersmaybecanunderstand,buttheEnglishreadersnotreallyunderstandit.Fromtheversion2,Englishreadersmaybecan’tappreciatethepoet’slovetothenature.So,insomeoccasion,wepreferfreetranslation.Takeanothere*ampletoshowtheadvantageoffreetranslation.Thefollowingpoemisveryfamousforitsuseofamonophonicpun:东边日出西边雨，道是无晴却有晴。(*禹锡:竹枝词)Herethesunshinesbutthereitshowers,Canyoureadmymindifit'srainorshine?(TranslatedbyHuang*inqu)Thesuccessofthisversion,toacertaindegree,liesinitssuccessfulmetricalrenderingasthefollowingaspectsshow:(1)"rain"and"shine"areslantrhymes,withthesamesoundof“晴〞(qing).(2)"rain"and"shine"firstlyconveythemeaningof"rainy"and"sunny";second,thereisanidiominEnglish"takeashinetosomebody"whichmeans"tolikesomebody/something".Therefore"shine"canmean"likeness"or"love"astheoriginal“晴〞implies;thusthesecondmeaningof“晴〞(love)isbroughttousvividly.Poetrytranslationisverydifficult.Thereisnoabsolutemethodandskillinpoetrytranslation.Aslongasthetranslatedpoemcane*pressthesourcepoembettereithertranslationmethodisok.5.ConclusionInChina,itisacknowledgedthatpoetry,