三美论视角下《诗经》中的叠词英译研究（英语论文）

颜诗钧.文化自觉下《诗经·国风》中本源概念词英译策略探微[J].时代报告(奔流),2024,(08):7-9.Let'stakeanotherlookatthisexample:“呦呦鹿鸣，食野之苹”（《小雅·鹿鸣》）“呦呦”isasimulationofthecallofadeer.InChineseculture,deerareoftenassociatedwithauspiciousnessandpeace,andthesceneryofdeersingingcreatesapeacefulandbeautifulatmosphere.XuYuanchongtranslatesto:Howgailycallthedeer,Whilegrazingintheshade!Gailyhasthemeaningofcheerfulandhappy,andbydescribingthecheerfulcallofthedeer,thereisapeacefulandbeautifulatmospherethatthereadercanfeel.4.2TheEmbodimentofPhysicalBeautyAncientChinesepoetrymostlyemphasizedthebeautyoftheformat,andpaidattentiontothebattleandcomparison.Therearestrictrequirementsforthenumberofwordsandlinesofthepoem.Theformatofthewholepoemisusuallyfixed,andthebeautifulformisanirreplaceablepartofapoem.Inthetranslationprocess,sometranslatorsfocusonlyonthesenseofsoundandignoretheform.Whenwetranslate,weshouldpayattentiontotheformalbeautyofthetranslatedtext.OverlappingwordsarethemostsignificantembodimentofthebeautyoftheBookofSongs.4.2.1UseofSynonymsThemorecommonoverlappingwordsintheBookofSongsareadjectives,whichmostlydescribethestateandimageofthings.Therefore,whentranslating,weneedtouseadjectivestotranslatetheoverlappingwordsintheBookofSongs.Thetranslatorcanusetwoadjectivesthatarethesameorhavesimilarmeanings.Theformoftheoriginaltextandtheformofthetranslatedtextareunified,whichconformstothedefinitionofformandbeauty.Here'sanexample:“桃之夭夭，其叶蓁蓁。”（《周南·桃夭》）XuYuanchongtranslatesthissentenceas:“Thepeachtreestandswayside,Withleavesthickanddense.”。“夭夭”isusedtodescribethebeautyofpeachblossoms,and“蓁蓁”describesthelushbloomingofpeachblossoms.XuYuanchongtranslates“蓁蓁”as:“thickanddense”.Inthisway,thetranslationaccuratelyexpressesthemeaningoftheoriginaltext,usingtwosynonyms,makingthesentencestructurethesameandneat,andallowingthereadertovisuallyfeelthebeautyoftheform.Let'smoveontothesecondexample:“喓喓草虫，趯趯阜螽。未见君子，忧心忡忡。”（《召南·草虫》WangRongpei'stranslationofthesetwolinesis:Grasshopperschirrinthemead.Whilelocustshopintheweed.Asmydearoneisnotthere,I'mfullofstrainandcare.“喓喓”isanonomatopoeiausedtodescribethecriesoflocustsandgrasshoppers,givingasadanddesolateautumnscene.Itissadforawomantonotbeabletowaitforherbeloved.“忡忡”expressesawoman'sinnermelancholy,andWangRongpeichosetwosynonymsstrainandcaretotranslatetheword“忡忡”.Thestructureisoppositetotheabove,sothatthereadercanfeelthebeautyoftheformalstructure.4.2.2TheLengthoftheLineThelengthofeachstanzaoftheBookofSongsconsistsoffourverses,eachofwhichismostlyfourcharactersandneatlyformatted.ThereasonwhyoverlappingwordsareoftenusedintheBookofSongsistocatertothisstructure,andsecondly,becausecompoundwordswerelimitedatthattime,inordertomaintainthestructureandrhythmintegrity.Whentranslatingpoemswithoverlappingwords,itisalsonecessarytopayattentiontowhetherthelengthofthepoemlinescorrespondstoeachother,andmaintainthestructureofequallength,soastopresentthebeautyoftheformtoforeignreaders.DuetothelargedifferencebetweenChineseandEnglish,thelengthofthetranslationcannotbemaintainedinfourwordsandonesentence,sothewholepoemshouldnotexceedtwoorthreewordsintheoriginalsentencewhentranslating,andtrytobeconsistentwiththelengthoftheoriginalpoem,soastorestorethebeautyoftheoriginalpoem.Letusnowexamineanexampletoillustratethispoint:桃之夭夭，灼灼其华。之子于归，宜其室家。桃之夭夭，有蕡其实。之子于归，宜其家室。（《周南·桃夭》）XuYuanchongtranslatesitas:Thepeachtreebeamssored;Howbrilliantareitsflowers!Themaiden'sgettingwed,Goodforthenuptialbowers.Thepeachtreebeamssored;Howplentifulitsfruit!Themaiden'sgettingwed;She'sthefamily'sroot.ItcanbeseenthatthelengthofXuYuanchong'stranslationisroughlysimilartothatoftheoriginaltext,mostlyfourwords,andnomorethansixwordsatmost.Inthisway,foreignreaderscanfeelthebeautyoftheformatofChinesepoetry.4.2.3StructuralSimilarityLet'sstartwiththisexample:牧野洋洋，檀车煌煌，驷騵彭彭。——《大雅·大明》WangRongpei'stranslationis:Far,farspreadthefieldsofMu-ye;Bright,brightshonethechariotshere.Theregallopedstalwartsteedsingroups.Intheprocessoftranslatingthefirsttwolinesofthepoem,WangRongpeichosetorepeattheadjectivesfarandbrighttotranslatetheoverlappingwords“洋洋”and“煌煌”intheoriginalpoem,notonlyfocusingonhighlightingthebeautyoftherhymeoftheoriginalpoeminthetranslation,butalsorepeatingtheadjectivestorhymeclosertothestructureandformatoftheoriginalpoem,whichcanbettershowtheurgentatmosphereoftheoriginalpoem.Translatorsoftenuseparallelstructuresorantiphonalsentencestomaintaintheformalbeautyofoverlappingwords.Thistranslationreproducestheformalbeautyandrhythmoftheoriginalpoemthroughtheuseofparallelstructures.Forexample,XuYuanchong'stranslation（《国风·卫风·氓》）：Amanseemedfreefromguile;Intradeheworeasmile．He'dbarterclothforthread;No，tomehe'dbewed．Isawhimcrosstheford，Butgavehimnotmyword．Isaidbyhillsidegreen:Youhavenogo-between．Trytofindone，Ipray．Inautumnbetheday!ThestructureofXuYuanchong'stranslationismorelikeapoem.ThenumberoflinesinXuYuanchong'stranslationisnomorethan6words,andthenumberoflinesisunifiedwiththenumberofsentencesintheoriginaltext,andthestructureissimilartothatofthefour-characterpoemsintheBookofSongs,andthebehavioriscompact,whichisareproductionofthebeautyofformintheBookofSongs.Whentranslatingpoemswithoverlappingwords,thesyllablesandwordsareadjustedtomakethetranslationbettershowthebeautyofformandreproducetheformaleffectoftheoriginalpoem.4.3TheembodimentofSoundBeautyAncientpoetryisbothapoemandasong,andmostofthemcanbesungwithmusic,sotheycontainawealthofmusicaleffects.Throughthismusicaleffect,thepoetcanconveyemotionstothereader.AgoodtranslationallowsreaderstoappreciatetheoriginalmusicalbeautyofChinesepoetry,sothatthetranslatedpoemscanalsobereadpleasantly.4.3.1RhythmandRhymeTheformoftheBookofSongsismainlyinfourwords,withabrightrhythmandharmoniousrhyme.Forexample,《国风·郑风·子衿》“青青子衿，悠悠我心。纵我不往，子宁不嗣音？”,Thepoemisfoursentencesandonesentence,withaneatrhythmandiscatchytoread.“衿”and“心”rhyme,and“音”alsoechoesthefirsttwointermsofrhyme,givingthepoemamusicalquality.Whentranslating,XuYuanchongwilltrytosimulatetherhythmandrhymeoftheoriginalpoemthroughthechoiceofEnglishwordsandthearrangementofsentencestructure,sothatthetranslatedtextcanalsoproduceasimilarmusicalbeautywhenreciting.Therhythmofsomepsalmsadjustsasemotionschange.Forexample,国风·王风·黍离》，“彼黍离离，彼稷之苗。行迈靡靡，中心摇摇。知我者，谓我心忧；不知我者，谓我何求。悠悠苍天，此何人哉？”Therhythmoftheopeningchapterisrelativelysoothing,andtheuseofoverlappingwordssuchas“离离”and“靡靡”createsaheavyandsadatmosphere;Astheemotionprogresses,therhythmofthefollowingsentencesbecomesslightlyrapid,suchas“知我者……不知我者……”Thischangeinrhythmiscloselyintegratedwiththepoeticemotion.Retainingthisrhythmicvariationintranslationcanbetterreflectthesoundbeautyoftheoriginalpoem.4.3.2UseofOnomatopoeiaGenerallyspeaking,onomatopoeiaoverlappingisthemostcommonformofoverlappingwordsintheBookofSongs,whichcanemphasizethesoundeffect.TheBookofSongsusesawealthofonomatopoeiatoenhancethemusicaleffectofthepoems.Let'slookatthisexample:“关关雎鸠，在河之洲。窈窕淑女，君子好逑。”，“关关”isanonomatopoeiausedforthecallofadove.WhenXuYuanchongtranslated,hetranslatedthissentenceas:Byriversideapair,OfturtledovesarecooingandHetranslated“关关”withcooing,soastopreservethesoundbeautycreatedbytheoriginalpoemthroughonomatopoeiaasmuchaspossible.Thefunctionofonomatopoeiaistousethepronunciationofwordstoimitatesounds,whichcanrestorethesceneatthattimetoagreaterextent.“大车槛槛，毳衣如菼。岂不尔思？畏子不敢。大车啍啍，毳衣如璊。岂不尔思？畏子不奔。”（《王风·大车》）“槛槛”and“啍啍”describethesoundofthecarwalking,whichmakesthepoemmorebeautifulandharmoniousinrhythm,andaddssoundeffectstothepoem.Whentranslating,XuYuanchongtranslatedthesetwosentencesas:Rumblingyourcart，Reedlikeyourgrown，Imissyouinmyheart.HowdareIhaveitknown？Rattlingyourcart,Reddishyourgown,Imissyouinmyheart.HowdareIhaveitshown？Rumblingandrattlingareonomatopoeias,whichmeanacontinuoussoundinEnglishandareusedtoimitatethesoundofacarwalking.Accuratelyconveyingtheeffectofthisonomatopoeiaallowsthereadertofeeltheuniquecharmoftheoriginalpoemintermsofsoundbeauty.

Chapter5ConclusionThisstudyexplorestheEnglishtranslationofreduplicatedwordsinTheBookofSongsfromtheperspectiveofXuYuanchong'stheThreeBeautyTheory(意美、音美、形美).AmidgrowingglobalinterestinclassicalChineseliterature,theresearchaddressesthechallengesoftranslatingTheBookofSongs,particularlyitsnuancedandculturallyrichreduplicatedwords,whichareoftenlostintranslation.Thesignificanceofthisstudyliesinitscontributiontobothtranslationtheoryandpractice,offeringasystematicapproachtopreservingtheaestheticandculturalessenceofTheBookofSongsinEnglish.ChapterOneintroducesTheBookofSongsandoutlinestheresearchobjectives.ChapterTwoelaboratesontheThreeBeautyTheory,emphasizingitsroleinpoetrytranslation.ChapterThreeexploresthedefinition,features,andfunctionsofreduplicatedwordsinTheBookofSongs.ChapterFourevaluateshowtheThreeBeautyTheorycanbeappliedtothetranslationofreduplicatedwords,withexamplesillustratingthepreservationofmeaning,rhythm,andform.ThefindingsrevealthatXuYuanchong'stranslationssuccessfullycapturetheThreeBeautyofreduplicatedwords,thoughchallengesremaininfullyconveyingculturalconnotationsandphoneticelegance.Despiteitscontributions,thisstudyhaslimitations.Forinstance,TheanalysisprimarilyfocusesonXuYuanchong'stranslations,leavingroomforfurtherexplorationofothertranslators'works.Additionally,theculturalandlinguisticgapsbetweenChineseandEnglishposeunresolvedchallenges,particularlyintranslatingsoundsymbolismandarchaicexpressions.Futureresearchcouldexpandthescopetoincludecomparativestudiesofdifferenttranslators,incorporatereader-responsetheoriestoassessthereceptionoftranslatedreduplicatedwords,orexploreinterdisciplinaryapproachescombininglinguisticsandculturalstudies.Inconclusion,thisstudyunderscorestheenduringvalueoftheThreeBeautyTheoryasaframeworkfortranslatingclassicalChinesepoetry,bridgingthepastandpresentthroughtheartoftranslation.

ReferencesGuMingdong.DivinationandCorrelativeThinking:OriginsofanAesth