从功能对等理论看辛弃疾词作的英译-以杨宪益、戴乃迭译本为例

OntheEnglishTranslationofXinQiji’sSongLyricsfromFunctionalEquivalenceTheory——ACaseStudyofYangXianyiandGladysYang’sTranslation从功能对等理论看辛弃疾词作的英译——以杨宪益、戴乃迭译本为例IntroductionTheoriginofCicantracebacktotheWesternHanDynasty,aboutonethousandyearsago.ItwascompletedduringtheSuiandTangDynasties.ThentheSongDynastywastheheydayofCi.Hence,Ciisoftencalled“SongLyrics”byChinesepeople.SongLyrics,comparabletothePoetryoftheTangDynasty,playanimportantroleinChineseliterature.Therefore,thetranslationofSongLyricsisausefulwaytocarryforwardChineseculture,buildingabridgetocommunicateChineseandforeignculture.Englishisoneofthewidely-usedlanguages.Asaresultofthat,EnglishtranslationofSongLyricshasgreatsignificanceoftransferringandspreadingChineseculturetothewholeworld.Therefore,thestudyoftranslationstrategiesandskillsisnecessary.SpeakingofthetranslationofSongLyrics,wehavetomentionProfessorXuYuanchong,YangXianyiandGladysYang.Prof.XuisapioneerandexploiterofSongLyrics’translation.HisOneHundredandFiftyTangPoemsandSongCiwaspublishedin1990.Andin2001,YangXianyiandhiswifeGladysYangpublishedabook,SongProses,whichwasabouttheirtranslationofSongLyrics.AlthoughtherearemanystudiesonthetranslationofSongLyricsathome,thereisstillalotofroomtostudythetranslationofSongLyricssinceSongLyricisapreciousliterarycultureinChina.ThispapertakesthetranslationofXinQiji’slyricsbyYangXianyiandhiswifeasanexampletoanalyzetheguidingsignificanceandroleofFunctionalEquivalenceTheory.Thispaperconsistsofthreeparts.ThefirstpartbrieflyintroducesthepoetXinQijiandsomecharacteristicsofhislyrics.ThesecondpartistheintroductionofEugeneA.Nida’slifeandhisFunctionalEquivalenceTheory.Thethirdpartisthefocusofthispaper,analyzingthetranslationofXinQijibytheYangsfromtheperspectiveofFunctionalEquivalenceTheory.Throughtheanalysis,theauthorrealizesthatduetotheculturaldifferencesbetweenChineseandEnglish,thecompleteequivalenceinformandcontentisextremelydifficulttoachieve.It’sanidealcondition.Bycontrast,thetranslatorshouldpaymoreattentiontotherespectforthecultureandexpressionhabitoftargetlanguageonthebasisofgraspingtheessenceoftheoriginaltext.Thiscanreproducetheoriginaltext’sfunctionandmakethetranslatedversionmorereadable.1AbriefintroductionofXinQijiandhisSongLyrics1.1AbriefintroductionofXinQiji’slifeXinQijiwasoneofthemostfamouspoetsinancientChineseliteratureandwasanimportantpersonoftheSongDynastyCulture.HewasborninLichengCounty,JinanCity,ShandongProvince(today’sSifengzhaVillage,YaoqiangTown,LichengDistrict,JinanCity)onMay11th,1140.Whenhewasborn,hishometownhadbeenoccupiedbytheJinDynastyformanyyears.XinQijibegantoreceivetheeducationofpatrioticthoughtsfromtheelderinhisfamilywhenhewasjustateenager.In1161,WanyanLiang,theemperoroftheJinDynasty,invadedtheSongDynastyinfullforce.Asaresult,therearofthecountryisweaklydefended.AfarmerinJinannamedGengJinglaunchedananti-jinuprising.XinQiji,22yearsold,alsogatheredtwothousandpeopletojoinGengJing’srebellionandtookthepostofsecretaryinthearmy.Atthistime,acoupoccurredintheJinDynasty,andthenWanyanLiangwasdefeated.Afterthat,Liangwaskilledbyhismen.Afterwards,XinQijiadvisedGengtogosouthtogetintouchwiththegovernmentoftheSouthernSongDynasty.Thenextyear,hewasorderedbyGengJingtoseetheemperorofSong.Onthewayback,heheardthatthetraitorZhangAnguokilledGengJingandsurrenderedtotheJin.XinQijiimmediatelyledsomepeoplestraighttotheenemycamp,successfullycaughtthetraitorandrantothesouth.Fromthenon,heleftthenorth,hopingtorealizehisdreamofrestoringtheCentralPlainsintheSouthernSongDynasty.In1168,XinQijiwasappointedtoJiankang.Hecarefullyexaminedthesituationandanalyzedtheadvantagesanddisadvantagesofbothsides.Thenhewrotethoseinabookgiventothecourt.Becauseofthat,hewascalledinbytheemperor.Afterthat,hegavemoresuggestions,butnonewasadopted.Duringthoseyears,thefrequencyofhismovementsmadeitdifficultforhimtomakeadifference.Inthelaterperiod,theemperor’ssupportforfightingagainstJinturnedtocompromise,butXinQijiinsistedonthenorthernexpedition.Sohewasimpeachedbyacourtierandwasremovedformofficein1181whenhewas42yearsold.AfterXinQijiwasremovedfromoffice,hemovedtoShangraoCity,JiangxiProvince.Hesaid,“Lifeliesindiligence,sofarmingshouldbeapriority.”Sohenamedhimself“稼轩”.“稼”meansfarmingorgrainwhile“轩”isacoveredcarriageorasmallroomwithwindows.ThesetwowordsexpressXinQiji'sconcernforthefarmersandhisdesiretoretire.Fromthenon,hevisitedthebeautifullakesandhills,indulginginpastorale.Duringthenexttwentyyearsorso,exceptforashorttermasanofficialinFujian,ZhejiangandZhenjiang,hespentmostofhistimeinruraljiangxi.In1207,hediedwithregretthathecouldnotseetherestorationoftheCentralPlains.1.2XinQiji’sartisticachievementinSongLyricsSongLyricisabrilliantgiantdiamondinthecrownofancientChineseliterature.Also,inthepalaceofancientliterature,itisabeautifulgarden.Withitscolorfulflowers,itcontendswithTangPoetryandYuanOpera,andhasalwaysbeenregardedasthetreasureofChineseliteraturewithTangPoetry,representingthepeakofagenerationofliterature.ItdrewexperiencefromtheBookofSongs,SongsofChuandotherpoetry,thenbenefitingthedramasandnovelsofMingandQingDynasty.Tothisday,itisstillcultivatingpeople’ssentimentandbringingusahighlevelofartisticenjoyment.Generallyspeaking,SongLyricscanbedividedintogracefulandrestrainedschoolandunconstrainedschool.Thegracefulandrestrainedschoolwhichmeanstowriteinaverygracefulandgentlestyle,majoredinportrayingtheaffectionbetweengendersandexpressingpersonalsentimentabouttimelapseorunfairfate.Onthecontrary,theunrestrainedschoolpreferredtoputthemilitaryandnationaleventsasthethemewiththemagnificentbearingandbroadhorizon.TheprosperityofSongLyricsbroughtaboutnumeroustalentedCipoets,andXinQijiisoneofthemostfamousCipoetsamongthem.Asarepresentativeoftheunrestrainedschool,XinQiji’sSongLyricsarepassionate,impassioned,solemnandstirring,withvigorousimposingmannerandvariousartisticstyle.XinQijiisgoodatcreatingmagnificentartisticconceptionandgallopingandgallopingimagewithhisboldandgenerousspirit.ManyofthecharactersinXin’sSongLyrics,suchasSunQuan,LiuYuandXieAn,arevaliantandheroicheroes.Fromthesecharacters,wecouldseetheauthor’sdreamaswellashisworry,angerandsympathyfortheirsuffering.Hislyricsareaboutthepatrioticpassionofrestoringthenationalunity,pouringoutthegriefandindignationofunreachableambitions,andcondemningthecompromiseoftherulers.Inaddition,hewrotelotsoflyricsaboutthemountainsandriversofthemotherland.InhisSongLyrics,XinQijioftenusedfancyandmagnificentscenessuchasriverswithdeepgreenwater,dangerousbuildings,loudthunderandroughwater.Allthenaturalsceneshewrotehaveakindofgallopingimposingmanner,whichiscloselymatchedwiththepoet'smagnificentbosomandboilingemotion,showingasenseofpower.Xin’sLyricsaremainlyboldandunconstrained,buttheycouldalsobecompatiblewithotherstyles.Thatmeanshislyricsarenotlimitedtoonepatternbutflexibleandfreeinstyleandform.Althoughhisstyleismainlysolemnandstirring,hewrotemanytouchingandgracefullyrics.Forexample,hislyricofloveQingYuAn,shapedhislovedgirl,aproudandlonelyfemalewhowasindifferenttofameandwealth.Also,mostofhislyricsaboutrurallifearedelicateandsignificant.ThesefullyillustratethevarietyofthestyleofXinQiji’slyrics.Inart,XinQijiinheritedtheromantictraditionofChuCi,andhisfancyimaginationwasusedtoendowednaturalsceneswithhumanemotionandcharacter.Forexample,“昨夜松边醉卧，问松我醉何如？”(YangZhong,2011:309)Thepinescanbecomethepoet’sconfidant.Thisseemstobeafairy-taleworld.XinQijiisgenerallyregardedasapatrioticboldpoet.ButLiuYangzhonghassaid“patrioticandunrestrainedschool”isnotenoughtoexplainhiscondition,becauseXinQijihasasenseofsubjectivitydifferentfromotherpoetsintheSouthernSongDynasty.(LiuYangzhong,2015:190-191)XinQijiisalsotherepresentativeofthepeakofSongLyrics,whoseretainedlyricsarethemost,morethan600pieces.ThemostimportantfeatureofXin’slyricsis“writinglyricsinprosestyle”.GeXiaoyinbelievesthatthestyleofXin’slyricsisboldandunrestrained,butalsovariedandfullofromanceandtheauthor’suniquepersonality,andXinmakesgooduseofthetechniqueofanalogyandalargenumberofallusionstoachievethe“unityofpoetryandprose”(GeXiaoyin,2003:295-303).1.3FeaturesofXinQiji’sSongLyricsThispartwouldliketoexploresomefeaturesofXin’sSongLyrics.Knowingthefeaturesandstylesofthepoetscanhelpthetranslatorunderstandthetruefeelingstheauthorwantstoexpress,lowerthedifficultyleveloftranslation,andimprovetheefficiencyandqualityoftheirtranslation.1.3.1BoldstyleandsolemnandstirringartisticconceptionAfterXinQijireturnedtothesouth,hefailedtogainanimportantpositioninthecourtandhadnoplacetodisplayhistalentandambition,sohewrotehisdepressionandindignationinhislyricsandcreatedalargenumberofexcellentlyrics.Hedescribedthemagnificentbeautyofmountainsandrivers,andcreatedagloomy,tragicandmagnificentartisticrealm,whichformedaboldandunrestrainedartisticstyle.Xinoftenusedmilitarizedimagery.Hecamefromtheranks,havingfoughtseveralbattles.Therefore,knives,spears,swords,bowsandarrows,horseshornsandbattlefieldsbecamethelyricalimageryinhislyrics.Inaddition,hewasalsoabletoturnmountains,water,grass,woodandothernaturalscenesintomilitarizedimagery.Theseimages,closelyrelatedtothewarandhavingthecharacteristicsofmalefortitude,formedtheboldandunrestrainedstylewhentheywereusedinthelyrics.InXin’slyrics,largenumberswereoftenusedtodescribethingsandexpressemotions,inordertocreateabroadanddistantrealm.Forexample,theword“千里”of“楚天千里清秋”(YangZhong,2011:23),“千丈”of“好卷垂虹千丈，只放冰壶一色，云海路应迷”and“千古”of“千古江山，英雄无觅，孙仲谋处”(YangZhong,2011:264)usedexaggerationtowidenthedimensionofthespaceandtime,takethereadersintoavastorfar-reachingrealmandappreciatetheauthor’sboldandunrestrainedstyle.Furthermore,Xinlovedtocrisscrossthetimeandspace.Forexample,“郁孤台下清江水，中间多少行人泪。西北望长安，可怜无数山”(YangZhong,2011:33).Inthislyrics,startingwith“郁孤台下清江水”,Xindescribedthescenesbeforehim,thenimmediatelyreferringtowhathewasthinking,“西北望长安，可怜无数山”.Heassociatedthenear“郁孤台”withthenorthwest“长安”,whichwasaleapinspace.ItwasnotonlyanindictmentofJin’sinvasion,butalsoanexpressionofhisdeepconcernforthenorthernterritoryoccupiedbyJinandthesoldiersandpeoplewhojoinedthebattle.Thepoetwasnotconfinedtohisdirectfeelings,butsethiseyesonthewholebrokenandscatteredcountry.1.3.2HeroicandvigorousstyleandgracefulbeautyThroughoutXin’slyrics,wecannotonlyfeelitsboldandunrestrainedstyle,butalsoappreciateitsgracefulandrestrainedstyle.Forexample,“昨日春如，十三女儿学绣，一枝枝、不教花瘦。甚无情，便下得，雨僝风僽。向园林，铺作地衣红绉。而今春似，轻薄荡子难久。记前时、送春归后。把春波，都酿作，一江春酎。约清愁，杨柳岸边相候”(YangZhong,2011:237).Inthefirststanza,thepoetportrayedthebeautifulspringsceneryofyesterday,whichwaslikeinnocentandartlesswomentolearntoembroiderforthefirsttime.Theflowersembroideredbythemweretoobig,reflectingthejoymoodthattheauthorcannotcontrol.Thenextstanzawasaboutthedifficultyofretainingtoday’sspringscenery.Theuseof“春波”“约清愁”and“杨柳岸”turnedtheboldandunrestrainedstyleintoadelicate,tender,gracefulanduniqueone.TheappearanceofthisstylewascloselyrelatedtoXinQiji’sromance.Hewasnotonlyfullofheroism,butalsonolackoftenderness.ItwasthetendernessthatembellishedtheuniqueflavorofJiaxuanStyle,thewritingstyleofXinQiji.Withlooseformandcoherentsemantic,thesentencesinXin’slyricsareoftenlong,andheextensivelycitedthevocabulary,sentencesandhistoricalallusionsofvariousancientbooksandrecords.1.3.3LyricsinprosestyleInthecourseoflyrics’development,SuShiwasthepathfinderofcreatinglyricsinthestyleofpoem,andXinQijiwasthefirstpersontowritelyricsinprosestyle.Hetransplantedtheartofcomposition,sentencepatterns,discussionsanddialogueswhichwereusedintheancientproseintolyrics,openingupawaybetweentheproseartandlyricscreationandexpandingtheexpressionmethodsoflyrics.Healsoputalargenumberofspokenlanguageandslangwordsintothelyrics,turningfranknessandmodestyintobeautyandcreatingalotofhumorous,freshandlivelyverses.Hislyricsareunrestrained.Generallyspeaking,eachstanzaofthelyricsshoulddescribedifferentscenesandcontext.ButinXin’slyrics,hewasunrestricted.Asforthetechnique,heoftenusedmanyallusionsorline-drawing.Besidesthose,hemadegooduseoftheexpressionofemotions,descriptionoflandscape,narration,anddiscussion.Intermsoflanguage,hehadawiderangeofapproaches,includingSixClassics,SongsofChu,ChuangTzuandsentencesinancientpoems.Hisrhymewasnotlimited,butfreelywritten,formingproselyrics.Forexample,thelyric“沁园春·杯汝来前”isfullofargumentationsandwritteninprosestylewithoutobviousintervalbetweentwostanzas.Infact,thefirst22sentencesaredividedintoonelayer,andthelastthreesentencesaredividedintotheotherlayer.ThisbreakstheusualpracticeofSongLyrics.ThislyricisarepresentativeworkofXinQiji,whichiswritteninprosestyle(YangZhong,2011:208-211).Althoughthesesentencesareprose,therhythmoftheirsoundsisstillnaturalandsmooth,livelyandvivid,reachinganartisticstatethateverycontextandwordcanbeused,whichconformstothestandardandisfulloffreedom.2AbriefintroductionofEugeneA.NidaandhisFunctionalEquivalenceTheory2.1AbriefintroductionofEugeneA.NidaEugeneA.Nida(1914-2011)wasbornonNovember11st,1914inOklahomaCity,acityinthesouthcentralpartoftheUnitedStates.HebelievedinChristianityfromachild,andaspiredtobeamissionary.Nidashowedspecialpreferencetolanguageswhenhewasachild.Atschool,amongallthesubjects,Nidahadapassionforlanguage.HebegantolearnLatininmiddleschool.Becauseofhisloveoflanguage,Nidawasanarticulatechild.Inhighschool,heledhisdebateteamtothedebatechampionshipinsouthernCaliforniaandwonthetitleof“bestdebater”.AfterbeingadmittedtoUniversityofCaliforniaLosAngeles,heconcentratedonforeignlanguage,majoringinGreekandminoringinLatin,FrenchandGerman.Besides,heenrolledinseverallinguisticscourses.Atthattime,linguisticswasanewsubject.In1936,NidagraduatedfromtheuniversityofCaliforniaLosAngeleswiththehighesthonors.(YangSigui,2016:15)Hereceivedamaster’sdegreefromtheUniversityofSouthernCaliforniabystudyingGreekNewTestamentin1939andadoctorateinlinguisticsfromtheUniversityofMichiganin1943.NidahasworkedasthepresidentoftheLinguisticSocietyofAmericaformanyyears,thenactingasacounselorafterhisretirementin1980.Heisanoutstandinglinguist.Hehasbeento96countriesandlecturedinover100universities.HecametoChina13times.HewenttolectureinAfricatill2003whenhewas89yearsold.HediedinBrussels,Belgiumin2011,attheageof97. ThemajoracademicactivitiesofNidarevolvedaroundthetranslationoftheBible.Intheprocessofbibletranslation,hedevelopedhisowntranslationtheoriesbasedonthereality,whicheventuallybecameoneofthescripturesintranslationstudy.Nida,accordingtothenatureoftranslation,officiallylaunchedthefamousDynamicEquivalenceTheoryin1964.Adynamic-equivalence(orD-E)translationmaybedescribedasoneconcerningwhichabilingualandbiculturalpersoncanjustifiablysay,“Thatisjustthewaywewouldsayit.”Itisimportanttorealize,however,thataD-Etranslationisnotmerelyanothermessagewhichismoreorlesssimilartothatofthesource.Itisatranslation,andassuchmustclearlyreflectthemeaningandintentofthesource.OnewayofdefiningaD-Etranslationistodescribeitas“theclosestnaturalequivalenttothesource-languagemessage.”(Nida,2004:166).In1969,hechanged“dynamicequivalence”into“functionalequivalence”,believingthattranslationmeanscommunicationanddependsonwhatthereaderscanlearnfromit.Asoneoftherepresentativesoftheideologuesinlinguisticandtranslation,Nidafirstintroducedinformationtheory,semioticsandhermeneuticsintotranslationtheories,andwasthefirstpersontoputtheprincipleofsocialbenefit(readers'response)intotranslationcriteriainthehistoryoftranslation.Thisnotonlyprovidedsufficienttheoreticalbasisfortranslationtobecomeanindependentdiscipline,butalsomadetranslationplayamoresignificantroleasacross-disciplinarybridge.InChina,Nida'stranslationtheorywasthefirsttobeintroducedwiththemostimpactamongcontemporarywesterntranslationtheories.Formorethan30years,NidaandhistranslationtheorieshavebeenahottopicinthefieldoftranslationinChina.Nidaisknownaroundtheworldforhiserudition,meditationandwritings.Hehaspublishedmorethan40booksandabout250papers.Healsohad13referencebooksforbibletranslation.HisfirstmonographwasBibleTranslatingin1946.HismostinfluentialbookwasTowardaScienceofTranslatingin1964,followedbyTheTheoryandPracticeofTranslationwhichheworkedwithCharlesTaberin1969.Nida'srichacademicachievementsareinseparablefromhisspiritofdiligence,constantexplorationandbeingrealistic.2.2HisFunctionalEquivalenceTheoryEugeneA.NidaisafamousAmericanlinguist,translatorandtranslationtheorist.HedevotedallhislifetothetranslationoftheBible,andformedauniquesetoftranslationtheoriesinhistranslationpractice.FunctionalEquivalenceTheoryisthecoreofthissetoftranslationtheories,andhasexertedaprofoundinfluenceonthelatertranslationtheories.Inhisearlylife,Nidadidn’tclearthedefinitionofFunctionalEquivalenceTheory.Itwastill1969thatinhisbookTheTheoryandPracticeofTranslationhedefined“dynamicequivalence”as:“thedegreetowhichthereceptorsofthemassageinthereceptorlanguagerespondtoitinsubstantiallythesamemannerasthereceptorsinthesourcelanguage”(Nida,2004:24).Andheexplainedthereisnoessentialdifferencebetween“dynamicequivalence”and“functionalequivalence”.Buttheterm“dynamic”hasbeenmisunderstoodbysomepersonsasreferringonlytosomethingwhichhasimpact.Accordingly,manyindividualshavebeenledtothinkthatifatranslationhasconsiderableimpactthenitmustbeacorrectexampleofdynamicequivalence.Becauseofthismisunderstandingandinordertoemphasizetheconceptoffunction,ithasseemedmuchmoresatisfactorytousetheexpression“functionalequivalence”indescribingthedegreesofadequacyofatranslation.(Nida,2001:91)IntheFunctionalEquivalenceTheory,Nidapointsoutthattranslationisreproducingtheinformationofthesourcelanguagewiththemostappropriate,naturalandequivalentlanguagefromthesemantictothestylistic.Thisdefinitionindicatesthat“functionalequivalence”isnotonlylexicalequivalence,butalsosyntactic,textualandstylisticequivalence.Ofthesefouraspects,Nidabelievesthatmeaningisthemostimportant,followedbyform.“Dynamicequivalence”tendstomaketranslatorsfocusontheleveloftextandfallintothe“surfacestructure”,while“functionalequivalence”isnotlimitedtotheoppositionbetweencontentandform,butmoreconcernedwith“deepstructure”.Theformerissimilartothelowestlevelof“functionalequivalence"proposedbyNidathattranslationcanachievesufficientequivalence,whichmakestheaudienceorreadersfromthetargetlanguageunderstandandappreciatetheunderstandingandappreciationofthetranslatedversionreaders.Thelatterisclosetothehighestlevelof“functionalequivalence”thattranslationcanachievecompleteequivalence,makingtheresponseofaudienceorreadersfromthetargetlanguagewhentheyarereadingbethesameasthetranslatedversionreaders.Theformerisabasicstandardoftranslationwithrelativelylowrequirements,whilethelatterisdifficulttoachieveduetodifferentlanguagesandcultures,soitismoreworthyfortranslatorstopursue.AndintheprocessoftranslationunderFunctionalEquivalenceTheory,translatorshaveawiderangeofchoicesandflexibility.AsthecoreofNida’stranslationtheory,FunctionalEquivalenceTheoryhasexertedaprofoundinfluenceonthetranslationcircle.ThistheorywasalsointroducedintoChinaearly.MaHuijuanillustrateswithrelevantexamplesthatNida’sFunctionalEquivalenceTheoryisofgreatguidingsignificanceforourtranslationpractice,especiallyforC-Etranslation.(YangSigui,2016:132)LiuJunpingconcludedthatNida’stranslationtheorywasbasedonalargenumberoftranslationactivitiesofBibleandprovedtobe“effectiveinpractice”.(LiuJunping,2009:150)3FunctionalEquivalenceTheoryinYangXianyiandGladysYang’sTranslationofXinQiji’sSongLyricsAsthisthesishasintroducedabove,FunctionalEquivalenceTheoryownsagreatsignificanceintranslation,anditisalsohelpfultotranslateSongLyrics.Inordertofurtherjustifythisstatement,thisthesiswouldanalyzeYangXianyiandGladysYang’stranslationofXinQiji’sSongLyricsfromtheperspectiveofFunctionalEquivalenceTheory.3.1LexicalEquivalenceFromtheperspectiveoftheroleoflanguageinsociety,culturaldifferencesareparticularlyprominentinvocabulary,andinvolveawiderange.IntheprocessofC-Etranslation,thedifferencesbetweenChinesecultureandEnglish-speakingcountries’culturesshouldbetakenintoconsideration.Duetoculturaldifferences,functionalequivalenceatthelexicalleveldeservesspecialattention.Therefore,whentranslating,thetranslatorshouldnotslavishlyfollowtheexactequivalenceofliteralmeaning,butshouldmakecorrespondingadjustmentsaccordingtothespecificsituationtoachievethetrue“lexicalequivalence”.Forexample:破阵子为陈同甫赋壮词以寄之辛弃疾醉里挑灯看剑，梦回吹角连营。八百里分麾下炙，五十弦翻塞外声。沙场秋点兵。马作的卢飞快，弓如霹雳弦惊。了却君王天下事，赢得身前身后名，可怜白发生。（YangXianyiandGladysYang,2001:245）TUNE:“PoZhenZi”APoeminaHeroicVeinforChenLiangHalfdrunkIlitthelamptolookatmyswordAfterdreamsofthebuglinginourarmycamps,Theroastedbeefsharedamongourmen,Theharpist’stunefromthenorthernborderItwasautumn,wemarshaledourtroopsonthefieldofwar.Horsesspedasifonwings,Bow-stringstwangedlikethunder,Andwecarriedouttheemperor'sbehestWinningfamebothinlifeandindeath...Butnow,alas,myhairisturningwhite!（ibid:248）Inthefirstsentenceofthislyric,theword“醉里”isused,andinEnglish,thewordwiththesamemeaningis“drunk”.However,hereweshouldnotethattheparaphraseoftheword"drunk"is“unabletocontrolyourbehaviour,speechetcbecauseyouhavedrunktoomuchalcohol”.Therefore,apersonwhoisdrunkcannotfinishtheaction,“挑灯看剑”.“Halfdrunk”usedbytheYangsconformstothemeaningofthesentencebetter.Inaddition,Yangandhiswifeused“thenorthernborder”whentheytranslated“塞外”.TheytookintoaccountthedifferencesbetweenChineseandforeigncultures.Becausenotalloftheforeignersknewwhichplace“塞外”referredto,ifthewordwasnotexplained,itmayaffectthereader'sresponsetothetranslation.Moreover,inthesecondstanza,theYangsdidnotstifflyadd“的卢”totheirtranslationwhentranslating“马作的卢飞快”.Thiswasalsobecauseforeignreaderswerenotfamiliarwiththemeaningof“的卢”.Exchanging“的卢”with“spedasifonwings”canbeinlinewiththeprincipleoflexicalequivalence.Intheend,theYangsusedtheword“alas”totranslate“可怜”.Inthispoem,theword“可怜”means“regrettable”.Likewise,“alas”isusedwhenmentioningafactthatyourwishwasnottrue,orusedtoexpresssadness,shame,orfear.Thiswordcancompletelyexpresstheemotionofthepoet.WecanseethatthetranslationofYangXianyiandhiswifeGladysYangdoesnotcompletelypursueliteralequivalence.Theyadjusttheirtranslationaccordingtothespecificsituation,andtheadjustedtranslationcangetbetterresponsefromreaders.Therefore,thetranslatorshouldnotberestrictedtothewordsintheoriginaltext,butshouldbeflexibletoachieveadeeperlevelof“lexicalequivalence”.3.2SyntacticEquivalenceAsfarassentencestructureisconcerned,therearegreatdifferencesbetweenChineseandEnglish.Englishfocusesmoreonthefront,whileChinesefocusesmoreontheback.EnglishhasmorepassivewhileChineseownsmoreactive.Englishfocusesonstructure,whileChinesefocusesonsemanticsandsoon.ChineseandEnglishsentencestructuresareverydifferent,andthetwolanguageshavetheirownexpressionhabits.SointheprocessofSongLyrics’translation,thetranslatorshouldfirstaccuratelyunderstandthesentencesinthelyrics.Thenonthebasisofadeepunderstandingofthewholelyric’slogicandmeaning,thetranslatorsshouldpresentthetranslationaccordingtothehabitsofthetargetlanguage.昨夜松边醉倒，问松“我醉何如?”只疑松动要来扶，以手推松曰“去!”（YangXianyiandGladysYang,2001:255）“LastnightbythepineIstaggeredtipsyAndaskedthepine，‘HowdrunkamI？’WhenIimaginedthepinesidlingovertosuppo