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Abstract Chinese classical poetry is a shining pearl of Chinese culture, which has always been the focus of many scholars’ research both at home and abroad. Nowadays, the translation of Chinese classical poetry has become a bridge of the cultural exchanges between China and the West. It is also the important content which carries forward Chinese culture. Due to the differences in language and form between poems and other kinds of literal works, poetry translation not only has to convey the meaning of original poems, but also needs to reproduce the beauty of artistic conception. What’s more, the artistic conception is closely related to images and figures of speech in poetry, so the key to poetry translation is to reproduce the original images and figures of speech. 26091
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Professor Xu Yuanchong, the only person who has translated Chinese poetry into English and French, has put forward the principle of "sanmei" for poetry translation, namely the first "beauty in meaning", second "beauty in sound" and last "beauty in form". It is widely accepted as the guidance for poetry translation. The famous American translation theorist, Eugene A. Nida, has also put forward the famous translation principle, functional equivalence theory. It requires that translation should “reproduce the closest natural equivalent of the source-language message first in terms of meaning, secondly in terms of style”. It shares something in common with the principle of "sanmei".
This paper focuses on the translation of images and figures of speech in different poems through the analysis of Professor Xu Yuanchong’s poetry translation. Through collecting a certain number of original poems and their English versions and analyzing the strategies of translation in images and figures of speech, this paper aims at finding out whether the translation has reached the equivalent effect of functional equivalence theory. After discussion, we can find that most of them have reached the standard of functional equivalence theory. And this paper will also give further study to find out the reason why some of the translations are not equivalent. In the end, we can find that Professor Xu Yuanchong’s translations of Chinese classical poetry reproduce the meaning and style of the original poems, and reflect the artistic conception of the original poems, which enables the target language readers to get the same aesthetic experience as the source language readers. What’s more, Professor Nida's functional equivalence theory can also be applied into poetry translation. The combination of the two principles will surely make greater contribution to poetry translation.
Key words: Functional equivalence poetry translation Xu Yuanchong image figure of speech
摘 要中国古典诗词是中国文化中一颗璀璨的明珠，从古代一直流传至今，始终散发着耀眼的光芒，吸引无数中外学者对它的关注与研究。古诗词的翻译就成为了现在中外文化交流的桥梁，也是弘扬中华文化的重要内容。由于古诗词与其他文体的作品不同，在语言和形式上都具有独特的风格，翻译古诗词不仅要传达原诗的意义，更重要的是重现原诗的意境。而意境的形成与诗中的意象和修辞密切相关，译诗的关键便是要完美再现原诗的意象与修辞。许渊冲教授作为诗译英法的唯一人，他提出译诗的“三美”原则，即“意美”最重，“音美”次之，最后“形美”，被广泛地认为是指导古诗翻译的重要原则。而美国著名翻译理论家奈达提出的功能对等理论，强调翻译是“用最自然最贴切的对等语重现原文的信息，首先是意义，其次是风格”。这与许渊冲教授的“三美”原则有异曲同工之妙。
本文通过分析许渊冲教授古诗词的英译本，研究其中意象与修辞的翻译方法。通过收集一定数量的古诗原文和其对应的英译本，分析在意象和修辞翻译中所采用的不同策略，旨在发现其翻译是否达到了功能对等理论的对等效果。在分析讨论之后，我们可以看到大部分的翻译达到了这个效果，并且针对不对等的翻译进行深入地探讨，找出原因。最后，我们可以发现许渊冲教授的古诗词翻译能够基本上重现原诗的意义和风格，体现原诗的意境之美，使译文读者得到了与原文读者基本相同的美的感受。而奈达教授的功能对等理论也可以指导中国古典诗词的翻译，两者结合，必将对古诗翻译做出更大的贡献。