戴望舒译诗的忠实性与创造性——以魏尔伦的《秋歌》为例  

The faithfulness and creativity of Dai Wangshu’s poetry translation——Based on the example of Verlaine’s“Chanson d’automn”

作　　者：吴杨[1,2] Wu Yang(School of Literature,Liaoning Normal University,Dalian 116081,China;School of AdvancedTranslation and Interpretation,Dalian University of Foreign Languages,Dalian 116044,China)

机构地区：[1]辽宁师范大学文学院 [2]大连外国语大学高级翻译学院

出　　处：《辽宁师范大学学报（社会科学版）》2019年第6期134-140,共7页Journal of Liaoning Normal University(Social Science Edition)

摘　　要：魏尔伦的法语诗歌音乐性强,朦胧含蓄,因此在翻译时会损失很多原诗的音乐特色。他的《秋歌》是被选编和重译最多的一首诗,因其音乐性具有极强的抗译性。这首诗的5个具有代表性的平行译本都在竭力实现诗歌从"形"到"神"的完美演绎。戴望舒的译诗从译诗形式选择、语音的传达、节奏的再现3个方面论证了戴望舒译诗对原诗"形和神"的忠实再现,并深度挖掘译者文化意识和个人感受的介入,从而证明译者创造性发挥所产生的经典价值。French Poet Paul Verlaine’s poems are known for their musicality and obscurity and when translated,are likely to lose their original flavor.His"Chanson d’automn",one of the most anthologized and retranslated poems,proves almost untranslatable for its musicality.The five translations of this poem all strive to achieve the perfect representation of its original form and spirit.Dai Wangshu’s version is not only faithful to its form and spirit in three aspects:in the form,pronunciation and rhythm,but also a creative expression of the translator’s own cultural awareness and personal style,achieving its classical value.

关 键 词：音乐性 形和神 忠实性 创造性 

分 类 号：I22[文学—中国文学] H159[语言文字—汉语]