从翻译美学角度比较许渊冲和翁显良的汉诗英译策略  

A Comparative Study of the C-E Poetry Translation Strategies of Xu Yuanchong and Weng Xianliang in the Light of Translation Aesthetics

作　　者：张紫涵 ZHANG Zihan(Civil Aviation University of China,Tianjin)

机构地区：[1]中国民航大学外国语学院,天津

出　　处：《译苑新谭》2023年第2期186-193,共8页New Perspectives in Translation Studies

摘　　要：在中国,古诗英译的理论主张主要分为两类,一类是许渊冲主张的三美论,即意美、音美和形美;另一类则是翁显良教授主张的散体译诗,即以散文诗体和白描手法翻译中国古诗。从流传范围和接受程度来看,目前受众最广的理论当属许渊冲倡导的三美论,其汉诗英译作品也被誉为翻译的经典。相比之下,翁显良主张的散体译诗理论,传播范围较窄,接受程度偏低。然而,三美论可以在翻译实践中得到真正意义上的践行吗?三美论是诗歌翻译的唯一原则吗?散体译诗理论是否有值得借鉴之处呢?本文试结合翻译美学理论,从译文的形式美和意境美两个方面分析许渊冲和翁显良的汉诗英译作品,探讨两种截然相反的译论指导下,译诗在传达诗歌美之时的优势和局限性,借此分析译者在汉诗英译中应遵循怎样的标准,以及如何实现译诗对原作的审美再现。In China,there are two kinds of theories on the translation of ancient Chinese poems.The most popular one is the theory of three beauties proposed by Xu Yuanchong,which can be further elaborated as the beauty of meaning,the beauty of sound and the beauty of form.The other one is the free-style poetry translation theory advocated by Weng Xianliang,which aims to translate ancient Chinese poetry in the form of free verse.Compared with the free style translation theory,the three beauties theory is more popular and more acceptable,and Xu’s translations are commonly rated as translation classics.However,is the theory of three beauties fully practicable in the translation of ancient Chinese poems?Is the theory of three beauties the only rule of poetry translation?Is there anything worth learning from the free-style translation theory?In order to answer these questions,this paper attempts to analyze Xu Yuanchong’s and Weng Xianliang’s Chinese-English translation works from the perspectives of beauty in form and beauty in content,so as to explore the advantages and limitations of the two different poetry translation theories,and to discuss which strategies should be followed by the translators in order to fulfill the reproduction of the original Chinese poems in the light of aesthetics.

关 键 词：三美论 韵体译诗 散体译诗 翻译美学 

分 类 号：H315.9[语言文字—英语] I046[文学—文学理论]