从“三美”角度看《古诗十九首》中叠字的英译

发布时间：2018-06-14 17:44

本文选题：《古诗十九首》 + 叠字　；参考：《中南大学》2010年硕士论文

【摘要】：叠字被称为“人类童年时期的语言”,起源于人类模仿的天性和与生俱来的节奏感,它形式整齐、音节和谐、表意生动,是中国古典诗歌中广泛使用而又独具特色的修辞手段。叠字的运用,也是被誉为“五言之冠冕”的《古诗十九首》最为突出的特点之一,它不仅具有整齐的形式美,曲折回环的音乐美,还具有反复低徊、深致婉转的情感意象美,是形美、音美和意美的完美结合,使诗歌具有“一字千金”的力量。许渊冲提出了诗歌翻译的“三美”理论,认为中国古典诗歌是“意美”、“音美”和“形美”的完美结合,翻译中应尽可能地再现原诗的“三美”。这一理论具有深厚的历史文化渊源,抓住了中国古典诗歌最本质的特点：意美、音美和形美,抓住了诗歌翻译的本质：最大限度地体现这“三美”,对诗歌翻译产生了巨大影响。本文从“三美”角度出发,对《古诗十九首》中二十三个全译或选译本的叠字翻译进行对比研究,在探析古诗中叠字的形美、音美和意美的基础上,讨论如何在翻译中再现原诗中叠字的形美和音美,同时又最大限度地保留叠字的意美。本文首先介绍了叠字的定义、起源和功能,并对叠字翻译特别是古诗中的叠字翻译现状进行了概括,然后对“三美”理论的具体内容、历史渊源以及“三美”的可译性进行了探讨。由于《古诗十九首》强烈的艺术魅力和对中国古典诗歌的巨大影响,许多译者全部或部分翻译了《古诗十九首》。本文随后对《古诗十九首》及其英译本进行了介绍,并在此基础上对多个英译本的叠字翻译进行了分析,讨论了再现叠字的形美、音美和意美的不同方式,指出叠字的“意美”可以通过保留叠字意象、替换叠字意象、舍弃叠字意象等方法进行再现；叠字的“音美”可以通过以拟声译拟声、头韵、尾韵、腹韵等形式进行再现；叠字的“形美”可以通过以叠字译叠字、空间安排、替换叠字形式等方法得到再现。翻译中叠字“三美”的再现对诗歌“三美”的再现具有重要意义。《古诗十九首》的二十多种译本证明,译者可以使用各种手段,最大限度地再现原诗中叠字的形美和音美,同时最大限度地传达其意美。
[Abstract]:The repetition of characters is called "the language of human childhood", which originates from the nature of human imitation and the inherent rhythm. It has a neat form, harmonious syllables and vivid ideographic meaning. It is a widely used and unique rhetorical device in Chinese classical poetry. The use of reduplicated characters is also one of the most prominent features of the Nineteen Ancient Poems known as "the Coronation of the five characters". It has not only the beauty of neat form, the musical beauty of twists and turns, but also the beauty of emotional imagery that is repeatedly low and deep and graceful. It is the perfect combination of beauty of form, beauty of sound and beauty of meaning, which makes poetry have the power of "one word a thousand gold". Xu Yuanchong puts forward the theory of "three beauties" in poetry translation, which holds that Chinese classical poetry is a perfect combination of "beauty of meaning", "beauty of sound" and "beauty of form", and that the "three beauty" of the original poem should be reproduced as much as possible in translation. This theory has a profound historical and cultural origin, which captures the most essential features of Chinese classical poetry: the beauty of meaning, the beauty of sound and the beauty of form, and the essence of poetry translation. It has a great influence on poetry translation. From the angle of "three beauties", this paper makes a comparative study on the translation of the 23 complete or selected versions of the Ancient Poems, on the basis of the analysis of the beauty of the form, the beauty of the sound and the beauty of the meaning of the reduplicated characters in the ancient poems. This paper discusses how to reproduce the beauty of form and sound of the reduplicated characters in the original poem in translation, while preserving the beauty of the meaning of the reduplicated characters to the maximum extent. This paper first introduces the definition, origin and function of reduplicated characters, and generalizes the present situation of reduplicated characters translation, especially in ancient poetry, and then introduces the concrete contents of the "Sanmei" theory. The historical origin and translatability of the three beauties are discussed. Because of the strong artistic charm of Nineteen Ancient Poems and their great influence on Chinese classical poetry, many translators have translated the Nineteen Ancient Poems in whole or in part. On the basis of the introduction of Nineteen Ancient Poems and their English versions, this paper analyzes the reduplicated translation of several English versions, and discusses the different ways of reproducing the beauty of the form, the beauty of sound and the beauty of meaning. It is pointed out that the "beauty of meaning" of reduplicated characters can be reproduced by retaining the image of reduplicated characters, replacing the images of reduplicated characters and abandoning the image of reduplicated characters, while the "beauty of sound" of reduplicated characters can be reproduced in the form of onomatopoeia, alliteration, ending rhyme, ventral rhyme and so on. The beauty of reduplicated characters can be reproduced by means of rewriting, spatial arrangement and replacement of reduplicated characters. The reproduction of the reduplicated word "Sanmei" is of great significance to the reproduction of the poem "Sanmei". The more than twenty versions of the Nineteen Ancient Poems prove that the translator can use various means to maximize the reproduction of the beauty of the form and the sound of the reduplicated characters in the original poem. At the same time, to the maximum extent of its sense of beauty.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：H315.9;I046

【参考文献】