意美、音美和形美——许渊冲诗词翻译的理论与实践

许渊冲在汉语诗词外译的实践中认识到,翻译所涉及的两种语言各有劣势、等势和优势,因此在翻译中可运用浅化、等化、深化手段,力求在意似、音似、形似的基础上传达原诗的意美、音美、形美,从而使译者本人和读者都能知之、好之、乐之.这五个三,加上以诗译诗等原则,构成了许渊冲诗词翻译美学体系,而意美、音美、形美实为该体系的核心.许渊冲诗词翻译美学既来源于实践,更为难能可贵的是,他自己在汉语诗词外译中也一直以一贯之.

Striving for aesthetical excellence in ideology,phonology and morphology： the focal point for Xu Yuanchong＇s poetry translation theory and practice

When translating Chinese poetry into foreign languages , Xu Yuanchong comes to the realization that the two languages involved in translation are each as advantageous as the other, more advantageous or less advantageous that in translating the other. These characteristics of language provide the translator with so much convenience , he can turn to terms less effective than, as effective as or more effective than the original whenever necessary. In turning to such terms, he aims at achieving such an effect that the translated poem will be similar to the original in the aspects of ideology, phonology and morphology. With some po consequently, the translated poem will be aesthetically excellent in terms of ideology, ph lishing touches added, onologyand morpholo- gy. Such a poem will then be eligible, appealing and fascinating both to the translator and the reader. The above theory consists of five elements, each composed of three aspects. And these five elements together with such prin- ciples as the principle that poetry translation should produce a new poem constitute Xu Yuanchong＇ s aesthetic poetry translation theory, in which the idea that the translated poem should be aesthetically sound in terms of idea, phonology and form lies in the focus. From the translation practice, Xu Yuanchong has developed his translation theory. And we appreciate it very much that in his translation of Chinese poems into either English or French, he always observes the translation theory he has developed.