古典诗歌的翻译与欣赏课件.pptx

单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,2021/10/3,#,古典诗歌翻译与观赏,1/41,诗歌是文学灵魂，是最精炼艺术形式。诗歌不但,浓缩了一个民族语言文化精华,，,含有鲜明语言文化特征,，而且是诗人,思想与文字在作品中融为一体产物,。,2/41,中国是诗歌起源最早、最发达国家之一。作为一个既高度浓缩又抽象特殊艺术表现形式,中国古典诗歌在,音律节奏、句法篇章结构、以及意象结构,方面有着区分于其它文化诗歌独一无二特点,堪称艺术精华，不但是中华民族文化艺术结晶,也是世界文学瑰宝。,3/41,佳句观赏,Palindrome 回文,客上天然居，竟然天上客。,雾锁山头山锁雾，天连水尾水连天,4/41,Pun 双关（音义结合）,东边日出西边雨，道是无情却有情。,春蚕到死丝方尽，蜡炬成灰泪始干。,5/41,Antithesis 对偶,樱花红陌上，柳叶绿池边。,云卷云舒适君意，花开花落两由之。,6/41,中国古典诗歌形式之美,诗诗,绮美瑰奇,明月夜落花时,能助欢笑亦伤别离,调清金石怨吟苦鬼神悲,天下只应我爱世间唯有君知,自从都尉别苏句便到司空送白辞,白居易诗,7/41,中国古典诗歌意境之美,采莲子,唐 皇甫松,船动湖光滟滟秋，贪看年少信船流。,无故隔水抛莲子，遥被人知半日羞。,8/41,9/41,为了使西方读者能充分领会悠久中华文明独特文化魅力,一个多世纪以来众多中外译者不懈努力致力于中国古典诗歌翻译。,因为中国古典诗歌本身独特特点及中西语言及文化差异，古诗英译困难重重，这也引发了关于中国古诗乃至诗歌终究,是否可译,争论。,10/41,诗歌是否可译，尤其是中国古典诗歌是否可译一直是一个颇有争议话题。,持不可译论代表当推美国著名诗人罗伯特,弗罗斯特。他曾经断言,“诗歌是在翻译中失去东西”,(Poetry is what is lost in translation),。英国诗人雪莱也持诗歌不可译观点。他在,诗辩,中指出,:“,要想把诗人创作从一个语言输入另一个语言,就像把一朵紫罗兰投入坩埚去找出它颜色和香味组成要素一样是不明智。”,11/41,汉语古典诗歌与英语韵律诗在创造音，形，意美手法上有很大差异，诗歌翻译存在这些差异在翻译过程中就产生了韵律变通，语法转换，文化传递和审美了解上种种障碍。,12/41,在我国潜心于中国古诗外译研究中耳熟能详当代著名翻译家就有,吕叔湘、翁显良、丰华瞻、孙大雨、杨宪益、丁祖馨、许渊冲,等人。他们经过自己精妙优美译文，愈加深入地向西方译介博大精深中国文化，使中国古典诗歌翻译得到了深入发展。,13/41,在西方，也有诸如Arthur Waley,H.A.Giles,Ezra Pound 等译者致力于中国古诗英译工作。,14/41,何满子 张祜,故国三千里，深宫二十年。,一声,何满子,，双泪落君前。,Home-sick a thousand miles away,Shut in the palace twenty years.,Singing the dying,swans sweet lay,Oh!How can she hold back her tears.,（许渊冲译文）,15/41,春怨 金昌绪,打起黄莺儿，莫教枝上啼；,啼时惊妾梦，不得到,辽西,。,16/41,打起黄莺儿，莫教枝上啼；啼时惊妾梦，不得到,辽西,。,Oh,drive the golden orioles,From off our garden Tree!,Their warbling broke the dream wherein,My lover smiled to me.,-Fletcher译,17/41,打起黄莺儿，莫教枝上啼；啼时惊妾梦，不得到,辽西,。,Drive the orioles away,All their music from the trees.,When she dreamed that she went to Liao-his,To join him there,they wakened her.,-Bynner译,18/41,打起黄莺儿，莫教枝上啼；啼时惊妾梦，不得到,辽西,。,Drive orioles off the tree,For their songs awake me,From dreaming of my dear,Far off on the frontier.,-许渊冲译,19/41,送友人,唐李白,青山横北郭，白水绕东城。,此地一为别，孤蓬万里征。,浮云游子意，落日故人情。,挥手自兹去，萧萧班马鸣。,20/41,送友人,Taking Leave of a Friend,Farewell to a Friend,21/41,青山横北郭，白水绕东城。,Blue mountains to the north of the walls，,White river winding about them;（Pound）,Green mountains bar the northern sky;,White water girds the eastern town.,（许渊冲）,22/41,此地一为别，孤蓬万里征。,Here we must make separation,And go out though a thousand miles of dead grass.,Once here we sever,you and I,Youll drift like lonely thistledown.,23/41,浮云游子意，落日故人情。,Mind like a floating wide cloud，,Sunset like the parting of old acquaintances,With floating cloud youll float away;,Like parting day Ill part from you.,24/41,挥手自兹去，萧萧班马鸣。,Who bow over their clasped hands at a distance.,Our horses neigh to each other as we are departing.,Waving your hand,you go your way;,Our steeds still neighs,Adieu,adieu!,25/41,鸟鸣涧 王维,人闲桂花落，夜静春山空。,月出惊山鸟，时鸣春涧中。,中国画中考究诗情画意，王维把画与诗相互融会贯通，其诗平实而简远，其画韵味含蓄而丰富,26/41,鸟鸣涧,The Dale of Singing Birds,Birds Sing in the Ravine,27/41,人闲桂花落，夜静春山空,I hear osmanthus bloom fall unenjoyed;,When night comes，hills dissolved into the void（许渊冲）,Leisured People see the osmanthus blossoms fall，,Night is quiet，the spring mountain empty（Bynner）,28/41,月出惊山鸟，时鸣春涧中,The rising moon aroused birds to sing;,Their fitful twitters fill the dale with spring,The sudden moon alarms the mountain birds,Singing sporadically in the spring ravine,29/41,登 高 杜甫,风急天高猿啸哀，渚清沙白鸟飞回。,无边落木萧萧下，不尽长江滚滚来。,万里悲秋常作客，百年多病独登台。,艰难苦恨繁霜鬓，潦倒新停浊酒杯。,杜集七言律诗第一,古今七言律诗之冠,30/41,风急天高猿啸哀，渚清沙白鸟飞回。,联不但上下句相对,而且更难得是句内又自成对偶，对得精工细巧,却又似自然天成,意象纷呈,语义绵密,几乎一字一景,令人产生目不暇接审美感受。这种“本句自对,而又两句相对”对仗格式增加了诗句密度与容量。从写作角度看,上句仰视对下句俯视,上句听觉对下句视觉。,31/41,无边落木萧萧下，不尽长江滚滚来。,颔联两句,词类、词组、平仄俱对得天衣无缝。,32/41,万里悲秋常作客，百年多病独登台。,艰难苦恨繁霜鬓，潦倒新停浊酒杯。,颈联与尾联词性相对,词意相承。,整首诗看来，律诗要求,只要中间两联对仗,首尾两联不作要求,但杜甫此诗却通篇皆对,在对仗和声韵上可谓登峰造极,给读者带来友好视觉和听觉审美满足。,33/41,登高,Climbing the Height,View from a Height,34/41,风急天高猿啸哀，渚清沙白鸟飞回。,The wind so swift,the sky so steep,sad gibbons cry;,Water so clear and sand so white,backward birds fly.（许渊冲）,Gusty gorge,lofty sky.Gibbons sadly cry.,Clear-cut islets,white sands.Blown birds fly.（朱纯深）,35/41,无边落木萧萧下，不尽长江滚滚来。,The boundless forest sheds its leaves shower by shower,The endless River rolls its waves hour after hour,Leaves fall rustling down boundless the wood;,Rolling waters flow on the Yangtze endless.,36/41,万里悲秋常作客，百年多病独登台。,Far from home in autumn,Im grieved to see my plight;,After my long illness,I climb alone this height,Away from home,a soul roving in vast autumnal mood,Alone up here,a body haunted by years of illness.,37/41,艰难苦恨繁霜鬓，潦倒新停浊酒杯。,Living in hard times,at my frosted hair I pine,Pressed by poverty,I give up my cup of wine.,In my hair the frost of biting time creeps up,While poverty withholds my humble cup.,38/41,为了尽可能表示古诗词原意，在译文中到达艺术和社会真实，在翻译时，译者首先必须了解诗词作者所处历史背景，体会诗词作者生存环境，深刻了解古诗词涵义。,39/41,其次，译者必须按照原作描绘，以整个灵魂，以全部感官去洞察生活。他必须看见、听见、嗅到、触摸到、感觉到原作中所反应生活。这就要求译者必须能洞察原作中反应社会生活历史详细性和本质特征及原作格调。,40/41,第三，译者必须善于用准确、明了、有色彩字样，再现原作中意境。这就要求译者在翻译古诗词时，必须重新进行艺术构思，尽可能再现原作丰富意境，并赋之以完美语言形式。,41/41,