大学英语专业毕业论文论庞德英译汉诗中意象的翻译 王萍.docx

大学英语专业毕业论文论庞德英译汉诗中意象的翻译 王萍.docx

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大学英语专业毕业论文论庞德英译汉诗中意象的翻译王萍

.Introduction

Poetry,themostcorepartincultureandtheexpressionofthebestideasandcomments,iscreatedbythehuman.Chineseclassicalpoetryhasconciselanguage,plentifulemotion,abundantimagination,deepmeaning,exquisiterhythmanduniqueartisticconception.Poetryhasn’tnationalboundaryforculturesaremeltedwitheachother.Languagebecomesthetoolforconversionsofculture.Therefore,thetranslationbecomesverysignificantinculturalexchanges.Chineseandwesterncultureshadbegunlongtimeago.Oneofthemostdramaticmutualexchangesandlearningoccurredatthebeginningofthe20thcentury,especiallyinthefieldofpoetry.Inordertoreformtheformerpoem’sstyleinthattime,thewesternpoetsinneweralaunchedimagistpoetrymovement.Pond,asatheoristandorganizer,contributedtotheimagisticversedevelopmentandplayedamajorrole.Hebecameoneoftheindisputablefoundersofmodernismpoetry.Inaddition,PoundwasinfluencedbyChinesecultureandChineseclassicalpoetry.EzraPoundhadacloserelationshipwiththeChinesecultureandpoetryandmadeaspecialsignificantcontributioninpoetrytranslation.

Nowadays,communicationbetweenChineseandwesterncultureismoreandmorefrequent.Atpresent,researchesontheChineseclassicalpoetryaremainlyfromtheperspectiveoflanguage,cultureandtheliterature.Forexample,LiLi’sIntroductiontotheImageProcessinginTranslatingTangPoetryintoEnglishfromthePerspectiveofCulture,JiangYi’sObservationontheImageProcessingintheTranslationofChinesePoetryfromtheAngleofKnewLanguageandsoon.However,itisrelativelyinsufficienttostudyimagefromtheprspectiveoftranslation.Mostpapersstressontherhythm’stransferofthetangpoetryinasmallnumberoftheChinesepoetry’stranslation.Forinstance,YaoQiaomei’sCommentonthetranslationof‘TheBookofSongs•XiaoYa”----ExampleofCaiWeifromtheRhythm’sFeaturesofPoetrydescribesrhythmofpoetry.

TheEnglishtranslationofChinesepoetryhasmadeavarietyofattemptsandtheories.ButPound'spointofviewisveryuniqueanditisessentialtothedevelopmentofmodernpoetry.ThroughEzraPound’sanalysisontheimageinChinese-Englishtranslation,thisarticlemainlyaimstoexplorePound’simagedifferencesbetweenChinaandtheWestinpoetryaswellastheprocessingofimageinChinesepoetry,whichreflectsPound’suniquestyleinChinese-EnglishtranslationofChinesepoetry.FromanalyzingPound’stranslationofimagistpoetryandexploringtheaestheticvalueandspecialstyleofpoetry,thearticleattemptstoreachtwotargets.Firstly,itaimstoobjectivelystrengthenthebeautyofimagebetweenChinesepoetryandWesternpoetryincommunication,integrationanddevelopment,whichopensupabroadroadforthetranslationofimageryinChinesepoetry.Secondly,itaimstoinspirethetranslatortoobtainthebesteffectofimageryinpoetictranslation,whichhelpsthereadertobeaffectedbyartisticconceptionandromanticcharmofpoetryimagery.

.ImagismandImagistPoetry

2.1MovementofImagistPoetry

Whitman’sdeathmarkstheendoftheAmericanromanticpoetry,thepoetrybottomedoutwithhisdeath.Intheearly20thcentury,amovementcameintobeingtopushforwardpoetryinthemodernBritishandAmericanpoetry.Underthebackwashofthedecadentmood,excessivewordypoetryandemotionalcatharsisappearedattheendofthe19thcentury.AgroupofBritishandAmericanpoetscombinedtheorientalart（e.g.ChineseclassicalpoetryandtheJapanesehaiku）withwesternempiricism.Atthesametime,theyreferencedtomethodsofmodernpaintingandsculptureaswellaslaidthefoundationforthebirthofimagistpoetry.

TheimagistmovementoriginatedinLondon,then,spreadtotheUnitedStatesandtheSovietUnion.Sevenrepresentativesemerged,fourAmericanpoets（pound,H•D,Lowell,Fletcher）andthreeBritishpoets（AlPaddington,F•S•Flint,D•H•Lawrence）.Poundplayedaleadingroleamongthem.In1908,"Poetsclub"inLondonpublishedtheHume'spoetrybooklet----ForChristmasMDCCCCVⅢ,AutumnandACitySunsetwereparticularlyremarkableandtheyareconsideredtobetheearliestimagistpoetry.Then,PoundrecommendedthelatestworksofAlPaddingtonandH•DtoAmericanPoetryJournal.Theyaremodelsofwrittencharacters----“ImagistPoet”.In1912,Poundpublishedpoetryanthology----Ripostesandannouncedafewcommandmentsin1913.In1914,heissuedImagist.UndertheguidanceofEzraPound,theimagistpoetrymovementwaslaunched.

Afterwards,Imagistpoetsallhavemadedevelopmentandchangestodifferentdegrees,buttheyalwaysdidn’tleavethecoreofimage.Thus,imagistmovement'sinfluenceonAmericanpoetrywasextremelydeep,whichavoidedmanydisadvantages.Forexample,mostpoetriesaremuchtooobscure,extremelyeducatedandfilledwithexcessivepsychologicalactivity.Throughtheimagist’srenderingofimagist,itwasconducivethatthehealthydevelopmentofthepoetryundersomebasicprinciplestookrootintheUnitedStatesfield.Althoughtheimagistpoetryhascertainlimitationsonitself,itsmeritsrestoninitiatingmodernistschoolpoetry.T•S•Eliotlookeditasthestartingpointofmodernpoetryinhiswork----AmericanLiteratureandAmericanLanguage.

2.2ImageryandImagistPoetryofPound

EzraPound（1885—1972）isasignificantModernAmericanpoetandcritic.HeisalsotheprincipalrepresentativeofImagism.EzraPoundisthe"blaster"ofAmericanmodernpoetry.Talkingabouthim,wemustrefertohisimagismandimagistpoetry.ThePoemsofImagistwaspublishedbyPoundin1914anditarousedstrongrepercussionsintheBritishandAmericanpoetry.AnditpromotedthedevelopmentofBritainandAmericanmodernpoetrygreatly.Heproposedthefamous"imagetheory"----"Animageisarationalandemotionalcomplexduringaninstantperiod."（“一个意象是在瞬息间呈现出的一个理性和感情的复合体。

”Pound,1987:

108）Hethoughtexplicitandobjectivethings（appearance）aretheinitiativetransformationofmen’sthoughtsatamomentanditformedtheinternalandsubjectivethings（meaning）.Thedefinitionincludesthecoloringphilosophyanditrelatestoobjectivityandsubjectivity,extroversionandintroversionaswellasreasonandemotion.In1908,EzraPoundandHumeproposedimagistpoetryforthefirsttime,andthepoetrywithconcisecharacters,richsentimentandbrightimagehastheobjectivityandeconomyofart.

Aboutthe"imagism",F•S•Flint’sImagismwasreleasedinMarch1913byEzraPound.AndPoundpublishedImagismFollowSeveral“No”atthesametime.Itputforwardthemaintheoryofimagism,includingthefamous"ThreeImagistPoeticPrinciples".Theprinciplewasalsoknownastheguidingprogramofimagistpoetry,namely:

（1）Directtreatmentofthe"thing",whethersubjectiveorobjective.

（2）Touseabsolutelynowordthatdoesnotcontributetothepresentation.（3）Asregardingrhythmtocomposeinthesequenceofthemusicalphrase,notinthesequenceofametronome.（ChangYaoxin,2008:

159）.Thethreeprincipleshavetheirownemphasis,buttheirgoalsareconsistent.Thatistosay,theyavoidedflowerywordsandpainlessmoansinpoetry.Besides,theyreformedpoetrystyleofsadnessanddecadentandestablishedaversewithspecificdescriptionandconciselanguage.Thereasonisthatthereiseconomyandtheobjectivityofartinpoetry.

2.3TheImageDifferencesbetweenChineseandwesternImagistPoetry

“ImageisanaestheticcategoryinitiatedbyChina”（“意象是中国首创的一个审美范畴”GUZuzhao,2000:

119）andtheemphasisonimageryisaninherenttraditioninclassicalChinesepoetry.Chineseclassicalpoetryrevealedalargenumberofspecificanduniqueimages.HuYinglin,whowasafamousscholarintheMingdynasty,heoncesaid"theexcellenceofancientpoetryliesinpursuingimage".（“古诗之妙，专求意象.”GuZhengKun,2004:

6）Indealingwiththerelationshipbetweentwoimages,theChineseclassicalpoetrycontrastsakindoftemperamentandcharmthroughmakinguseofimage.Combinationofsubjectivefeelingsandobjectivethingsformsakindofartisticeffect.Imagistpoetrymostlyhighlightscertaincenterimagethroughcontrastingasetofimagesandproducesadistinctivelyvisualimpacttoexpressakindofinstantlyemotionalexperience.Inthecombinationofimages,Chineseclassicalpoetsarrangeimagegroupsbymainlyrelyingonantithesisandotherpoeticmeter.Whileimagisticpoetsdonotcontinuepoeticmeter,theyemphasizethefreeexpressionofpoetry.TherearegreatdifferencesbetweenChinaandtheWestwhenpoetsprocessasingleimage.ManyimageshavesymbolicmeaninginancientChinesepoetry,butimagismislikelytoavoidusingimagewithsymbolicmeaning.Becauseimagisticpoetsthinkitisimpropertouseexcessiveimageswithabstractmeaning.

.Pound’sRelationtoChineseCultureandPoetry

3.1InfluencesofChineseCultureonPound

Asapoetdeity,Ezrapoundnotonlylefthisnativeplaceinthegeography,butalsoyearnedforitsorientonthespiritualtreasures.HismostimportantpoetriesconsistofadmirationforOrientalsages,appreciationofOrientalartandimitationofOrientalpoetry.HegotmorethanonehundrednotebooksaboutChineseliterature.Pound’srecognitionforChineseculturebeganin1913.PoundwasimmediatelyattractedbyChineseclassicalpoetry.Duringsubsequentdecades,PoundstudiedChinesecharactersandpoetryunceasingly.HispoetrycreationwasprofoundlyinfluencedbycharacteristicsofChinesetraditionalculture.EzrapoundknewancientChinesepoetryandChinesetraditionalculturesbypoet’suniqueintelligence,sohehasanextraordinaryabilitytounderstandChinesecla