1、备注:教学进程一栏可根据教学内容的多少自定页数。第十五讲 融入中国文化的英美诗歌庞德(Ezra Pound, 18851972)的河商妻:一封信(The River-Merchants Wife: A Letter)译自李白的长干行,很多西方读者就是通过这首诗了解到中国古诗的魅力的,此诗常被当成一首庞德的创作,其中从“十四为君妇”到“猿声天上哀”的译文如下:At fifteen I stopped scowling,I desired my dust to be mingled with yoursForever and forever and forever.Why should I cli
2、mb the look out?At sixteen you departed,You went into far Ku-tou-yan, by the river of swirling eddies,And you have been gone five months.The monkeys make sorrowful noise overhead. 李白的长干行对应诗行:十四为君妇,羞颜未尚开。十五始展眉,愿同尘与灰。常存抱柱信,且上望夫台。十六君远行,瞿塘滟淤堆。五月不可触,猿声天上哀。庞德当时并不懂汉语,某些地方的翻译并不到位,如典故“常存抱柱信”就没有译出,只是意译出了部分意思。
3、“五月不可触”原意指五月份的季节里,看见一切都充满生机,而自己独守空房,了无生趣,十分伤心,译文you have been gone five months(你已离开五个月)是错误理解的结果。庞德还翻译了汉武帝的落叶哀蝉曲,名之为Liu Che:The rustling of the silk is discontinued,Dust drifts over the court-yard,There is no sound of foot-fall, and the leavesScurry into heaps and lie still,And she the rejoicer of th
4、e heart is beneath them:A wet leaf that clings to the threshold. 汉武帝的落叶哀蝉曲如下:罗袂兮无声,玉墀兮尘生。虚房冷而寂寞,落叶依于重扃。望彼美之女兮,安得感余心之未宁?庞德的刘彻译文如下:绸裙的窸瑟再不复闻,/ 灰尘飘落在宫院里,/ 听不到脚步声,/ 乱叶 飞旋着,/ 静静地堆积,/ 她,我心中的欢乐,睡在下面。/ 一片潮湿的树叶粘在门槛上。此诗被称为美国象征派诗史上的杰作。特别落叶一句,被称意象叠加法的典范,落叶句成了美国诗史上一个很有名典故。庞德的这种翻译法,也被翻译界称为创造性翻译。1938年,英国诗人奥登(19071
5、973)同小说家衣修武德(Isherwood, 19041986)来到武汉,并去前线采访,他们一个用诗,一个用散文写下了他们在中国的见闻,合作而成战地行一书,于1939年出版。奥登的中国十四行组诗抒发了他对中国的关注,其中一首如下:Far from a cultural centre he was used: Abandoned by his general and his lice,Under a padded quilt he turned to ice And vanished. He will never be perused When this campaign is tidied
6、into books:No vital knowledge perished in that skull;His jokes were stale; like wartime, he was dull;His name is lost for ever like his looks.Though runeless, to instructions from headquartersHe added meaning like a comma whenHe joined the dust of China, that our daughtersMight keep their upright ca
7、rriage, not againBe shamed before the dogs, that, where are waters,Mountains and houses, may be also men. 他被使用在远离文化中心的地方,/ 又被他的将军和他的虱子所遗弃,/ 于是在一件棉袄里他闭上眼睛 / 而离开人世。人家不会把他提起。/ 当这场战役被整理成书的时候,/ 没有重要的知识在他的头壳里丧失。/ 他的玩笑是陈腐的,他沉闷如战时,/ 他的名字和模样都将永远消逝。/ 他不知善,不择善,却教育了我们,/ 并且像逗点一样加添上意义;/ 他在中国变为尘土,以便在他日 / 我们的女儿得以热爱
8、这人间,/ 不再为狗所凌辱;也为了使有山、/ 有水、有房屋的地方,也能有人烟。(查良铮 译)(W.H. Auden: Sonnets from China, XII)这首诗表现了一个英国诗人对普通中国士兵的深切同情,而且他还能充分理解,中国的士兵化为尘,是为了我们的女儿不再为狗所凌辱,能够有一个充满人间烟火的江山田园。女诗人凯莎(Carolyn Kizer, 1925 )在诗歌我这辈子曾经去过的地方(Where Ive Been All My Life, 1984)的第三节,采取主观介入的态度,描写了叙述者在1949年以前,坐火车经过中国的土地,亲眼看见中国的苦难:The train will
9、 glide through fields of rice and men,Bodies like tongs, and glorious genitals,Not alien as Chinese, but Adam-strange.Rejoiced by her first look at naked men,Her soul swims out the window of the train!She goes where newborn daughters clog the creeks;Bank-porticos are strewn with starving rags.Here t
10、he old dragon, China, thrashes, dying.But the ancient, virile music of the raceIs rising, drenched in gongs and howls of dogs.Island, the sighs of walled-up womendreaming of peasants in their prison fields 火车将滑过稻田,掠过那些男人 / 那些像钳子的身体,夺目的生殖器,/ 中国人这样不奇异,亚当的话就怪 / 因为首次看见赤裸的男人而欢欣,/ 她的灵魂游出了火车车窗!/ 她经过那些塞满初生女
11、婴的溪流;/ 银行门廊下挤满了衣衫蓝缕的饥民。/ 在此,中国这条老龙翻滚着,正在死去。/ 但是,这民族古老的、阳刚的音乐 / 正扬起,浸在锣声与狗嚎声中。/ 像孤岛,关在墙里那些女人的叹息 / 她们梦到在牢狱般田地上的农民(钟玲 译)(Carolyn Kizer: from Mermaids in the Basement)雷克思罗斯(Kenneth Rexroth, 19051982)深受中国古典文学的影响,他在1967年发表的长诗心之园园之心(The Hearts Garden the Gardens Heart)的第一段就融入了道德经第六章和诗经国风绿衣:A man ofSixty ye
12、ars, still wanderingThrough wooded hills, gatheringMushrooms, bracken fiddle necksAnd bamboo shoots, listening Deep in his mind to musicLost far off in space and time.The valleys soul is deathless.It is called the dark woman.The dark woman is the gateTo the root of heaven and earth.If you draw her o
13、ut like flossShe is inexhaustible.She is possessed without effort.It was a green jacket, a greenJacket with a yellow lining.When will the heartbreak stop?It was a green jacket, a green Jacket with a yellow skirt.When will the heartbreak go?The evergreen pines grow moreGreen as Spring draws to an end
14、.Yellow rice blades in blue water. 一个六十多 / 的男人,仍旧穿过林木蔚蔚 / 的群山徜徉,采 / 蘑菇,采弯卷的蕨芽 / 采笋,倾听 / 在他脑海深处消失 / 在遥远时空的音乐 / 山谷之灵魂不死,/ 它被称为黑女人。/ 黑女人就是通向 / 天地之根源的大门。/ 如果你向棉线一样拉她 / 她用之不竭。/ 拥有她毫不费力。/ 那是件绿外衣,绿色的 / 外衣和黄色的里子 / 心碎到什么时候会停止?/ 那是件绿外衣,绿色的 / 外衣和一条黄裙子 / 心碎到什么时候会消失? / 常青的松林颜色更 / 绿,当春天快要结束时。/ 黄色秧苗在蓝色水中。(钟玲 译)其实,
15、从The valleys soul is deathless到She is inexhaustible译自道德经第六章:“谷神不死,是谓玄牝,是谓天地根,绵绵若存,用之不勤。”而从It was a green jacket, a green到When will the heartbreak go?则译自诗经国风绿衣:“绿兮衣兮,绿衣黄里,心之忧矣,曷维其已?绿兮衣兮,绿衣黄裳,心之忧矣,曷为其亡?”诗人把“玄牝”译为“黑女人”,表现了诗人母系社会的宇宙观。勃莱(Robert Bly, 1926)另一首无为之诗(Another Doing Nothing Poem)受到道家思想的影响,从内容看,明显采用了庄子逍遥游的比喻:There is a bird that flies through the water.It is like a whale ten miles high!
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