中国古典诗词英文翻译探析——意、韵、形之完美结合

中国古代诗歌的英文翻译中国古典诗歌是世界文化宝库中的一朵奇葩,它既是中国语言的精华,更是中国文化的结晶,其中包含了丰富的隐喻。

隐喻反映文化,中国古典诗歌中的隐喻蕴涵着丰富的文化内涵。

下面是店铺带来的中国古代诗歌的英文翻译，欢迎阅读!中国古代诗歌的英文翻译篇一李颀送魏万之京朝闻游子唱骊歌，昨夜微霜初度河。

鸿雁不堪愁里听，云山况是客中过。

关城树色催寒近，御苑砧声向晚多。

莫见长安行乐处，空令岁月易蹉跎。

Seven-character-regular-verseLi QiA FAREWELL TO WEI WANThe travellers\' parting-song sounds in the dawn.Last night a first frost came over the river;And the crying of the wildgeese grieves my sad heartBounded by a gloom of cloudy mountains....Here in the Gate City, day will flush coldAnd washing-flails quicken by the gardens at twilight --How long shall the capital content you,Where the months and the years so vainly go by?中国古代诗歌的英文翻译篇二崔曙九日登望仙台呈刘明府汉文皇帝有高台，此日登临曙色开。

三晋云山皆北向，二陵风雨自东来。

关门令尹谁能识? 河上仙翁去不回，且欲竟寻彭泽宰，陶然共醉菊花杯。

Seven-character-regular-verseCui ShuA CLIMB ON THE MOUNTAIN HOLIDAYTO THE TERRACE WHENCE ONE SEES THE MAGICIANA POEM SENT TO VICE-PREFECT LUThe Han Emperor Wen bequeathed us this terraceWhich I climb to watch the coming dawn.Cloudy peaks run northward in the three Jin districts,And rains are blowing westward through the two Ling valleys....Who knows but me about the Guard at the Gate,Or where the Magician of the River Bank is,Or how to find that magistrate, that poet,Who was as fond as I am of chrysanthemums and winecups? 中国古代诗歌的英文翻译篇三李白登金陵凤凰台凤凰台上凤凰游，凤去台空江自流。

中国古诗英译评析
中国古诗英译，是将中国古代优美的文言古诗以英语的形式再现的文学表
现形式。

它在西方文化拓展的大背景下，把握历史文化的历史传承，对文明的润泽、熠熠生辉，使源远流长的古诗之美英灵蕴意，纳入到英语文化中。

中国古诗英译，能够很好地满载中国传统文化的蕴涵精髓。

因此，它也是
一种非常宝贵的新兴文学形式，具有重要的文化价值，能够把中国古代文化作品的精髓本质精准地传达给英语群体，对于树立中国文化自信心，推动中西文化的交流有着重要的意义。

要想做好中国古诗英译，必须把握良好的英语语言表达技巧。

此外，在赋
译的过程中，要以正确的态度去体会古诗本身的精髓，获取原作及其主题思想，然后把它们用英文重新构建出来。

英语表达要保持紧凑，内容完整，商榷酌备，还要重视诗的韵律特色，注重穿插虚实，饱满古诗的艺术表现力。

通过做好中国古诗英译，我们可以不仅了解古诗的原作，探究深厚的文化
沉淀，更能学会使用不同的表达方式表达文化思想。

这对于基础教育者来说，是一种双赢的学习经历，他们能够从中受到更多拓展性知识，不断拓宽视野。

英语·“诗者根情、苗言、华声、实意。

”诗有咏景，有抒情，有托物言志，有情景交融，情意一体。

就中国的古诗词而言，其结构严谨，而意群模糊，重在写意。

而英语诗歌在结构上收放自如，在意群上富于层次，重在形体。

要充分理解英译古诗词，就得从汉英两方面着手去把握古诗词朦胧、含蓄、蕴籍的文化内涵。

现以陶渊明的《归去来辞》为例展开赏析，旨在帮助同学们学习英译古诗词，领略语言之美。

归去来辞陶渊明归去来兮！田园将芜胡不归？既自以心为形役，奚惆怅而独悲？悟已往之不谏，知来者之可追，实迷途其未远，觉今是而昨非。

舟遥遥以轻飏，风飘飘而吹衣。

问征夫以前路，恨晨光之熹微。

乃瞻衡宇，载欣载奔。

僮仆欢迎，稚子候门。

三径就荒，松菊犹存。

携幼入室，有酒盈樽。

引壶觞以自酌，眄庭柯以怡颜。

倚南窗以寄傲，审容膝之易安。

园日涉以成趣，门虽设而常关。

策扶老以流憩，时矫首而遐观。

云无心以出岫，鸟倦飞而知还。

景翳翳以将入，抚孤松而盘桓。

归去来兮，请息交以绝游。

世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。

农人告余以春及，将有事于西畴。

或命巾车，或棹孤舟。

既窈窕以寻壑，亦崎岖而经丘。

木欣欣以向荣，泉涓涓而始流。

善万物之得时，感吾生之行休。

已矣乎！寓形宇内复几时，曷不委心任去留？胡为乎遑遑欲何之？富贵非吾愿，帝乡不可期。

怀良辰以孤往，或植杖而耘籽。

登东皋以舒啸，临清流而赋诗。

聊乘化以归尽，乐夫天命复奚疑！Going Home%罗经国译Going home！The land will soon lie in waste①.Why shouldn’t I go home？Since I willingly let my mind be enslaved②bymy worldly desires，Why should I feel remorseful③and sadKnowing that what I did in the past cannot beredressed④，I can still retrieve⑤my mistakes in the future;I have not gone too far on the wrong path，And now I am on the right path of today，notthe wrong one of yesterday.The boat is moving swiftly⑥ahead with the windblowing on my garment，I ask the way from a passer-by and feel sadthat there is yet only a gleam of early dawn⑦.The shabby house is in view in the distance，I run happily towards it.The boy servant comes forward to welcome me，My youngest son is also waiting for me at the gate.Though the paths in the garden have nearlybeen decimated⑧，The pine trees and the chrysanthemums⑨arestill there.Holding the hand of my child，I walk into thehouse，There on the table is wine prepared.I take up the wine vessel and drink alone，Enjoying the view of the trees in the garden.I lean against the south window to indulge inmy lofty meditations⑩，Contented with the ease of living in a smallhouse.I find pleasure in walking in the garden every day，Though there is a gate，it is closed all day.With a staff I roam around輥輯訛，and rest wheneverI feel the need，And at times raise my head to look at thingsin the distance.Clouds drift out aimlessly輥輰訛from behind themountains，Birds will return to their nests when tired.从汉英两方面赏析英译□王贵学特别策划古诗词44英语·It grows dim as the sun sets ，I linger ，stroking the trunk of the solitarypine tree 輥輱訛.Going home ！I will cut off all human relations.Since the world is at odds with 輥輲訛me ，What should I seek by driving out in a carriage I will have intimate talks with my kinsmen 輥輳訛，And forget my miseries by playing on the harp and reading books.Country folks 輥輴訛will come to tell me that springhas come ，And that farm work will begin in the western field.I would either ride on a cart ，or row a smallboat 輥輵訛，Sometimes following a clear and deep stream that leads me to a valley ，Sometimes walking along a rugged and bumpypath 輥輶訛that takes me over a hill.Trees are growing boisterously 輥輷訛，Spring water is flowing smoothly.I envy all things that enjoy the blessings of nature ，And feel miserable that my life will soon be over.Alas 輦輮訛！How many more days can I live on thisearth ？Why not take life as it isWhy do I worry What am I aspiring to 輦輯訛I do not seek wealth and position ，Nor do I desire to live with fairies and gods 輦輰訛.I would go out alone on a fine day ，To cultivate farmland with my staff laidaside 輦輱訛.I would shout aloud on the top of the eastern hill ，And compose poems by clear streams.Welcoming death as part of the vicissitudes 輦輲訛oflife ，I would be contented with what is willed by Heaven.What else do I want一、从汉语角度把握诗歌的原味《归去来辞》是东晋陶渊明的著名辞赋，作于作者辞官归田之初，是一篇述志的作品。

中国古典诗歌英译“三美”再现
作为中国古典诗歌的代表，唐诗是中国文化的一块瑰宝，具有很高的文学价值和美学价值。

而作为世界文学史的的一颗璀璨明珠，唐诗也值得与世界其他国家人民共享。

然而，截止目前，记录在案的中国古典诗歌，仅有小部分被翻译成英文。

在这种情况下，承担起翻译中国古典诗歌的责任，对于翻译者而言，将具有重大的意义。

唐诗，作为中国古典诗歌的代表，是语言中最凝练、最精粹、内涵最丰富的一种文学体裁，是意美、音美和形美统一。

唐诗翻译是综合性的艺术，在译文中应尽可能保持原诗的意美、音美、形美。

因此如何使译语读者充分感受诗歌的意美、音美和形美，获得最大程度上的听觉、视觉和心灵上的享受，成为每一位译者追求的目标。

我国知名翻译大家许渊冲先生，有着五十多年的翻译经验，为我国的古典诗歌翻译的理论和实践都做出重大贡献。

他不仅翻译了大量中国古典诗歌，而且提出了一套行之有效的译诗理论“三美论”(即意美、音美和形美)，为诗歌翻译实践提供了一条切实可行的理论指导。

《长恨歌》是中唐著名诗人白居易的杰作之一。

该诗以安史之乱为背景，以汉乐府为体裁，讲述了唐明皇李隆基和他的挚爱妃子杨玉环之间一个美丽而悲剧的故事。

《长恨歌》是我国古典诗歌中最优秀的长篇叙事诗之一，亦被认为是白居易最成功的作品之一。

本文从“三美”原则出发，以许教授《长恨歌》英译本为研究对象，探究许先生如何在翻译过程中使译本体现原诗的三美，旨在为中国古典诗歌翻译提供一
些借鉴的方法。

《兰亭集序》英文译文的形合与意合探究[摘要] 形合与意合是英汉对比研究以及翻译理论中最重要的课题之一，它不仅是两种语言的显著区别，更是两种思维的不同体现。

以英汉中的形合与意合为理论依据，通过翻译兰亭集序，可对中英文互译提供一定的参考。

[关键词] 英文翻译形合意合一、英文形合与中文意合形合与意合是英汉对比研究中很重要的课题之一，也是英汉翻译理论的研究重点，更被视为这两种语言思维特征的重要区别。

历年来都有学者对这两个概念提出过定义。

中国语言学大师王力（1945）在《中国语法理论》中最早提出了形合与意合的概念。

刘宓庆（1992）在著作《英汉对比与翻译》中把形合与意合定义为：我们这里形合(hypotactic)指借助语言形式手段（包括词汇手段和形态手段）实现词汇或句子的连接。

所谓意合(parataxis)指不借助语言形式手段而借助词语或句子的意义或逻辑联系实现他们之间的连接。

前者注重语句形式上的接应(cohesion),后者注重行文意义上的连贯(coherence)。

1连淑能（1993）在《英汉对比研究》中指出：所谓形合(hypotactic)，指的是句中的词语或分句之间用语言形式手段（如关联词）连接起来，表达语法意义和逻辑关系。

……所谓意合，指的是词语或分句之间不用语言形式手段连接，句中的语法意义和逻辑关系通过词语或分句的含义表达。

汉语造句少用甚至不用形式连接手段，注重隐性连贯，注重逻辑事理顺序，注重功能、意义，注重以神统形。

2英语强调句子形式，注意显性接应，多采用形合法遣词造句。

强调运用各种形式手段，如关系词、连接词、介词以及其他的连接手段连接词语、分句或从句。

句子组织严密、结构完整。

注重以形显义。

（1）when I try to understand what it is that prevents so many Americans from being as happy as one might expect, it seems to me that there are two causes, of which one goes much deeper than other.英文中，使用了大量的关系词和连接词，如when, what, that, as, as, that, which。

重庆大学硕士学位论文英译中国古典诗词中的意象翻译研究姓名：许敏申请学位级别：硕士专业：英语语言文学指导教师：姜治文20050401摘要诗歌是语言的精华，而意象是诗歌的灵魂。

意象的传译是古诗英译中传达“意美”的关键。

本论文立足中国传统的意象理论，结合中外学者从意象角度研究诗歌翻译的成果，对英译中国古典诗词中意象的可译性, 翻译原则和策略进行了初步的系统研究。

第一章为引言。

中国古典诗歌英译已有百年以上的历史，在此实践基础上诗歌翻译研究者们主要从三种途径对诗歌翻译进行了研究，即语言学途径，文化途径和诗学途径。

本文立足诗学中的意象研究成果，结合语言和文化因素对中国古典诗歌英译中的意象翻译进行研究。

第二章是文献综述。

分别回顾了中国和西方传统文论中对意象概念的阐释和论述，接着就中国学者对诗歌中的意象翻译研究现状进行了综述。

在此基础上作者分析了现有研究存在的有待解决的课题以及本文所采用的研究视角。

第三章全面描述中国古典诗歌中的意象。

在总结中外学者有关意象概念的论述的基础上，作者对本文提到的意象概念进行了界定，强调本文主要讨论的意象概念是已经物化成语言符号的饱含诗人思想感情的诗歌形象，而非诗人创作构思时出现在头脑中的“意中之象”。

后者与诗人的形象思维密切相关，但只是作为本研究立论的基础，而非讨论的重点所在。

为使读者对意象概念的理解更加全面和深入，文章对其分类和功能进行了阐释。

第四章讨论意象的可译性及其限度。

意象从总体上说是可译的，中英诗歌中运用意象的共同传统构成了意象可译性的实践基础。

本文文献综述中所提双方对意象的重要论述则是其理论基础。

本世纪二十年代兴起的英美意象派对中英诗人产生的巨大影响同样证明了双方在意象层面上进行交流的可能性。

但由于中英文化差异，其可译性又是具有一定限度的。

文章从文化角度讨论了难译或不可译的意象。

第五章探讨意象翻译的原则和策略。

许钧教授提出了翻译可以分为思维，语义和审美三层次的观点。

诗人和读者头脑中形成的意象是诗歌创作和欣赏的思维单位，而物化成语言符号的意象则是中国古典诗歌的意义单位和审美单位，在翻译意象应当遵循意义对等和意象审美功能对等的原则。

中国古代诗词英文翻译但愿人长久，千里共婵娟。

We wish each other a long life so as to share the beauty of this graceful moonlight, even though miles apart.独在异乡为异客，每逢佳节倍思亲。

A lonely stranger in a strange land I am cast, I miss my family all the more on every festive day.大江东去，浪淘尽，千古风流人物。

The endless river eastward flows; with its huge waves are gone all those gallant heroes of bygone years.二人同心，其利断金。

If two people are of the same mind, their sharpness can cut through metal.富贵不能淫，贫贱不能移，威武不能曲，此之谓大丈夫。

It is a true great man whom no money and rank can confuse, no poverty and hardship can shake, and no power and force can suffocate.海内存知己，天涯若比邻。

A bosom friend afar brings distance near.合抱之木，生于毫末，九层之台，起于累土；千里之行始于足下。

A huge tree that fills one’s arms grows from a tiny seedling; a nine-storied tower rises from a heap of earth; a thousand li journey starts with the first step.祸兮，福之所依；福兮，祸之所伏。

英语毕业论文Beauty in sound, form and sense in Poetry Translation—— Translation of Classical Chinese Poetry From Chinese to English中国古典诗歌英译的音美、形美和意美AcknowledgementsI would like to express my gratitude to all those who helped me during the writhing of this dissertation. A special acknowledgement should be shown to Mr. Zhang, my supervisor, who benefited me a lot, not only in selecting the subject but also in the writing process such as in the essay conception and essay structure. Moreover, I wish to extend my thanks to all the classical Chinese poets and famous poetry translators since I have quoted a lot of their works and words in supporting my argumentation, without these quotations, my dissertation would absolutely lack in proof. Finally, I would like to give my cordial thanks to our university’s library, from which I borrowed a lot of useful reference materials.Contents1．Introduction ... ... ... ... ... ... ... ... ... ... ... ... ... ... (1)2 . Beauty in sound ... ... ... ... ... ... ... ... ... ... ... ... ... (1)3. Beauty in form ... ... ... ... ... ... ... ... ... ... ... ... ... (5)4. Beauty in sense ... ... ... ... ... ... ... ... ... ... ... ... ... (8)4.1 False translation of a famous line ... ... ... ... ... ... ... (8)4.2 Translation of “puns”... ... ... ... ... ... ... ... ... ... (9)4.3 Translation of narrative poetry... ... ... ... ... ... ... ... (11)4.4 Contemporary on poetry translation that incurred controversialcomments ... ... ... ... ... ... ... ... ... ... ... ... ... ... (13)5. Conclusion ... ... ... ... ... ... ... ... ... ... ... ... ... ... (14)References ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... (16)AbstractAbstract: Classical Chinese poetry, the gem of the Chinese culture and civilization with a long history of three thousand years, is a unity of sound, form and sense. Yet the translated versions usually cannot carry the equal effect and beauty of the original due to the translators’ lack of skill, the dif ferences between the Chinese language and the English language and the inherent differences of cultures and civilizations between the two nations. A poetry translator should not be satisfied with the mere conveying of the original meaning to the target language, but must strive for the preservation and reproduction of the original beauty in sound, form and sense to the utmost degree so as to best bring out the artistic and musical beauty of the original. In this essay, account is given to each of the three aspects, namely, beauty in sound, beauty in form and beauty in sense separately. Beauty in sound mainly consists of beauty in rhythm and beauty in rhyme; beauty in form refers to the regularity of length of poem lines and the syllables each line contains; beauty in sense, the most important element of a poem, lies in the faithfully and artistically conveying of the meaning of the original, which requires the translators’ grasp of the classical Chinese literary history and thorough understanding of the context of the original. On this point, the author further divides her argument into four parts. The first part is about several ridiculous English versions of the famous immortal line “烟花三月下扬州“ of Tang poet Libai ; The second part is on the translation of “puns”. To illustrate this point, the author takes two Tang poems as examples, they are respectively Li Shangyin’s “…春蚕至死丝方尽…” and Liu Bingxi’s “…道是无晴却有晴…”; the third part focuses on th e translation of narrative poetry and the author selects the mistaken translations of three lines of Bai Juyi’s 《长恨歌》as examples and gives analyses on the mistakes made; The fourth part is about poetry translations that irritate controversial comments. Last but not least is the conclusion of this dissertation, the author unites the three aspects given before into a unity and claims that a good poetry translation should be the preservation and reproduction of the three aspects of the original. Yet due to the formidable barriers in achieving this perfection, sometimes it’s inevitable to sacrifice one aspect for another less important.Key words: classical Chinese poetry beauty in sound beauty in form beauty in sense摘要中国古诗有着三千年历史，是中华民族与文化的精华，它是声、形、意三者的和谐统一。

“形”“神”兼备,从翻译美学看中国古诗英译诗歌是音、形、意完美结合的艺术整体。

中国古诗更是如此。

对中国古诗的翻译存在着两种截然相反的观点。

中国古诗是否可译，是这两种观点争论的焦点。

其一认为诗是不可译的。

根据美国诗人弗洛斯特对诗歌的定义：诗就是在翻译中失去的东西（Poetry is what gets lost in translation）来看，中国古诗音韵优美、精炼隽永、意象鲜明，音韵节拍和平仄形成了几乎不可能在另一种语言里再现的难度。

如果译文不能再现原诗的音律和意象，必然难以反映原文的风貌，从而失去原文的情趣。

与此相反的观点则是，如果是真正的诗，通过翻译也依然是诗，因为诗应该是在翻译中保留下来的东西；真正的诗具有永久的生命，不仅时间的流逝不会使其磨灭或消亡，不同的语言亦不会形成理解的障碍。

它会世代相传，源远流长。

因此，许许多多中国古诗被翻译成多种文字，并享有世界声誉。

一、“形”与“神”的内容与关系在讨论中国古诗英译中的“形似”和“神似”前，我们认为应当先明确“形”与“神”的内容和关系。

在《“形”与“神”辩》中，许钧认为，“形”，在翻译活动中（当然也包括诗歌翻译），最主要的是指“语言”。

而“形变”，则是我们通常所说的“语言的转换”，这种转换是不可避免的，音的变化，形的改变，音形义结合的方式也要改变。

陈西滢把文学翻译中的“形”主要归结于“字”与“句”；在他看来，所谓“形似”的翻译，就是“字比句次”的翻译。

（陈西滢，1984）许渊冲则对“形”有两种理解：一是语言层次的“形”，如词语的形式、句法形式等；二是言语层次的“形”，如语言的表现方式和表达方式。

(许渊冲，2003) 傅雷对“形似”中的“形”没有明确的界定；但从《致林以亮论翻译书》和《〈高老头〉重译本序》中，我们可以发现傅雷所说的“形”主要包括“原文字面，原文句法”以及“文字词类”、“句法构造”、“文法”、“修辞格律”和“俗语”等。

（傅雷，2006）由此看来，这些方面主要还是属于“语言文字”层次的“形”。

诗歌翻译中的“意、音、形”之美——唐诗《江雪》四种英译的对比分析I. IntroductionPoetry is an important part of Chinese culture, and translating its beauty has been a challenge for translators for centuries. "Yi, Yin, and Xiang" is the beauty of poetry that involves the three aspects of meaning, sound, and form. The Tang poem "Jiang Xue" ("River Snow") is a perfect example of such poetry and it has been translated into English many times. In this paper, I will compare four versions of "Jiang Xue" and analyze how each version conveys the aesthetics of "Yi, Yin, and Xiang".II. Translation by Arthur WaleyThe first version of "Jiang Xue" was translated by Arthur Waley in 1916. He mainly focused on meaning, with less attention to sound and form.The poem starts:"In shivering winter days of snow the swift river does not pause./A thousand boats, their sails all still, take flight upon its snowy face." The translator attempts to maintain the original cadence by using two verbs in each line, but he does not preserve the six-character pattern that is typically used in classical Chinese poetry. Instead, he opts for a simpler four- or five-character structure. Waley also includes a few words to describe the scenery: "shivering", "swift", and "flight". These words help to provide a vivid image of thescene.III. Translation by William DolbyThe second version of "Jiang Xue" was translated by William Dolby in 1919. This is the most literal translation of the poem and remains closest to the original meaning.Dolby captures the meaning of the poem while also preserving its six-character pattern:"Cold snow-days -- river flows without ceasing/A thousand vessels -- all their sails unloosening, in flight."He uses phrases from the original Chinese language such as "cold snow-days" and "unloosening" to emphasize the meaning, but does not add any new words of his own.IV. Translation by Kenneth RexrothThe third version of "Jiang Xue" was translated by Kenneth Rexroth in 1953. This version is considered one of the most beautiful English translations of "Jiang Xue".Rexroth preserves the six-character pattern and adds more colorful language to describe the image of the snow-covered river: "Frigid days, snow when the river never ceases,/A thousand boats, sails unfurling, streaking the white."He also uses alliteration with the letter “f”, as well as imagery like “streaking the white”, to bring out the beauty of the poem.V. Translation by Burton WatsonThe fourth version of "Jiang Xue" was translated by Burton Watson in 1965. This version is praised for accurately conveying the beauty of the Chinese original.Watson captures the beauty of the poem and makes use of English alliteration to bring out more of the musicality of the poem:"Frosty days, river continuous,/A thousand boats, sails all unfurling, flying white."He focuses more on the sound of the poem rather than the meaning, and his translation preserves the harmony and rhythm of the original poem.VI. AnalysisAll four translations of "Jiang Xue" have merits and drawbacks. Waley's version is the most loosely translated of the four, with words added to give a better picture of the scene. Dolby's versionis an extremely literal translation which is true to the original meaning. Rexroth's version emphasizes the beauty of the poem but sacrifices some of the meaning of the original. Finally, Watson's version is the most faithful to the sound of the original poem but does not capture the full meaning.Overall, each translation has successfully conveyed the beauty of "Yi, Yin, and Xiang" in its own way. Waley's translation captures the vividness of the scene, Dolby's translation conveys the original meanings, Rexroth's translation emphasizes the beauty of the poem, and Watson's translation captures the musicality of the poem.VII. ConclusionTranslating the beauty of "Yi, Yin, and Xiang" in Tang poetry is a difficult task, and each translation has both strengths and weaknesses. The four translations of "Jiang Xue" discussed in this paper have all effectively conveyed this beauty in their own ways, and it is up to the reader to choose which translation they prefer.。

- 245 -校园英语 / 翻译研究from ”, “is manipulated ”和“is controlled ”。

切不可将“受”在译文中以同一词概括。

应在不同的分句中采用不同的动词，并通过“which ”引导的从句将其连接。

在语篇的连贯性上，要把握原文的层次脉络，只有在原文理解充分的基础上，依据原文的连贯模式和规律重新组句，才能保证译文的连贯性。

3.建空间。

建空间是针对文本的整体意义而言的。

建空间，在理论上，指在去字梏、重组句的基础上，为目的语读者建立一个新的文本。

阅读新文本时，达到想象空间。

让读者通过译文与作者建立起对话的关系，在阅读和交流中领悟到“意思”，品尝到“味”。

例如翁显良以散文形式翻译的“天净沙 秋思”，虽在形式和韵律上与原文相比有不足。

但“枯藤”，“老树”，“昏鸦”这些意象会让人联想到萧瑟的秋景。

翁先生没有将原文的意象依次堆砌，而是在去字梏，重组句的基础上，将原句整合为黄昏时，一只乌鸦栖息在缠满枯藤的老树上的情形描绘出来。

译作“Crows hovering over rugged old trees wreathed with rotten vine －the day is about done ”. 译文成功将原文的意境与韵味展现出来。

“夕阳西下，断肠人在天“音、形、意的完美结合”——赵彦春英译李清照《武陵春·春晚》赏析广东农工商职业技术学院/胡勇忠【摘要】本文以许渊冲翻译理论中的“三美论”为理论依据，对李清照的《武陵春·春晚》从音、形、意三个方面进行了赏析，以此来说明“三美论”理论在诗歌翻译评价中的解释力。

【关键词】“三美论” 武陵春 诗歌翻译评价前言翻译难，文学翻译更难，诗词翻译更难上加难，故I.A. Richards 说翻译可能是宇宙进化史上最复杂的活动。

在21世纪这个历史时刻，中华民族正以前所未有的姿态，昂首阔步向中华民族伟大复兴的道路挺进。

随着中国和平崛起，“东学西渐”越来越热。

从古诗词英译探究英汉语言的形合与意合作者：蒋樱来源：《读与写·教育教学版》2018年第11期摘要：汉语与英语在表达形式上存在着很大的差异。

在探究中国古诗词的英译时，汉语重意合，英语重形合这一特点显得尤为突出。

中国古诗词作品追求的是用最凝练最精致的文字和词语表达最深远最丰富的意义。

因此，在将古诗词翻译成英语时，我们要注意把汉语中含蓄内敛的东西直接明了地翻译出来。

关键词：古诗词形合意合英译中图分类号：H319 文献标识码：A 文章编号：1672-1578（2018）11-0022-021 引言汉语与英语在表达形式上存在着很大的差异。

汉语习惯于委婉含蓄，英语则习惯于直截了当。

在中国的古诗词中，常可见诗人迂回婉转地表达内在情感，表现形式多种多样，型随意走，意隐于形，不重视形式结构的严密性，少用关联词语，句子结构松散，各部分关系不明确。

而英语民族表达思想以形驭意，意显于形，注重形式结构的严密性，多用关联词语、词形变化、虚词，句子各部分的关系清楚明了。

英语的形合，汉语的意合可以通过欣赏古诗词的英译来一窥究竟。

从而领略英汉两种语言不同形态的美。

2 英汉两种语言不同形态的美2.1 形象的可感性又是离歌，一阙长亭暮。

王孙去。

萋萋无数，南北东西路。

林逋的《点绛唇》上阕描绘了荒园暮春之景，下阙写离情，借吟咏春草抒写离愁。

译文如下：The farewell song is sung againWhen the pavilion sees the twilight wane.My friend will go away；North， south， east， west， green grass grows lush along his way.翻译时，为使“离歌“具有形象性，变原词中的物象单词为含有物象的完整句。

把原句的中的简单的名词短语变成有主谓宾结构的完整句子，且使用被动语态，把farewell song（离歌）置于句首起加强作用。

中国古典诗词英译之形音意对比研究——以《水调歌头·明月几时有》为例发布时间：2021-11-08T05:59:35.380Z 来源：《学习与科普》2021年12期作者：王佳[导读] 典籍翻译是一种艺术传播，也是一种跨文化交际。

中国文化要“走出去”，典籍翻译是重要一环。

在典籍翻译研究领域，所有能够体现中国文化精髓和核心价值观的优秀作品都纳入了中国典籍的范畴。

本文以杨宪益和Father John Turner的英译本为研究对象，从形音义角度对比赏析其《水调歌头》的译文。

两位译者都努力传递宋词的古典美、意境美。

王佳江西科技师范大学外国语学院江西省南昌市 330031摘要：典籍翻译是一种艺术传播，也是一种跨文化交际。

中国文化要“走出去”，典籍翻译是重要一环。

在典籍翻译研究领域，所有能够体现中国文化精髓和核心价值观的优秀作品都纳入了中国典籍的范畴。

本文以杨宪益和Father John Turner的英译本为研究对象，从形音义角度对比赏析其《水调歌头》的译文。

两位译者都努力传递宋词的古典美、意境美。

关键词：《水调歌头·明月几时有》﹔英译；形音意一、作品介绍这首脍炙人口的中秋词，作于宋神宗熙宁九年（1076），即丙辰年的中秋节，为作者醉后抒情，怀念弟弟苏辙之作。

全词运用形象的描绘和浪漫主义的想象，紧紧围绕中秋之月展开描写、抒情和议论，从天上与人间、月与人、空间与时间这些相联系的范畴进行思考，把自己对兄弟的感情，升华到探索人生乐观与不幸的哲理高度，表达了作者乐观旷达的人生态度和对生活的美好祝愿、无限热爱。

这首词是苏轼哲理词的代表作。

词中充分体现了作者对永恒的宇宙和复杂多变的人类社会两者的综合理解与认识，是作者的世界观通过对月和对人的观察所做的一个以局部足以概括整体的小小总结。

作者俯仰古今变迁，感慨宇宙流转，厌薄宦海浮沉，在皓月当空、孤高旷远的意境氛围中，渗入浓厚的哲学意味，揭示睿智的人生理念，达到了人与宇宙、自然与社会的高度契合。