Farewell to Cambridge is a famous work by Xu Zhimo, a modern poet, and also a representative work of crescent poetry. Guided by German functionalist translation theory, this paper attempts to analyze two versions of A Farewell to Cambridge by Mr. Edil Connekam, Ding and Raphael. Three beauties? The purpose of this paper is to understand the different interpretations of the original poem by different translators and to investigate the translator's translation style.
Keywords: German translation theory; Theory of three beauties; Literal translation; Free translation
I. Introduction
Farewell to Cambridge is one of Xu Zhimo's most popular lyric poems, which, like elegant and beautiful light music, has exerted great influence on literary circles at home and abroad. In this poem, the author turns his life experience into a steady stream of feelings and blends into the beautiful scenery of Cambridge.
Of course, this cultural activity cannot be separated from translation. Thesis reference networks such as Mr. Eddie Connekam, Ding and Raphael all translated this poem into English. Under the guidance of German functionalism theory, this paper uses a lot of materials from? Three beauties? This paper makes a comparative analysis of two versions of A Farewell to Cambridge, revealing different translators' different interpretations of the original text.
Second, on German Functional Translation Theory
Catherine? Les and Hans? Vermeer is two representatives of German functional school. Catherine? Rice believes that the ideal target language should be the purpose of translation, and homologous texts are equivalent in concept content, language form and communicative function. Rice proposed a three-step source text analysis process. The first step is to determine the type of source text. The second step is to determine the text variation of the original text. The third step is to analyze the style of the original text. Rice pointed out that expressive text emphasizes the form and aesthetic function of language, and when translating expressive text, the aesthetic and artistic form of the original text should be preserved in the translation. The translation of operational texts should have the same effect as the original text.
Judging from Rice's text types and translation strategies, A Farewell to Cambridge is a expressive text, so the translator's translation purpose is to convey the emotion of the original author and the aesthetic function of the original language to readers. Three beauties? By analyzing the aesthetic functions of two versions of A Farewell to Cambridge, this paper grasps how the two versions express the emotion of A Farewell to Cambridge as a whole.
Thirdly, the aesthetic function of the target language is compared in detail.
As an immortal poem, A Farewell to Cambridge can be evaluated from three aspects: formal beauty (meaning that the lines of the translated poem are neat or uneven), sound beauty (meaning that the translated poem rhymes and the sound is as heavy as the original poem) and artistic beauty (meaning that the translated poem conveys the charm of the original poem).
1. Contrast of sound and beauty.
Poetry has a strong musical artistry, and its rhythm is particularly strict. The layering of China's poems is reflected in the translation, which should be cadence, beauty and rhyme. The following mainly comes from? Rhyme? Analyze these two versions from the perspective of ….
This poem rhymes with 2 or 4 lines in each verse. The second line of the first four verses of this poem is the rhyme:? Come on, mom, shake it, rainbow? The rhyme at the end of each section is Ze tone rhyme:? Color, overflow, grass, dream? The first four verses are read first, then raised and then suppressed, then raised and then suppressed, and the tone is repeated circularly. Generally speaking, the last three tones of the poem are also raised first and then suppressed. The whole poem is cadenced and the tone is repeated, forming melodious beauty and lingering sound.
2. Comparison of formal beauty.
Formal beauty is to maintain the aesthetic feeling of poetic form, which mainly involves? Length? And then what? Symmetry? problem
The structure of Edil's translation is roughly the same as that of the original poem. I left quietly, just as I came gently; I waved my hand gently and bid farewell to the clouds in the western sky. ? Translation? I left quietly/just as I came quietly/I waved quietly/bid farewell to the bright clouds in the western sky. ? In order to accurately convey the formal beauty of the original text, the translator adopts the inverted word order to achieve this effect, which is catchy to read.
Ding and Raphael's co-translation is also seven poems, but except the first two sentences, the other five, six and seven sentences are different, which fails to show the rigorous and unified writing style of Xu Zhimo's original work, so the aesthetic feeling of poetry, a literary art with a long history and unique form, has not been fully conveyed.
3. Comparison between Italy and the United States.
The so-called beauty of meaning means that in the translation of ancient poems, we should not misinterpret, omit or translate more, but convey the charm of the poem. Professor Lv Jun wrote: (1) an objective lens that faithfully reproduces the original poem; (2) keep the same situation as the original poem; (3) Deeply reflecting the artistic conception of the original poem; (4) Make the target readers have the same image as the original readers.
(1) Section 1. Ediard followed the exact words: lines 1 and 3 were translated as I left quietly, and I waved quietly. I walked away gently, I waved gently? . It reads catchy. The order of the three or four sentences translated together is opposite to the original, and the length of the translation is longer than the original, which does not show the formal beauty of the original. ? Gently? The word "quietly" has been translated into two versions, namely "gently" and "tenderly". I'm more grateful.