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Guo Moruo is not only a master of literature, but also a master of translation, and enjoys a high reputation in the translation field. Poetry translation is an important part of Guo Moruo's literary translation. His charm translation is unique in the field of poetry translation. English Verses is the last collection of poems translated by Guo Moruo. Through the analysis of his translation, this paper shows Guo Moruo's poetry translation thought.
Keywords: Guo Moruo; Poetry translation; Charming translation
Guo Moruo once received a detailed interpretation of English poetry from a Japanese friend, Mr. Yamamiya Yun. This collection of poems selects 60 short poems by British and American poets. 1969, Guo Moruo selected and translated 50 of them, which are now English poetry translations. Guo Moruo has not devoted himself to the translation of Faust II since 1947. Therefore, the translation of English poetry is his only translation after the founding of the People's Republic of China, and it is also the last time in his life. At that time, he was in the midst of the catastrophe of the Gang of Four and the Cultural Revolution. He shouldered a heavy responsibility and devoted himself to the construction of new China, but it was still difficult. His two sons, seven sons Min Ying (1967) and six sons Ying (1968), were persecuted and killed in this catastrophe, and their sufferings can be imagined. In this case, he quietly turned to his favorite literature, turned to romantic poetry, and pinned his own anguish. However, the translation of English poetry can be said to be an accidental masterpiece. He didn't want to publish it before his death, and it was not discovered until after his death. His daughter compiled and published it. Guo Moruo was seventy-eight years old when he translated this collection of poems. His literary attainments and translation skills are perfect. Therefore, this translation can best embody Guo Moruo's principle of poetry translation-"verve translation".
As early as 1920, Guo Moruo put forward: "The life of poetry lies in its elusive charm, so I think the skill of translating poetry should be a kind of" charm translation "besides literal translation and free translation. He believes: "We believe that the ideal translation is naturally forbidden to revolve around the text of the original text, the meaning of the original text, and especially the charm of the original text. The original text should have everything, but it doesn't need word-for-word translation, either first or later, or comprehensive or analysis. Within the scope of not damaging the meaning, you can freely turn around for the charm. " (Quoted from Chen Fukang's Historical Draft of China's Translation Theory (Revised Edition), Shanghai Foreign Language Education Press, 6th Edition, 2000). This requires the translator not only to have a full understanding of the original text, but also to accurately grasp the original author's thoughts and writing motives, not only to "take into account" the potential of the original text, but also to "strive for the harmony of the potential of the original text" and translate "poetry" into "poetry". Take william wordsworth (William? Wordsworth's Narcissus, for example, in the second paragraph:
As continuous as the twinkling stars in the milky way,
Shining on the milky way, like a shadow, shining brightly,
They stretch out a long winding flower path on the never-ending lake.
Along the edge of the bay: in a line without interruption.
A glimpse of flowers,
Dancing their heads. Dance, nod and peck.
Readers can truly feel the lively and smooth charm revealed by the original poem. "Continuous" translates into "inseparable" and "twinkling" translates into "bright", conveying profound artistic conception with one action and one action; They are endless/along the edge of the bay, which translates as "the flowers winding around the lake are very long in diameter and connected in a line without interruption." It's amazing, just like the translator visited the lake area visited by Wordsworth, who was immersed in daffodils and touched the scene. His writing was like a god, and his poems were natural, beautiful and pleasant, without traces of carving. Wordsworth's daffodils are vivid and beautiful. Such a high level of poetry translation requires the translator's ability to understand the original poem, and even more requires the translator's extremely high level of Chinese control, and he can naturally present the artistic conception, style and charm of the original poem in Chinese. Because "the skill of translating poetry is by no means to turn over a dictionary for others, nor is it like a telegraph operator turning over news for others." If "it's just a literal translation, not an artist's translation, it's up to linguists to explain"
In order to reproduce the charm of the original text, Guo Moruo got rid of the shackles of the original poem and boldly re-created. Mr. Cheng said in Preface to English Translation of English Poems: "From the translation of this English lyric poem, we can see how superb his skills are. I think if the original author can see it himself, he should probably be amazed and admired. " This superb skill is in the American poet Max? Wilbur's night;
It's getting darker, darker and quieter,
It's night.
Translate this poem into:
The closer we get to dusk,
The darker it gets,
The quieter it is,
Every moment,
It's already dark.
Wilbur is a poet and a cubist painter. His poems are as vivid and three-dimensional as his paintings. He used three comparative adjectives "darker, darker and more still" to describe the coming of night with the passage of time from three aspects: brightness, chromaticity and sound. There is no verb in the whole poem, but it is full of movement; The comparison and the rendering of "every moment" show the process of the night coming unconsciously and quietly. Guo Moruo's translation is comparable to the original poem. He used "Yu" to express the comparative degree, and overlapped "dark" and "static" to create a gradual process from dusk to nightfall. "Every minute, it has entered the night" and "It shows that the increasingly vague, darker and quieter night has come unconsciously, which makes ambiguity dissolve into the whole poem. This is the re-creation of Guo Moruo's thought and art "(Xu Yuanchong, 1999: 6). Guo Moruo skillfully erected the original poem, which was quite different from the original poem, but the artistic conception, charm and three-dimensional beauty of the original poem suddenly appeared in front of him. Examples like this can be found everywhere in English poetry translation. Guo Moruo's translation of English poems was silently translated with endless confusion and anguish, bearing the pain of bereavement, and devoted all his efforts. He adhered to the principle of "charming translation" and achieved that "translation is poetry, translation is also poetry, and sometimes it is even more poetic."
"Charm translation" emphasizes the aesthetic experience in the process of translation, and pays attention to the artistic conception of the source language and the vividness of the target language. On the basis of literal translation and free translation, it is put forward according to the specific characteristics of translated literature. It inspired and influenced the development of China's translation theory and translation literature in the whole 20th century. "Charm translation" can be said to be the standard of poetry translation, and it is also a great contribution of Guo Moruo to translation theory!