Version 1: (Schleip)
Playing "Sand and Heaven"-Qiu Si
The old vine crows at dusk.
Small bridge and flowing water cottage.
Ancient road, west wind, leaning on old horses.
The sun is sinking in the west
A broken heart is on the edge of the sky
There are only nine noun phrases in the original poem, and the nine noun phrases in the original poem were translated into nine English noun phrases in Schleip's translation. According to the grammatical features of Chinese original poems and the acceptability of modern English poems, the juxtaposition of noun images in translated poems makes the images of the original poems translated in a corresponding and equivalent form. The juxtaposition of isolated noun phrases or images with modern consciousness is obviously more prominent than traditional poetry. Image superposition was first put forward by the imagists in Britain and America in the early 20th century. Pound, a representative poet of American Imagist, found that the juxtaposition of one image and another would produce subtle effects when studying China's poems. Because it highlights the image, with the help of the absence of words, it can attract readers' aesthetic attention, produce association and complete aesthetic cognition. "Dead vines, old trees, crows in the dust. Small bridges and flowing water, cottages. " Make readers construct a picture similar to China's poems in their minds. The translated poem achieves the beauty of meaning and retains the simplicity of the original poem. However, from the perspective of word selection, the word "low" in Low Bridge has a small meaning, but the word "low" is mainly relative to "high" and seems to be semantically inappropriate. The original song is harmonious and beautiful in timbre, fresh and bold in language, and good at capturing images to melt the artistic conception of poetry and improve the style of songs. In terms of rhythm, the bridge and the thatched cottage in "Little Bridge and Flowing Water Cottage" are phonological. The ancient road, the west wind and the old horse rhyme with the wind. Reproduce the sound beauty of the original text.
Version 2: Autumn (Weng Xianliang)
Crows are circling the rugged trees with rotten vines-the day is coming to an end. There is a small bridge across the sparkling stream. On the other side, there is a beautiful village. But the traveler must walk along this ancient road, with the west wind moaning and his bony horse moaning, trudging towards the sunset and getting farther and farther away from home.
Translation 2 translated by Mr Weng Xianliang adopts the method of prose interpretation. The translation mainly conveys the artistic conception of the original poem, but it abandons the rhythm and form of the original poem and achieves the spirit likeness. Tiny: Very small does mean very small, so this word has a wider meaning. Using it to describe the "small" in the "small" bridge can arouse readers' infinite association. The translation of "flowing water" into "sparkling stream" has beautiful characteristics. Although the translated poem gave up the form of the poem, it conveyed the artistic conception of the original poem well. Poetry has no soul if it has no thoughts and feelings; Poetry has no carrier, no support, and no expression of emotion. Therefore, poetry must have feelings and scenery, and the combination of scenery can become artistic conception. Artistic conception not only has the beauty of the picture, but also creates an artistic atmosphere that is reminiscent, arouses feelings and makes people memorable. However, in the translation of this poem, "the crow hovers over the rugged tree." With rotten vines. There is a small bridge on a sparkling stream over there, and there is a beautiful small village on the other side. " They all changed the coordinate relationship in the original poem into the relationship between modification and modification. "But the traveler must walk along this ancient road, with the west wind moaning and his beautiful horse moaning, trudging towards the sunset and getting farther and farther away from home." The relationship between thin horse and heartbroken man is not clear in the original text, but it will be clear when translated. Reorganized the sentence and dissolved the original meaning between sentences. Moreover, the increase of words such as "hovering", "embracing", "walking", "groaning" and "trudging" makes the first picture depicted in the original poem change from static to dynamic. The original text is mainly composed of things, and the translation is mainly expressed by clauses. The meaning expressed in the translation is far from the original. The word "over there" also does not conform to the language style of the original text. Version 3:
Melody: Sand (Ding)
Dead vines hang on old branches,
Crows croak at dusk.
Several houses are hidden behind a narrow bridge.
A stream flowing quietly under the bridge,
Along an old path, in the west wind.
A thin horse trudged along.
The sun sets in the west,
The lovesick traveler is still at the end of the world.
Ding's translation 3 is between the first two versions. The form and charm of the poem have been preserved, but many words have been added compared with the original poem. However, "narrow" is mainly relative to "wide/wide", so the fixed semantics of these two words are easy to limit other associations. "Old branches hang without vines, and crows crow at dusk." Turn the coordinate structure of the original poem into a modified and modified structure. The parallelism and juxtaposition in the sentences such as "Little Bridge Flowing Water" and "West Wind Skinny Horse Old Road" have also been modified into the relationship between modification and being modified. The new words "hanging", "returning", "hiding" and "coming hard" destroy the static beauty of the original poem. Chinese is a musical language, and it is the tradition of China's rhetoric to emphasize the beauty of sound. In English-Chinese translation, the translated text should have symmetrical syllables and sonorous intonation to reproduce the aesthetic value of the original text. When translating ancient poems, words and songs, the beauty of sound is particularly important. This poem by Ma Zhiyuan, in just 28 words, has profound meaning, exquisite structure, ups and downs, cadence and sonorous rhyme, and penetrates the soul. "Tianjingsha" is a kind of tune, such as the epigraph in Song Ci, which stipulates the rhythm of this kind of songs. This song, with the rhyme "A", has five rhymes and is catchy. In the aspect of rhyme, Lao rhymes with crow, and at the end rhymes with the world, and crow rhymes with croak, which makes the translation catchy and conforms to the musical style of the original song.