Keywords: poetry translation; Creative treason; Xu Yuanchong; Pound; restricted
Firstly, the necessity of creative treason in poetry translation.
Poetry translation uses an artistic language with aesthetic function. This language should be able to reproduce the artistic world and image created by the original poet through image thinking. Therefore, when a poem produced in one language environment is "transplanted" into another language environment, in order to make the target readers enjoy the same artistic enjoyment as the original readers, the translation must become the same artistic work as the original. In this case, poetry translation is no longer a simple language conversion, but a creative work.
Coleridge, an English poet, said in lake poets: literary works are "the best words in the best order", but the best original text becomes an equivalent translation, which is not necessarily the best translation, because the western languages are similar, and the equivalent translation is easy to achieve the best effect; However, there is a big gap between Chinese and western languages, and each has its own advantages. Peer-to-peer translation often fails to achieve the best results, so we should give full play to the advantages of the target language. In other words, if we want to achieve satisfactory results in translation, we should rely on China's theory of re-creation or iconicity.
In actual poetry translation, creativity and treason are actually a harmonious organism, which are interdependent and complementary. Therefore, the French literary sociologist Escarpit put forward a term-"creative treason". In his book Sociology of Literature, he put forward: "Translation is always a creative rebellion." "Translation is treason, because it puts the work in a completely unexpected frame of reference (referring to language); Translation is creative because it gives the work a new look and enables it to communicate with a wider audience. It is also because it not only prolongs the life of the work, but also gives it a second life "(Escarpit, 1987: 137). Therefore, creative treason is extremely necessary in poetry translation.
Second, the creative treason of Xu Yuanchong and Pound in the English translation of Chinese poems.
Creative treason in poetry translation is particularly prominent. The poet especially emphasizes the refinement of words and sentences. In the process of using language, he not only abides by language norms, but also goes beyond them-that is, creatively uses or creates language. The linguistic beauty of poetry is an important part of the overall beauty of poetry. Without or ignoring the linguistic beauty of poetry, the beauty of poetry cannot be discussed. Poetry creation is like this, and so is poetry translation. In the English translation of China's ancient poems, the translation of Xu Yuanchong and Pound has a great influence. This paper will discuss the specific application of creative treason by comparing their translation theories.
Xu Yuanchong developed his own translation theory on the basis of inheriting predecessors' theories and combining his own translation practice. Xu Yuanchong's "optimization theory" can be summarized in four words: "Beautifying art, striving for perfection as competition" and the following three theories: "Three beauties" (beauty in meaning, beauty in sound and beauty in form) are the noumenon of translated poems. Of the three beauties, the beauty of meaning is the most important, followed by the beauty of sound, and finally the beauty of form. In other words, translation is the creation of beauty, so form is better than form, and we should strive to achieve the three beauties on the premise of conveying the beauty of the original meaning. The theory of "three transformations" is the methodology of poetry translation. Using the methods of adding words, changing words and subtracting words respectively, this paper tries to reach the realm of spirit likeness through free translation. "Three theories" (knowledge, goodness and joy) are the teleology of poetry translation. Knowing is to make people understand, which is the basic requirement of translation; Then ask for good, which can make people like it; The highest state is pleasure, which can make people happy.
The "re-creation theory" of literary translation constitutes one of the cores of Xu Yuanchong's translation thought. In his view, creative translation is not "absolute freedom", but what it creates should be what the deep content of the original text does not have, in other words, it should be "faithful to the original intention". Creating beauty is the greatest pleasure in the world and the highest goal of literary translation (Xu Yuanchong, 2003: 16). Xu Yuanchong's re-creation theory emphasizes the creation of beauty, and its main points are as follows: 1. Translation should make readers happy and enjoy beauty, as if the original author is writing in the target language; 2. Translation skills, in the final analysis, are nothing more than the skills of getting rid of the shackles of the surface structure of the original text and freely using the target language for re-creation; 3. The higher the translator's talent, the more outstanding his creative personality. An important task of literary translators in the new century is to translate literature into translated literature; 4. The English translation of Chinese poetry must be innovative in order to convey the emotion of the original poem-Xu Yuanchong emphasized that poetry translation should first be promoted to the level of literary creation; 5. The inner meaning of the re-creation theory refers to the re-creation in language, not in content-the art of translation is "following one's inclinations without overstepping the bounds": "overstepping the bounds" means not violating the spirit of the original text, and "following one's inclinations" means recreating on the basis of overstepping the bounds to give full play to the advantages of the target language. 6. Creative translation is characterized by giving full play to the advantages of the target language, that is, using the best expression of the target language, which can be summarized into three words: "Xin Da You". The translation of Chinese and foreign literature in the new century should take the road of creative translation, so that China's excellent culture can be integrated into the world culture and make the world culture more and more colorful (Zhang Zhizhong, 2005:48).
Ezra. Ezra pound (1885- 1972) is not only a famous American poet, writer and critic in the 20th century, but also a famous translator of China literature and masterpieces. According to the manuscript of emest fenollosa (1853-1908), he translated or rewritten China's ancient poems and published Cathay Collection (cathay, 19 15). Ye spoke highly of China (Yip William, 1969:97), believing that it is "an axis" in the development of Pound's poetics in many aspects, and "China should be regarded as re-creation even if it is considered as translation" (Yip William, 1969:97). Pound is the main advocate of imagist poetry, and his theory of "new poetry" has a pioneering role in both poetry creation and poetry translation. Pound believes that the translator is the subject of translation and controls the whole process of translation. Therefore, his translated works not only reflect distinct personality characteristics, but also reflect that he is a traitor. In order to recreate the indelible part of the poem, he even violently revised the original, which is essentially a re-creation. In Pound's eyes, the original poem and its author are not important, they are the voices of the deceased, what matters is the association of readers, and the meaning of the original poem should serve the construction of current thoughts. When Pound's friends read Homer's translation to him, they found that the translation only paid attention to the simplicity of language and lost the philosophy of life and beautiful language in the original poem, so Pound put forward several translation goals: 1 Reproduce the true language of the original text in English translation; 2. Be faithful to the "meaning" and "context" of the original text (that is, the associative meaning inside and outside the text). He believes that the energy of language is inseparable, just like a connecting line, dating back to ancient times and then connecting with today. Although the nationalities are different, mixed and interwoven words can connect people.