雨霖铃翻译范文1
关键词： 解构主义 译者主体性 宋词英译
1.引言
随着翻译研究的文化转向，译者主体性受到西方学者的关注：Bassnett（2004）指出“语际翻译过程必然有译者对原文创造性的解释”，从而译者主体性研究被纳入翻译研究范围。Venuti（2004）在The Translator’s Invisibility：A History of Translation一书中反对传统的通顺翻译，认为译文必须看得见译者。其理论以解构主义的观点为理论基础，提倡译者就是创造者。Douglas Robinson（2001）甚至直接将译者看为作者，充分肯定译者在翻译过程中扮演的积极和创造性角色。伴随着这种趋势，解构主义翻译流派逐渐得以形成。
一方面，解构主义翻译流派认为原文取决于译文，没有译文原文将无法生存。文本本身的意义是由译文而不是由原文决定的（李，2004：276）。德里达等解构主义者甚至认为“翻译文本书写我们，而不是我们书写翻译文本”（Gentzler，2004：146），一切文本都具有“互文性”，并且宣称作者和原文的死亡，认为译文是原文的来世，这样就否定了作者和原文的权威。
另一方面，解构主义提高了译者和译文的地位。他们宣称译者是创造者，翻译文本是创造的新生语言；认为原文意义不可能固定不变，只是在上下文中暂时被确定下来。正因为原文意义的不确定性，译者便可以充分发挥主观能动性发掘出能使原文存活的因素，利用语言间的转换，使原文得以发展并走向成熟，这样译文便是原文的一种创造性的“延异”（廖七一，2000：73）。不仅如此，在翻译过程中，由于译者所处的时代背景不同，个人经历不同，对事物的认识也会不同，因而对原文会产生不同的体验，原文被不断地改写、重组（廖七一，2000：82）。
从上论述可以看出，在解构主义视角下译者主体性主要体现在对原作权威性的否认和译者自身地位的提升，而后者又包括译者对原作的“延异”和“改写”，下文将从这几方面对朱纯深宋词翻译体现的主体意识进行探讨。
2.解构主义视角下朱纯深及其几首宋词的英译
2.1朱纯深
朱纯深博士多年来一直从事英汉翻译的教学与研究，曾任教于新加坡国立大学，现执教于香港城市大学中文、翻译及语言学系。曾在国际权威译学期刊发表多篇译学论文，而且译著颇丰，主要包括《短篇小说写作指南》、读者文摘《当代小说选粹》、王尔德《自深深处》、中国古诗词中英对照本《古意新声・品赏本》，以及中国现代散文和新加坡当代华语诗歌的中英对照译作等。他的译文具有相当高的美学价值，语言准确、鲜明、生动，在传达原文信息方面，可谓恰到好处。在宋词翻译上，他讲究诗歌翻译的“诗心说”，认为诗歌的翻译是对诗心“新的放歌”（朱纯深，2002）；不仅如此，在宋词的翻译过程中，他还会记录自己的翻译历程和心得，这也为本文对他的研究提供了便利。
2.2解构主义视角下的译者主体性
2.2.1对原作权威的否定
对原作权威的否定，并不是指译者对原作者及其思想的否定，而是在翻译中将其进行“新的放歌”，从而使原作的生命得到更好的延续，即译者赋予译作新的生命。“译者不仅能赋予原作以生命，他们还能决定赋予他们以何种生命，以及决定如何如何使他们融入到译入语文学中”（Lefevere，1995），因此译者主体性决定了译作的审美独立品格和其在译入语的文化特征，译作和原作不是从属关系，而是互文关系，这就充分说明了译者的创造性。这一点在朱先生的翻译观中颇能体现：在《心的放歌之一――假设诗歌翻译不难》中，他（2002）指出“要说‘作者死了’，那么在诗的境界里本来就不存在那个‘作者’”，对诗的每一次翻译，其根本意义在于“开拓了诗之国度的疆域”、“开启新的言说”和“张扬新的放歌”，因此诗的翻译要“随心”、“随意”、“不随形”；在《心的放歌之二――假设诗歌翻译很难》中，他（2002）指出诗的翻译就是“征引”，而且每一次征引都是一次“断章取义”：让文本作品脱离其原来的、历史的互文语境，进入一个陌生的互文语境，正是这样的语境迁徙标志着本雅明所说的作品“生命的延续”。
《雨霖铃》这首词译于1987-1988年间，当时朱先生孤身一人在英国留学，朋友很少，而且正是英格兰中部的冬天，阴多于晴，多有不适应，此时偶读该词便心有所感，翻译成英文聊以自遣，可见该词的翻译是为了抒发译者本身的情感，体现翻译过程的主观性；又如《水调歌头》的英译本初成于20世纪90年代初期，当时朱先生同样身处异国，为了抒发人生漂泊无常的感慨而翻译此词，说明其动机是自身情感的抒发；其后该词译本（还包括《声声慢》）被用于新加坡大学的教材，这也说明正是因为朱先生的翻译，该词才能得到进一步的传诵，为该词“生命的延续”和“进入享誉阶段”提供可能；《念奴娇・赤壁怀古》一词的选译首先是出于作者本人的喜好，而且新加坡出版机构的发行使该词在新的国度得到了流传，更为该词在新的文化的传播提供了机会。
2.2.2对原作的“延异”
传统翻译观下，译者必须寻求译文与原文意义的“忠实”，但在解构主义视角下，能指和所指之间存在着差异，原文意义不可能固定不变，只是在上下文中暂时被确定下来，译者应当充分发挥主观能动性对“意义”进行解构，从而造成了译本的“延异”。
（1）无限“延异”
当原作的“所指”本身不明确时，译者在翻译过程中就有充分的自由性，将原作的意义进行无限的“延异”。如《水调歌头》中“照无眠”一句中，到底是谁睡不着呢？原词并没有明确指明，因此特指和泛指完全取决于译者的理解和想象力，这里朱先生处理为“my sleepless night”这一特指的个人感情，以期产生更强的共鸣；同样《念奴娇・赤壁怀古》“多情应笑我，早生华发”一句，对于“笑”动作的主体一直都有不同的解释，到底是“应笑自己多情”还是“多情之人笑我”，这在原词中并不明确，因此该句的翻译也完全取决于译者，在此译者处理为“I must laugh at myself：letting sentiments grow into grey hairs，too soon.”就选用了第一种解释；《雨霖铃》第一句“寒蝉凄切”中，由于汉语语言“意合”的特征，对于到底有多少“寒蝉”在鸣叫并不明确，但是译入语――英语又为“形合”语言，数量的选择就完全取决于译者，在这里朱先生选择了单数“a cicada”，一方面是单纯提供事件背景，另一方面意在截取一个焦点意象。又如《声声慢》“憔悴损”一句中到底是人还是花“憔悴”？如接上句“满地黄花堆积”则是花，而考虑伤心憔悴又为“人”，这样的场景取决于译者本人，在此朱先生处理为“languid and grief-worn”用来形容人。
（2）有限“延异”
上述情况中，因语境和所指的缺失，文本意义不确定，译者主体性得到全面发挥。但当文本中“所指”存在时，译者的主体性也会在一定程度上得到发挥，而这主要依赖于译者的喜好和不同理解。如《水调歌头》“把酒问青天”一句，朱先生将“酒杯”的意象处理为“goblet（高脚玻璃杯）”，暂且不论其翻译好坏，都就该意象的“延异”掺杂了多少译者的个人和时代元素；又如《念奴娇・赤壁怀古》“江山如画”一句，“江山”一词已是套语，但到底是将其译为纤巧细腻的工笔山水还是恢宏壮阔的写意山水，就要取决于译者个人的理解，朱先生处理成“what a glorious sweep of land”明显属于后者。与其他译者不同，译者将该词最后一句“一樽还酹江月”中“江月”以“江”和“月”作为两个意象分别译出“the River”和“the Moon”，这就说明意义的理解译者是见仁见智，取决于其主体性。另朱先生将《声声慢》词牌处理成“What a Day―To the tune of Shengshengman”，主要是得益于他对词牌文化背后的内涵和对该词的个人理解，充分体现了自我主体性。
2.2.3对原作的“改写”
解构主义视角下，原文不再是译者的“中心”，相反他们看重文本和其他文本的“互文”关系，将文本放置在特殊的历史语境下审视，因此每一次翻译都有特定目的和原因，且在一定程度上受到诸多因素限制，所以译者必须进行“改写”，包括意思的改变、意向的缺失、结构的重组和原文风格的变化等。
（1）意象改写
意象是传达诗歌意境的重要组成部分。译者为了达到预期效果，往往对其进行改写，这一点在朱先生的译本中屡见不鲜。如在《水调歌头》译文中，他将“琼楼玉宇”只简单处理为“there”以回指上文而并不展开，又将“朱阁”和“绮户”直接改成“chamber”和“gate”的意象，这是他考虑到悉数译出会附加很浓厚的文化涵义，加重译文读者处理信息的负担，分散其注意力。这一点在《雨霖铃》译文中多有体现，如“都门帐饮无绪”和“兰舟催发”两句，译者改变了“都城门外设帐摆酒饯行”和“兰舟”的意象，将其处理成a tavern by the city gate和the departing boat，担心过多细节在新的文化中会喧宾夺主，反而影响其对全文情绪的把握；又如译者将“杨柳岸晓风残月”中“杨”的意象省略，将“残月”的意象改译为“setting moon”，这主要是“柳”字的谐音更能体现中文的联想意义，而天边的“落月”更能为词中的主人公提供凄美的画面；同样的改写在《声声慢》中也有体现，如翻译“雁过也”一句时，译者用“a hart-rending line”放在“wild geese”意象之前，意在暗指书信或诗的一行，并转为雁阵的“一”线，暗示雁过人去不见信的孤独伤悲。
（2）结构改写
正如上文所说，为了特殊目的或限于语言表达习惯不同，译者会自觉进行结构的重组。如《水调歌头》“人有悲欢离合，月有阴晴圆缺，此事古难全”一句，朱先生将其处理为“this is，anyway，an eternal flaw――an uncertain world under an inconstant moon.”这不仅是为了保持译文的精辟，而且是为了适应英文表达习惯，将表示议论性的话语“this is，anyway，an eternal flaw”提前先说；有时译者为达到某种预想效果，同样会进行结构重组，如《念奴娇・赤壁怀古》中译者将“惊涛拍岸”两个意象进行叠合译出“shore-tearing”，并将其与“Waves”进行跨行放置，达到那种“拍岸”的意味。又如《雨霖铃》中“寒蝉凄切，对长亭晚，骤雨初歇”三行独立成句，却是一个完整的画面。为了达到相同效果，朱先生用emerging一词将三句巧妙联合，避免了平铺直叙。
3.结语
本文从解构主义理论的角度探讨译者的主体性，通过对翻译家朱纯深几首宋词英译本的分析，发现其在翻译过程发挥了很强的主观能动性，当然这其中有客观的（文本本身的不确定性）和主观的（译者自身的审美标准）因素。通过分析，一方面我们可以得出，在解构主义理论支持下诗歌的翻译是一个充分发挥译者主体性的平台，这也是诗歌存在很多译本的原因之一，另一方面它为我们欣赏和批评诗歌翻译拓宽了视角。当然需要指出的是，解构主义视角并不是放纵译者肆意篡改或改译，只是要调动译者在翻译过程中的能动性。
参考文献：
[1]李.西方翻译理论流派研究[M].北京：中国社会科学出版社，2004.
[2]廖七一.当代西方翻译理论探索[M].南京：译林出版社，2000.
[3]朱纯深.宋词英译（1-2）[J].中国翻译，2002（3）.
[4]朱纯深.宋词英译（1-2）[J].中国翻译，2002（2）.
[5]Bassnett，S.Translation Studies[M].Shanghai：Shanghai Foreign Language Education Press，2004.
雨霖铃翻译范文2
答：不是。《述异记》卷下记载，鲁班刻木兰树为舟。后用“兰舟”作为船的美称，如“兰舟桂棹”。
二、“有三秋桂子，十里荷花”是描绘杭州胜景的名句。“三秋”是秋季的三个月吗？
答：不是。词中的“三秋”是指秋季的第三个月，即农历九月。
三、陆游《钗头风》：“红酥手，黄滕酒，满城春色宫墙柳。”你知道“黄滕”两个字的含义吗？
答：滕，原来是指一种绳子，作动词用，指用绳子捆扎。黄滕酒，即黄封酒，在酒坛的坛口上加封黄色的丝绢，是当时的官酒。
四、李清照《凤凰台上忆吹箫》：“新来瘦，非干病酒，不是悲秋。”这里的“病酒”是指劣酒吗？
答：不是。“病酒”的“病”是指困乏、疲惫，因饮酒过度而产生的不适谓之“病酒”。
五、辛弃疾的名句“蓦然回首，那人却在，灯火阑珊处”经常被人引用。其中“阑珊”是灯火辉煌的意思吗？
答：不是。“灯火阑珊处”的“阑珊”是指零落、昏暗。
六、辛弃疾《破阵子》：“八百里分麾下炙，五十弦翻塞外声。沙场秋点兵。”这里的“八百里”是说行军走了八百里的路程吗？
答：不是。《世说新语・汰侈》记载：王恺有一头牛，名字叫“八百里猎”。一次，他用牛作为赌注，和王济比赛射箭，结果输了。王济杀了牛，将牛心烤了吃。后人即用“八百里”指牛。
七、陆游《诉衷情》：“此生谁料，心在天山，身老沧洲。”有人说“沧洲”应该写作“沧州”，对吗？
答：不对。陆游晚年住在绍兴镜湖边的三山。“身老沧洲”的“沧洲”是指水边，古时隐者所居。
八、李清照《声声慢》：“这次第，怎一个愁字了得！”请问“次第”是一个挨着一个的意思吗？
答：不是。“次第”一词的意义在古代比较丰富，李清照词中的“次第”，是光景、情形的意思。
九、“九万里风鹏正举。风休住，蓬舟吹取三山去。”这是李清照词中的名句，表达了一种雄健的气概。请问“蓬舟”是指用篷草覆盖顶部的小船吗？
答：不是。“蓬舟”，蓬草似的轻舟。
十、岳飞《满江红》有“驾长车，踏破贺兰山缺”，气欲凌云、声可裂石。请问“长车”是供长途跋涉用的车子吗？
答：不对。“长车”是指战车。
十一、辛弃疾《永遇乐》：“可堪回首，佛狸祠下，一片神鸦社鼓。”请问：“佛狸祠”是说有狸猫出没的祠堂吗？
答：不对。佛狸，北魏太武帝拓跋焘的小名。他打败王玄谟军以后，曾追击至长江北岸的瓜步山，在山上建立行宫，即后来的佛狸祠。
雨霖铃翻译范文3
[Key Words] Chinese poetry; artistic conception; Bells Ringing in the Rain; solution
【摘 要】 汉诗英译是否成功就在于能否成功的传达意境。要成功的传达意境是不容易的，许多好的汉语诗歌翻译成英语后总是会失去原作的艺术魅力、本文首先指出：意境是通过形象化的情景交融的艺术描写，能够把读者引入到一个想象的空间的艺术境界，意境传达的困难在于中西方存在着诸多差异，不同的历史文化，风俗习惯和思维定势都使汉语诗歌的意境传达成为一个难题，本文以《雨霖铃》的译文为例，分析了这首诗歌意境传达的困难，接着通过《雨霖铃》的两种译文对比提出了意境传达的三种有效方式：传情达意，挖掘意象，激发联想。最后作者提出，这只是三种有效的方式，而不是绝对的方式。
【关键词】汉诗英译；意境；《雨霖铃》；方式
1. Introduction
"Poetry is a super art of language.”[1] A well-known statement is made by Robert Frost “Poetry is what gets lost in translation”.[2] Poetry translation is a difficult task and it is especially true in the Chinese poetry translation. “Indeed， poetry translation is a creative task.”[3] Burton Raffel says， “The translated poem should first be a new poem， a good one， and should be the favor of life， instead of lifeless academic accuracy.”[4] The English versions of many outstanding Chinese classical poems which are gently beautiful， vigorous and deep usually cannot present the original taste and flavor of the poetry. Many famous sayings and beautiful lines， which enjoy great popularity during hundreds of years， make the Chinese readers have a deep sympathetic chord. But foreign readers cannot understand them actually， or they may even feel bewildered and the most important reason is that the translation of Chinese poetry is lack of the conveyance of artistic conception. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. China’s poet as well as literary and theoreticians mostly think that the greatest achievement of poetry creation lies in artistic conception .It is the soul of poetry. Then what on earth is artistic conception of poetry?
1.1 The definition of artistic conception
Artistic conception is a kind of ideal artistic state， which can lead readers into the situation and emotion of a poem. The blend of situation and emotion is the basic component of artistic conception， which is involved in two aspects， one is the objective of images in life， the other is the ideal subjective creation of the poet， we call the former one as “jing”， and the later one as “yi”. Therefore， artistic conception is the unified entity of the two aspects. [5]
Artistic conception is one of the most important aesthetic conceptions in ancient China， which can be traced back to Tang Dynasty. In his The Style of Poetry poet Wang Changlin firstly put forward artistic conception together with “物境”“情境” (two of three levels like artistic conception used to describe respectively the object and the circumstances of a poem).[6] Although he proposed the three levels together， he didn’t point out the relationship. Jiaoran， a poet and a monk as well， once pointed out the relations between Yi (image) and Jing (situation). He thought that the feelings of a reader to a poem start from its situation.[7] Liu Yuxi who carried on Jiaoran’s theory advanced that we can say in Tang Dynasty， the Aesthetic School---the leading school of poetry which analyzes poem with artistic conception， was formed.[8] And in Qing Dynasty， Wang Guowei gave a deeper research on the connotation and creation of artistic conception. As he says in his “Comments on ci Poetry”， “Not only can literature motivate the writer himself， but also it can touch the hearts of others.”[9] Mao Dun then thought the connotation of the literature translation is the transmission of the ideal condition .He said "the literature translation is to transmit the artistic ideal condition of the original work in another language and make reader be inspired equally， affected and get the beautiful feeling when they read the original work. [10]
1.2. The difficulties of the conveyance of artistic conception
For many years， lots of Chinese scholars as well as foreign researchers put their effort to do the arduous work to translate classical Chinese poems into English. And among their works， there is no lack of excellent translation. As a matter of fact， just through the wonderful translation of some excellent translator， a lot of famous classical Chinese poems have won their world reputation. However， as a kind of artistic appreciation， we usually have a little pity that the translation of Chinese poetry still cannot express artistic conception when we read as the Chinese readers， lots of Chinese classical poems have lost their original romantic charm， complete information， three-dimensional effect， and the state that can lead the readers into a indefinite imagination. It is not surprised to see that many scholars consider the translation of Chinese ancient styled poetry to be an unsuccessful field so far. We can see that even if some translations display the content of poetry， they fail to transmit， interpret the mood， the image， and the situation of poetry. Because of the huge pergence between the East and the West， it is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader.
The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in the aspect of words and expressions.
The renowned translator Mr. Yang Xianyi has said:" There are many other factors constituting certain meanings in original text .It is simply not impossible to transmit these meanings for the persons under different cultures. [11] For example: the Chinese readers have some association spontaneously with weeping willow in a Chinese poetry， it is impossible to cause this kind of association naturally if it is translated into another language. In many poems the terminology (poem language) often has their cultural historical background causing the reader to associate sufficiently. [12] There is no final translation for any translation is partial since it is hardly possible for any translator to seek balance between various requirement.[13] Of course it contains the conveyance of artistic conception.
2. The analysis of Bells Ringing in the Rain
Here， the author will probe how to transmit artistic conception in the translation of Chinese poetry by the English version of Bells Ringing In The Rain.
2.1 The comment of Bells Ringing In The Rain
LiuYong’ poems are good at description of details， and written in a pithy style . This poem expresses the parting feelings and describes the scene of parting and the painful mood. The emotion is also very sentimental. This poem is of Liu Yong’s representative works. The first stanza describes the parting scene， the author describes the cicada chillily， and two loves were parting in the roadside shelter. The boat was urging. They were reluctant to part， hand in hand with tearful eyes， sobbing without a word. The misty waves in the great distance and the distant sky also appeared so heavy. In the second stanza， the author sighed woefully: parting lets the human be sad since the old times. The longer they part， the sadder they feel. Even if there is bright days and beautiful scenery， the poet still cannot cheer up.
“The cicada”， “the roadside shelter”， “the sudden downpour”， “the national capital” “the boat”， “the misty wave” and “the southern sky”----- these images composed the departure picture of gloomy color， brim with the thick deep sorrow. The Chinese reader can feel the author's sad mood after they read and produce the sympathetic chord， but as a result of the cultural environment and the background difference， foreign readers may not have similar feeling， nor can they induce to this dignified atmosphere. the Chinese reader could carry on the very natural association to above these images， form a series of pictures in the brains， but the foreign reader possibly can not be able to understand this completely. In the second stanza， what is the relation between “多情” and “自古”? How to translate “晓风残月”? what is“良辰好景虚设” on earth? It is very difficult to describe the painful mood and the deep sorrow faithfully to the foreigners.
2.2 The difficulties of the conveyance of artistic conception of Bells Ringing in the Rain
It is not completely possible to translate the original poem， the mood and the atmosphere，which is also an extremely big difficult problem， such as:
Firstly， It is difficult to convey the emotion in the poem: the emotion here is not presented explicitly but implied in the description of the images. It is hard to convey the connotation and association significance of images to the foreigners. In addition， the Chinese poems usually consist of several images， the poet can display some pictures in front of the readers through the depiction of the images. In Bells Ringing in the Rain， “ the pavilion” “evening clouds” “willow trees” “waning moon”---these images constitute a scene of sorrow departure in dreary Autumn. It is not easy to select proper words to convey the images as well as suitable words to connect them in the process of translation. Finally， In Bells Ringing in the Rain， Chinese readers can associate the waving willow trees and waning moon to the reluctance of departure. It is hard to bring the similar fantasy to readers in English version， because some image cannot arouse the same association to the foreigners. There is also one point that we should notice: the conveyance of artistic conception is a common problem， sometimes even if the version embodies the charm of the original poem， the foreigners may not understand it completely because of the cultural differences. Just as the foreigners cannot understand the love of Liang Shanbo and ZhuYingtai， Here， the author only would like to discuss the ways to convey artistic conception.
3. Three strategies to convey artistic conception
To be exact， Zhao Zecheng’s artistic conception includes three aspects: Qing (emotion)， Jing (situation)， and imagination. To counter these three aspects， artistic conception can be effectively transmitted to readers by the following three means: first， to express amorous feelings and ideas; second， to unearth images; finally， to stimulate imagination. [14]
3.1 Express feelings and ideas
When doing the translation of Chinese poems， we should firstly make clear the main idea of the original poem， the situation set in the poem and ideas and feelings that the author wants to express， otherwise， we do not translate but create poetry.
In ancient China， there are the sayings like “ideal can be conveyed by poetry， and ‘poetry is stemmed from emotions.”[15] Wang Guowei， an aesthete in modern times， indicates that ‘only when a poet is able to reflect the real life and express his real feelings by his poem has he reached a higher level of poetry creation.’[16] In his opinion， the simple natural scenery， such as birds’ singing， flowing water， flowers’ blossom and drifting clouds cannot consist of ‘Artistic conception’ by their poems. The famous literary theoretician in Qing Dynasty， Ye Xie thought that emotion from the bottom of heart is one of the indispensable conditions in the creation of artistic conception， and whether artistic conception can be conveyed successfully by the translations or not depends on whether the translator is able to transmit the feelings between the lines， and understand poet’ mind. [17] As Eveing says in his ‘Translation and Sentiment’， translator should not only translate the ‘tears’， the ‘laughter’， the ‘anger’， the readiness to give life on the battlefield and the visible things， but also the grief， the happiness， the indignation， the utter devotion and the invisible sentiment. [18] For instance， here is several verses of Bells Ringing In The Rain. A is translated by Rewi Alley， and B is translated by Xu Yuanchong.
“都门帐饮无绪”
A
We drink to each other
B
Can we care for drinking before we part
“饮”“无绪”the two words add anxiety to the parting， people usually would drink wine when parting in ancient time. The poet was so sad that he would not like to drink at all. ‘Drink to each other’ in Alley’s translations does not show this kind of mood. Xu Yuanchong translates the words into ‘Can we care for drinking before we part’ reflect a kind of disconsolateness，So， XuYuangchong’ s translation is better. If the poem embodies the poet’ emotion， the version should indicate it. Let us look at another verse:
执手相看泪眼，竟无语凝噎
A
we clasp hands， faces wet
with tears; unable to say anything
B
Hand in hand we gaze at each other’s tearful eyes
And burst into sobs with words congealed on our lip
To translate the emotion in these two verses，we must grasp the psychological condition of the poet. Looking at each other ‘s tearful eyes with hand connecting， they would like to say something， yet speechless for sobbing finally. “执手”“相看”“泪眼”“无语凝噎” are a succession of words describing the hero’s sorrow and the grief， Xu Yuanchong uses‘gaze at’and‘tearful eyes’to describe the mood， and transmit the emotion， ‘burst into’ indicates the eruption of his preserved sentiment， ‘congealed’ vividly manifest the sadness. Obviously， in version A ‘wet with tears’ greatly weakens the emotion and cannot transmit artistic conception of the original poem. Obviously， it is inadequate to only display the content， we also should express the feelings between the lines properly. For example:
多情自古伤离别，更那堪、冷落清秋节
That is to say， people always feel sad when parting since the ancient times. How does a lonely person live in this chilly autumn? Here the poet is displaying a kind of disconsolate mood.
A
ever have people hated
leaving there friends， and now
the cold autumn with its sadness
on top of it all;
B
Lovers would grieve at parting as of old.
How could you stand this clear autumn day so cold
Compared with ‘hated’， ‘grieve’in B indicates that the poet feels brokenhearted， the rhetorical question corresponds the original poem expressing the psychology of sad feeling in the lonely autumn， which conformed to the artistic conception of the original poem. Obviously， B is more successful in transmitting artistic conception.
A does not display the emotion， therefore it fails in the transmission of artistic conception， but， XuYuanchong fully comprehends the poet’s emotion of Bells Ringing In The Rain， and carries on the poet’s sorrow by choosing the words. Finally he succeeds in the transmission of artistic conception. Transmission of artistic conception is closely linked with the emotion transmission. So we can make conclusion from the examples above， the transference of artistic conception is incomplete， if there is emotion in an original poem， but the translation fails to manifest the feelings in the verses，. In order to further the understanding the importance of emotion expression in translation， the author would like to give more examples: “晓镜但愁云鬓改，夜吟应觉月光寒。” （To One Unnamed） by Li Shangyin）The poem describes the immortal love: he cannot help thinking of his beloved for his deep love to her so that he does not see his image but that of his beloved while looking into the mirror. The two lines selected in the poem describe the feeling: the poet worries about his beloved’s gray hair on head but not his own when he is looking into the mirror， he does not feel the chill of moonlight， but he worries that she will feel cold when he is crooning verse at night. The following are two kinds of translations of Innes Herdan(A) and Xu Yuanchong(B)
A
Grief at the morning mirror---
Cloud –like-hair must change;
Verses hummed at night，
Feeling the chill of moonlight…
B
At dawn I’m grieved to think your mirrored hair turns grey;
At night you would feel cold while I croon by moonlight.
A describes the poet’s worries about his own gray hair， and he feels chill， which is the literal translation without understanding the feeling of the poet to his beloved. So it fails to transmit that kind of sentiment in the poem and reveal the immoral love. Xu yuanchong adds person to describe the immoral love， thus the readers are moved by the poet’s feelings， and get the deep comprehension of artistic conception.
Here is another example:“ 思君如满月，夜夜减清辉。” (Since My Lord From My Parted by Zhang Jiuling) The poet uses the moon to describe the feelings of the wife that she is duller day by day by missing her husband. Let us see the translation by Herbert A. Giles:
My heart is like the full moon， full of pains，
Save that’ tis always full and never wanes.
“Giles compares the wife’s heart to the painful moon that never wane， succeeds in conveying the essential idea of her sorrow.”[19] In this poem， the key point of the understanding of artistic conception is to comprehend the wife’s emotion. Since Giles convey the distress of the wife’s missing vividly and incisively， the readers can feel this kind of pains， therefore Giles succeeds in the conveyance of artistic conception.
The analysis above suggests that the transmission of emotion is important to the transference of artistic conception. If the poem embodies poet’s emotion， the translated version should indicate it， thus the readers can get a deep comprehension of artistic conception.
3.2 Unearth image.
Besides the conveyance of emotions and ideas， a translator should also pay attention to the images. The image refers to the object in the poetry， which receive subjective sentiment of the author. Setting sun， fragrant grass， weeping willow， song of the birds， cicada chirping and so on are the commonly employed images in ancient Chinese poems. Usually， a poet does not reveal the sentiment straightly but awaken our memory by the description of the image and stimulate our feeling and cause our sympathetic chord. [20] Precisely the author reveal subjective sentiment by taking and describing the image， the reader can enter the artistic conception of poetry.
The image is the essence of language of poem. “Image model captures the essence of picture in prose or in poetry.”[21] The poets always utilizes the visualized language which can stimulate the reader’s imagination and the association to describe the image in the literary works， if the literary figure is fresh， then the exquisite artistic conception will appear. The translator should pay attention to the transplantation of the literary figure and visualization of the language in the process of translation. Therefore they can fully manifest the beauty of artistic conception. We should transmit the images to translate the poem. Image is the basic element of poems. The basic feature is that readers can experience the feelings of poets through the description of the image. “We mean to define image as the attribute for the whole mental conception of a literary work. In some sense， ‘image’ here is countable as eyeable linguistic point， and all the images in a work form into a meaningful whole， which is often called its imagery. So ‘imagery’ is uncountable as an inseparable entity that can only be perceived from the entire work”. [22]
There are several images in this poetry as follows: cicadas， showers， heavy cloud， southern sky， willow trees， waning moon. “These objects to be described are never selected at random， but are the manifestation of the poet’s shrewd power of observation and unique artistic view” [23] These images are objects， but the poet renders his emotion to them that has been the symbol of departure and distress. He set off the parting atmosphere by the description of objects， thus the readers will portray a chill and dreary picture as if they hear the singing of the cicadas and see the parting scene. Then how do the translations give the readers the same expression by unearthing images? It is rare for us to feel cold and dreary when hearing the singing of cicadas， while the poet use "寒"and "凄" to describe it， for the pain from the bottom of his heart. "寒" and "凄" uncover directly the poet’s mood， the person have to part with his beloved and feels the coldness of the outside world， which is his innermost feelings. The following translations are also presented by Rewi Alley (A) and Xu Yuanchong (B):
A
Now comes the note of the cicada，mournfully;
B
Cicadas chill
Drearily shrill
Compared with Rewi Alley’s‘mournfully’ Xu Yuanchong’ s‘Cicadas chill ’ describes the cicada's condition， "drearily shrill" corresponds" 凄切" they established a basic main key for the entire poem ----cloudy and cold， "drearily shrill" further exaggerated this atmosphere. So，“chill” “drearily” describe the process of psychology and transmit ‘artistic conception’ of “寒蝉凄切”. Pavilion is considered as a symbol of parting， sudden shower may be considered as a symbol of the tears falling from their eyes. Look at the verses:
对长亭晚，骤雨初歇
A
at our pace for parting
evening falls; the rainstorm that broke
has cleared away;
B
We stand face to face at an evening hour
Before the pavilion， after a sudden shower
We can see Rewi Alley omits the image of pavilion， which is very important to the conveyance of artistic conception as a symbol of parting.In ancient China， people usually part in pavilion， so Chinese readers can associate the pavilion with departure. And XuYuanchong reserves the image of pavilion and shower using “before” and “after” to connect the two sentences， so that we see the natural scenery and human feelings well blended in the beginning of the poem. [24] So， It does well at the transition of the artistic conception. In this poem， the image of the boat waiting for the person describes a picture of a lonely sail. The verse:
方留恋处、兰舟催发
A
the boatman urges departure
B
we are lingering late， but the boat is waiting for you to depart
Rewi Alley only uses “boatman” omitting the image of boat， and XuYuanchong’s translation describes a picture: two people are loathing to part， the boat is urging a person to embark quickly， we can guess that the boat has been waiting for a long time. The picture of a lonely sail is the symbol of the parting lover， carrying the visual feeling. And B is better at the transition of artistic conception compared to Rewi Alley that is only narrating. In this poem， cloud and sky also are symbolical， the heavy cloud is the symbol of his heavy heart， and the boundless sky is the symbol of long distance. [25] The original verses and translations are as follows:
念去去千里烟波，暮霭沉沉楚天阔。
A
and I know that soon I shall be far
from here， over the hills;
at night a mist will come
down from heavens， and soon
I will be in Hupeh， where
skies are high， and ground low;
B
You ‘ll go your way far， far away， on miles and miles of misty waves
where sail the ships， and evening clouds hang low in boundless southern
skies
The two images “暮霭” and “楚天”should be translated. Rewi Alley does not transmit the image: cloud， and “skies are high” does not describe the boundless of the skies. Therefore his translation weakened the effect of the transition of artistic conception of original poem greatly. In the original poem the first stanza begins with an image and ends with another， both reveal the grief of parting. [26] Therefore in translation there should be the transference of the vivid image to let the reader feel the poet's emotion through the images to understand the artistic conception of the poem.
As we know， In a Chinese poem， there are always many images; these vivid images bring the beauty to people. In order to achieve the similar effect， the translator should carry on the appropriate description to the images. For example， “小楼西角断虹明，栏杆私倚处，遥见月华生”（Immortal At the river by Ou Yangxiu）portray a beautiful scene：the broken rainbow appears after a heavy rain，two persons are leaning on rails watching the rising moon. Teresa Yee-wha Yu translates the lines in this way：
Across the western corner of the
Small house， a broken rainbow hangs
brightly， as I rest on the balcony，
awaiting moonrise.
The image of the original poem is broken rainbow，why is the rainbow broken？Teresa Yee-wha Yu only uses‘broken rainbow’，which fails to manifest the esthetic sense of the moon raises slowly， therefore the beauty is inferior than the one of the original poem. The translation by Xu Yuanchong is:
An imperfect rainbow is seen，
Shut out of view by Western Tower.
We lean on rails alone
To watch the rising moon.
Xu Yuanchong uses ‘shut out of view by western tower’，giving people a more vivid picture: Above the small building， a broken rainbow appears， --two people are closely leaning in the rail， watching the slowing rising moon， the phrase shut out describes the broken rainbow， the typical image matches the image verb， has exaggerated the original poem main key of the original poem， so， compared to Teresa Yee-wha’s Yu. Xu Yuanchong’s is better in transmitting artistic conception.
The analysis above suggests that unearthing images is one of effective ways to convey artistic conception， of course， in the translation techniques of image， aparting from unearthing images， there are other ways to convey the artistic conception， such as footnoting and paraphrasing， which this article only discusses one of effective ways.
3.3 Stimulate imagination
In the author’s view， the connotation of stimulating imagination is that if the poet leaves a great space of imagination to the readers， so should the translator. It is of great importance for the translations to stimulate the readers’ imagination. Just as Xu Yuanchong points out in his New Concept of Translation in New Century the low standard of literary translation is to resemble or reflect the truth of the original poems， while the high standard is to keep the beauty of poems in source language [27] The translator should try his best to bring the advantage of target languages into full play， which means making full use of the best form of expression of target language as well， and to make poems understood finally. The translations of literary works should be wonderful and splendid. Although we can read or listen to the literary works， we cannot visualize them like watching pictures or get auditory images like listening to the music. Therefore， if the literary language is dull， tedious and insipid， it cannot stimulate the imagination of readers， thus cannot convey artistic conception to readers， let alone let them grasp the artistic images in the original works. It is the translators’ responsibility to take advantage of target language to reach the translation to stimulate readers’ imagination finally.
The following is another example from Bells Ringing In The Rain: “今宵酒醒何处？杨柳岸晓风残月。Xu Yuanchong ‘s translation is
Where will you be found at daybreak
From wine awake?
Moored by a riverbank planted with willow trees
Beneath the waning moon and in the morning breeze.
The poem asks where he will be when he wakes up tomorrow morning. “willow trees” and “Beneath the waning moon and in the morning breeze.” stimulate the readers’ imagination， and make the readers imagine the scene by themselves. For example: how is the poet’s condition when he awake? And what will he be think? Different people have different images. People can image the scene of the poet awaking in the morning according to their own understanding of the poem. “Moored” give the readers large space of imagination that is the need to transmit artistic conception to readers.
From the author’s point of view， stimulating imagination plays a quite important role in transmission of artistic conception. Many translators notice the point in the process of translation. For instance， there are two verses in the renowned poem "Song of a Pipa Player" (琵琶行)by Bai Juyi：“大弦嘈嘈如急雨，小弦切切如私语；嘈嘈切切错杂谈，大珠小珠落玉盘。” The two verses describe the music by the Pipa. “It is difficult to describe abstract music in words， but Bai Juyi compares it in turn to a patterning rain， to pearls dropping on a plate of jade”[28] which greatly stimulate the readers’ imagination， “so that you can not only hear it but sometimes even see it before your eyes”. [29] Here are two versions respectively translated by C.Gaunt(A) and Xu Yuanchong(B)
A The great strings with a crash resound，
As when the rain-storm strikes the ground;
The small strings whisper manifold，
Like secret confidences told;
And then the vibrant chords outfling
A mingled crash and whispering，
Like shower of pearls， some large some small， that on a jade-dish pattering fall.
B
The thick strings loudly thrummed like the pattering rain;
The fine strings softly tinkled in a murmuring strain
When mingling loud and soft notes were together played
‘Twas like large and small pearls dropping on plate of jade
C.Gaunt’s‘the rain-storm strikes the ground’; ‘whisper’‘ like shower of pearls， some large some small，’and Xu Yuanchong’s ‘pattering rain’‘murmuring strain’ ‘murmuring strain’all stimulate the readers’ imagination and convey artistic conception of the poem in source language as well. The original poem does well in stimulating imagination， so does the translation.
Stimulating imagination is a part of the conveyance of artistic conception， we get artistic treat through abundant association and fantasy， which achieve the effect of artistic conception. As we analyze above， the translation that arouse the imagination of readers convey artistic conception effectively. There is a point we are sure that even if the translations cannot achieve the charm of the poem perfectly， we should exert our great efforts to resemble the effect.
4. Conclusion
We can find that the conveyance of artistic conception is not easy. However， through the three means， we still can effectively transmit artistic conception by experiencing the emotion and imaging the image of original poems. The author discusses three strategies: expressing feelings and ideas; unearthing images; stimulating imagination. They are three effective ways but not the absolute means. In addition， there is one point that we should notice: when we proposed request to the translators， we should pay attention to the fact that the readers should be qualified to comprehend the poems’ artistic conception.
References
[1] 温辉. 意象和意境：英译唐人绝句[D]. 西安：陕西师范大学， 2000(04). P4
[2] 闫军利．诗歌翻译的美学途径[D]. 西安：陕西师范大学， 2003 (04). P7
[3] 戴伟平．诗歌翻译与现代性[D]. 重庆：西南师范大学， 2004 (04). P38
[4] 蔺丽．中国古诗英译意境传达的探索[D]. 天津：天津师范大学， 2005 (04). P17
[5] 姜莉．论唐诗英译的意境传达[J]．沈阳师范大学学报（社科），2005(01). P112
[6] 同[4]. P112
[7] 同[4]. P112
[8] 同[4]. P112
[9] 同[4]. P112
[10] 同[4]. P112
[11] 水小重．从东西方文化的差异看汉诗英译的困难性[J]. 西北师大学报（社科）， 1998(03). P98
[12] 同[10]. P98
[13] 同[3]. P17
[14] 同[4]. P112
[15] 同[4]. P112
[16] 同[4]. P112
[17] 同[4]. P112
[18] 同[4]. P113
[19] 许渊冲. 中诗英韵探胜[M]. 北京：北京大学出版社，1992. P204
[20] 同[4]. P113
[21] 袁哲. 文学翻译中审美再现的三个层面[D]. 长沙：湖南师范大学，2004(05). P27
[22] 刘建华. 古诗意境英译分析[D]. 长春：吉林大学， 2004 (05). P26-27
[23] 陈月红. 中国古典诗词翻译中的意境问题刍议[D]. 武汉：华中师范大学， 2002 (04). P32
[24] 同[18]. P370
[25] 同[18]. P370
[26] 同[18]. P370
[27] 同[4]. P114
雨霖铃翻译范文4
[关键词]拓宽视野；文本解读；因“材”施教；研究学情
记得前不久参加远程培训，课程专家在班级沙龙里发了一个关于“请谈谈您从教以来上得最成功，最得意的一堂语文课或者你理想中成功的语文课”的论题。此帖一出，引起众多教师关注。有教师说：“要让学生充分融入课堂，享受课堂”，有教说：“教师要有非常清晰的思路，带领学生积极思考探索。并且要有良好的互动，让学生参与其中。”其实，不论哪种观点，都离不开一个必要前提，就是课前要做充分准备，即“备课”。备课就是解决教师上课教什么，怎样教的问题。备不备课，怎样备课与教学效果是成正比的。下面，笔者结合自身的教学实际谈谈对备课的体会和认识。
一、要有宽阔的视野，大量占有材料
记得本学期听课，年级组教师上《古代文化常识》，用PPT展示了元宵节很多习俗。教师重点提到了赏花灯，吃元宵，却跳过了“迎厕神”。而学生似乎对此很感兴趣，紧追着问：“老师，什么是迎厕神，厕神是不是管厕所的啊？”学生的提问顿时让老师语塞尴尬了，只能无奈抱歉地说：“实在对不起，这个我也不是很清楚，课后我查到了再告诉大家。”这让我深刻地认识到教师备课一定要有宽阔的视野，大量占有材料。课堂上讲的可能只是冰山露出的1/8，但背后更深的7/8我们也要去涉猎、消化、整合到自己的备课内容中，也就是预设课题要大于生成课堂，这样才能应对万千变化的课堂教学。
有句话说得好：“要给学生一杯水，教师自己首先要有一桶水。”教师自己如果只有可怜的一两杯水，那么可能连自己的饥渴都解决不了，又哪能顾及几十个学生呢？在深刻检讨反思后，我在备《装在套子里的人》时，特意查找了一系列这方面的资料评论，在课堂上还真派上了用场。在归纳小说主题时，有学生在概括完“抨击了沙俄专制制度对人的残害”后，说现实中的我们都是“套中人”。这种说法引起了其他学生的反对，说沙俄制度是反动的，我们并没有被反动的东西束缚，我们不是“套中人”。由于课前进行了较全面的备课，于是我引领学生探讨“套子”指的是什么，那么生活中有“套子”吗？我们需要“套子”吗？我们应该怎样对待生活中不同的“套子”？这些探讨引起了学生的兴趣，营造了课堂的高潮。笔者认为，一堂课要想上得酣畅淋漓，让学生沉醉其中，教师游刃有余，教师就必须在课前广博涉猎，广泛吸收，开阔视野，占有大量资料。
二、正确解读文本，要有自己的见解，不能简单地做教参的传声筒
在教学中，教师们不难发现，语文里有很多问题是存在争议的。譬如《滕王阁序》中，“腾蛟起凤，孟学士之词宗”在教参里的翻译是：“文坛领袖孟学士，文章的气势像腾起的蛟龙，起舞的彩凤。”从翻译里看，教参把“龙”和“凤”都看作了名词作状语，“像蛟龙”“像彩凤”。而我们如果把“腾”和“起”视作动词的使动用法，译作“文坛领袖孟学士，文章的气势使蛟龙腾飞，使彩凤起舞”又有何不可呢？正如“舞幽壑之潜蛟，泣孤舟之嫠妇”中的“舞”和“泣”的用法。所以，教师在备课时，不能盲目跟从已有的结论，而要有自己的见解。
同样，在教学中，常听到身边有一些教师说：《记念刘和珍君》上得自己快发疯了，鲁迅的文章怎么这么难上啊？问是否有同感。还有老教师说：《陈情表》上得好无趣无味，不晓得为什么评价说“读《陈情》不哭者不孝”。其实，笔者认为，阅读课文的过程，就是自己心智完全投入的过程。教师自己必须首先要和作者有一个心灵的对话，形成自己的理解，自己的观点。如果我们能首先把自己当作读者走进作者，走进文本，而不是仅把自己当作老师走进教参的话，相信我们有不同的理解和感悟。如果教师自身没有阅读体验，没有和作品之间的交流和理解，仅被教参牵着鼻子走，那么教学无疑就会变成“贴标签式”的教学。
角度不同，背景不同，身份不同，便有不同的理解。诸如《红楼梦》“经学家看见易，道学家看见淫，才子看见缠绵，革命家看的是排满，流言家看的是宫闱秘事”。如果被教参束缚了手脚，把生动的课文内容变得单一化，格式化，最后留给学生的只能是抽象的结论。所以，教师首先要自信，要养成自己和文本对话的习惯，把握自己阅读文本的感受、疑惑，这有可能也是学生阅读文本的感受和疑惑。在此基础上再去参考教参及其他的资料，要学会把教参当作帮手而不是呼吸的空气，这样对文本的解读才能透彻到位。
三、关注不同文体的文本，确立教学重难点及教学方法，“因材施教”
在一次听课中，一位教师上《雨霖铃》，中途把诗歌的翻译展示在PPT上，让学生体会诗意。对此做法，我颇不赞同。文言文的教学重点和难点是字词的理解，所以我们要有意识地锻炼学生的翻译能力，不仅要求学生翻译，而且要做到清清楚楚，字字落实。而诗歌不是文言文，它是另一种文学样式，另一种文学体裁。诗歌短小精悍，含蓄委婉，言有尽而意无穷，让人在“易尽”里望见了“无限”。所以，诗歌教学应该重点让学生去感受意象和意境，感受诗歌意蕴美和暗示性。如果要求学生翻译诗歌，诗歌这泓泉水瞬间就变干涸，这与教学宗旨是背道而驰的。
孔子曾说“因材施教”，这里的“材”是指学生的特点，要求教师根据学生不同的特点施以不同的教育方式。但我认为“因材施教”这个成语同样适用于我们的语文教学。每种文体都有各自的特点，不管是行文结构还是语言风格还是艺术手法。譬如小说和戏剧在某种程度上很相像，要分析人物形象，要感知作品主题，要注意环境描写，要理清情节结构，但戏剧其动作性语言、潜台词等独有的特点却又是小说所不具备的，在教学中应引导学生感知理解。所以我们不能用“以不变应万变”的教学流程、教学方法来处理所有的教材文本，这样会在教学重点和教学难点的确立上有失偏颇。
四、要研究学情，确立教学内容
雨霖铃翻译范文5
一、激发学生学习兴趣
1创设情境，激活兴趣
诗词教学重在意境，也只有学生沉浸在意境之中，才能品味诗词的美妙之处。因而体验最重要，如果仅凭苍白的几句诗让学生去理解，学生只有一头雾水。所以在诗词鉴赏教学中，教师需要做的就是积极给学生创造一种情境、一种意境，让他们的思绪与诗人共鸣，从而对诗歌意境产生最真切的体验，最终提升诗歌鉴赏水平及审美能力。当然，创设情境的方法很多，可以通过音乐，也可以通过画面视频，重点是给学生一个意境，这样一方面可以用优美恰切的语言引入情境，另一方面，也可以有效运用音频及视频材料。
2创设活动，诱发主动
对于诗词教学来说，重点是学生的情感投入，而这最需要教师创设各种形式的学习活动，来诱发学生的兴趣，从而激发其内在的主动意识。教师可以在课前让学生自己去了解作者及诗词的创作背景，并在课上组织一个小型的讨论会，让学生发表自己的看法、见解，运用相关资料证明自己的观点。这样不仅让课堂充满活力，而且可以诱发学生的情感投入，从而提高学生的诗词鉴赏能力，丰富其情感体验。
二、提高诗词教学质量
传统的语文教学是以知识为本位，而新课标则明确提出了三维目标，突出了学生的主体地位，强调课堂的发展首先是人的发展。这就需要教师树立新理念，强化学科本位向学生的终身发展的转变，从而形成对知识、能力、情感的有机整合，体现古诗词课堂对人生命的敬畏。
对于高中学生来说，古诗词学习，积累是一方面，更重要的是体验与感悟，乃至熏陶。因而在教学中，需要重视学生对古诗词语言的理解与运用，重视学生的古诗词教学实践，突出培养一种个性思维，让学生在古诗词教学中主动探索，积极思考。这样一方面能让学生更好地继承我国古代文学乃至价值观的精髓，另一方面也能让古诗词课堂洋溢生命的活力。
1注重诵读方法
古代诗词强调的是留白，是含蓄的表达，因而着力追求“不着一字，尽得风流”，这种天人合一所追求的“神韵”，恰恰是古代诗词的一种美的表达。而要体现这种美的内涵，就必须注重诵读的意义。抓住作者在作品中所表达的思想来引导学生诵读，这样不仅易于学生对诗歌情感的把握，而且可以使学生掌握诵读古代诗词的方法。
比如诵读《观沧海》，就要读出曹操的那种胸襟;而《夜雨寄北》则要品味李商隐的淡淡的朦胧味道，也许诗中没有具体人、具体事，但教师要引导学生诵出这种浓郁的真情。伴随着这样的诵读，学生会不由自主进入诗词的情境，但在诵读时也要讲究方法。
2注重文本解读
唐诗之所以美丽，是美在韵律，美在想象。如果直译成今文，就会失去其韵味，因而对于古诗词来说，如何解读至关重要。而要翻译，前提是把握古诗词翻译的钥匙，这是其一。其二，由于诗境不同，诵读的个体不同，对于古诗词的理解、感悟自然不同。教师在教授时，除了一些共性理解，更需要关注学生个人的独特感悟。
比如《木兰诗》一诗中的“唧唧复唧唧”，最早注释是“机杼声”，后来又加上了“叹息声”;现在又有人提出了新的考证，说是“虫鸣声”。因而在教学中，教师需要让学生自己去品味，自己去考证，自己去理解，甚至可以通过比较，让学生品味虫鸣声突出了一种夜的宁静，而且还能表达木兰那种辗转反侧的忧愁。
3注重情景再现
相对而言，古诗词所反映的思想，或者情感，离学生太远，因而学生不能，或者无法独自理解古诗词内容。所以在学生了解了作者、创作背景，并初步体会了诗歌意境和作者情感后，教师可采用“情景再现”的教学方法。这就需要教师在品读古诗词的基础上，通过勾连，通过对意象的描述，引导学生展开想象与联想，甚至还可以用诗意的语言、视频、画面等形式给学生创造一种意境，一种情境，让学生的思维跳跃，让诗词的语言再现课堂，从而给学生，给古诗词创造一种意境。比如《雨霖铃》一词，情景可以如此再现：
风有点凄冷，深秋的夜晚却显得更加凄凉，而我，几经沉浮的我，今天却又要远行，到遥远的南方去。长城外，古亭边，我的爱人，却为我饯行。周边，暴雨骤停，寒蝉哀鸣，一切都显得那么寂静，一切又显得那么凄凉。
借酒浇愁，挥泪相拥，而船夫却催我上船。声声催，声声无奈，我的爱人，你那纤手，紧紧握住我，两眼对望，如今已经热泪盈眶。痛苦呀，离别的痛苦呀，如今让我们已经难以说话，只有泪流满面，艰难告别。
南方，那遥远的南方，我心爱的人儿，如今却要告别。想想在浩淼无边的烟波里漂泊，想想在浩瀚的楚地上流浪……而这一切，却让我不禁悲涌心头，其实我不想去呀，那种淡淡的忧伤，那种忍不住的悲痛，欲去不忍，欲留不能的矛盾，随着辽阔的楚天楚地不断扩散、延伸……哎，为何自古多情总是伤感呢？在这凄凉的深秋里，端着离别的酒杯，这难道不让人更心碎吗？
今朝告别，不知今晚又在何处？莫道晓风侵人，残月昏黄？一想到这凄冷的风，悲凉的一切，那一切的一切又压上我的心头，离别的伤感再次冲击着我那颗稚嫩的心灵，悲哀呀，真是欲去不忍，欲留不能啊！
这一离去啊！不知又要在孤独、寂寞、相思中苦苦挣扎多少年？在这些忧郁的岁月里，也许会有良辰美景，花好月圆;但对于我来说，这一切不过都是镜花水月一样。你不在身边，我纵有千般浓情，又向谁诉说……
经过这层层铺垫，上阕一层写秋景，一层写送别，一层再写别后之景;而下阕第一层写离别情感，第二层写想象中凄凉景色，第三层收回，从中感叹情人天各一方，那种孤独，那种难以倾诉的复杂而又曲折回环的离别之景象，都寓于在悲冷清丽的情景之中。这样就能引导学生进入清冷悲美的意境，从而完整、全面、深透地对诗歌进行合乎文本的再创造。
雨霖铃翻译范文6
关键词：语用学；古汉语；意象
中图分类号：H109.2文献标识码：A文章编号：1003-949X(2008)-10-0062-02
意象（image）一词，来自20世纪20年代美国的“意象主义”运动。其主要创始人、组织者及理论家艾兹拉・庞德称意象是“理智和情感在瞬间的复合”，是“充满活力的概念旋风”。[1]（他一生用英语翻译了许多汉诗，大胆地借用了中国古典诗歌的手法革新了英美传统诗歌，形成了意象主义流派。他认为，中国诗于新诗运动，就像希腊之于文艺复兴。可见，历史悠久的中国文化，是意象的摇篮，是培养意象的沃土。
在五彩斑斓、浩如烟海的古汉语作品中，意象是神韵，是灵魂，起着一种画龙点睛、无可替代的作用。几千年的文化传统，赋予了风、花、雪、月、云、春、笛、桥、杨柳、江水等物象以特殊的含义。如柳永词《雨霖铃》里的“杨柳岸晓风残月”，无一字废话，而仅仅是三个相关意象的组合叠加，却勾画出一幅离情别绪、伤感压抑的白描画。因此，意象即是物象加上作者的艺术想象和情感糅合。在古文学作品中，从语用学的角度分析，它大致可被分为寓意象征、刻画人物性格、显示人物命运与情节发展这三种类型。
一、寓意象征
何兆熊在《新编语用学概要》中指出，语用前提可分为以下三种：（1）说话者认定的语境；（2）发生言语行为恰当的环境；（3）双方都已获知的事实。[2]作者提出一种物象作为一种象征物而被广大读者理解并接受，前提是：必须在人们的潜意识里早就存在这样一种概念，一种象征。比如说，人们常用“风雨”来比喻艰难的人生旅程，如“风雨兼程”、“已是黄昏独自愁，更著风和雨”、“屋漏偏逢连夜雨”等，而不会使用“风和日丽”、“艳阳高照”等意象。这已经达成了一种共识，一种约定俗成，只要一读到它，便能感受到其中蕴涵的意味。再如自古以来人们都用花来比喻女性。“袅袅婷婷十三余，豆蔻梢头二月初”是典型的形容十三四岁的女孩的诗句；“花容月貌”、“如花似玉”、“闭月羞花”、“人面桃花”等等指女性的美貌；男性追求女性有“拜倒在石榴裙下”和“寻花问柳”的不同；妇人出轨称作“红杏出墙”；哭是“梨花带雨”；笑是“花枝乱颤”；林黛玉“葬花”表现了她把自己比成落花而顾影自怜；贾宝玉“护花”、“种花”的诗句又见证了这位公子哥儿风流多情的本性。在古汉语里，花就是女性的象征，在一些文学作品里，甚至可以看做是女性的化身。因为它是那么的阴柔、弱小与美好，与女性气质相吻合，以至于人人都认为它应首当其冲地成为中国古代传统女性的代言人。就连《孔雀东南飞》里那位贤惠的家庭妇女刘兰芝在山盟海誓时也不忘将自己比喻成花草：君当作磐石，妾当作蒲苇。蒲苇韧如丝，磐石无转移。这个意象甚至流传到了国外，为外国文学家所接受。从艾兹拉・庞德的那首里程碑式的意象主义短诗《地铁站掠影》中的诗句“湿漉漉的黑枝上，悬挂片片花瓣”，我们知道这些“黑枝上的花瓣”实际上指拥挤潮湿的地铁车站里偶尔闪现的几张年轻女性和孩子的鲜嫩的脸庞，和周围环境形成了鲜明的对比，同时也在作者心中激起了灵感的闪现。与此相反，读中国著名的意象派古词《天净沙・秋思》，读者仿佛置身于一派浓浓的落寞凄凉的氛围之中，尽管这首词没有一句叙述和议论。这完全得益于“枯藤、老树、昏鸦、夕阳、古道、西风、瘦马”等一批意象呈现给读者的一幅那么颓废、那么无奈的画面。
二、塑造人物性格
有时，同一物象还可以有不同的语用意义。《红楼梦》是无比娴熟地运用言内意义和语用意义，特别是语用意义的杰作。它塑造的众多个性丰富的人物古往今来一直为人们津津乐道。书中公子小姐鲜明的性格不仅体现在日常言谈举止上，而且作者还花了大量的篇幅描写他们所从事的封建贵族文化专利――吟诗作画。古人云：文如其人。书中不同人物所作的诗均代表了不同的内心想法。例如第三十八回众小姐作诗，同样一个，在各人眼里，却是见仁见智，更折射出他们不同的性格。薛宝钗在她所作的《忆菊》中有两句：“谁怜我为黄花瘦，慰语重阳会有期。”这勾画出一幅傲视群芳的艳丽图，显示出薛宝钗独立能干、高瞻远瞩、世故乐观的个性，至于她流露出“好风凭借力，送我上青云”的野心，也就不足为怪了。而林妹妹就大不一样了，她的一句“满纸自怜题素怨，片言谁解诉愁心？”，让我们看到一朵期期艾艾、顾影自怜的风中黄花，这暗示着她多愁善感、悲观狭隘的性格。“别圃移来贵比金，一丛浅淡一丛深。萧疏篱畔科头坐，清冷香中抱膝吟。”这不是湘云又是谁呢?这一格外清新愉快的图重现了单纯可爱而又天真烂漫的史湘云醉卧红芍的经典画面。探春的《簪菊》所取的是一个插菊入发的动感十足的意象，表现了她敢想敢作、标新立异、不畏人言的政治家素质。最后，在贾宝玉的“泉溉泥封勤护惜，好和井径绝尘埃”（《种菊》）里呈现的是一幅种花人不辞辛苦地浇水施肥的景象，这是他与生俱来的怜香惜玉性格的写照。的各种各样的意蕴在这里发挥到了极致，每一处菊景都张扬着自己与众不同的个性。众多人物形象被表现得更加鲜明生动，相互映衬，就像一幅各具姿态、形象万千的图。
三、显示人物命运与情节发展
同样是意象，在昭示认为命运方面，往往能与上下文遥相呼应，增加神秘感与悬念。在《红楼梦》第五回里，金陵十二钗的命运都各自用一幅画来展示，简单明了而给人印象深刻。如一块美玉落在泥污中的意象，暗示了女道士妙玉虽身居道观，却最终抵制不了诱惑，对怡红公子春心暗动的事实。而恶狼追扑美女的画面又暗示了迎春误嫁中山狼，结果被折磨而死的命运。这些简洁明了的意象实际上是对情节的高度浓缩和概括，起着一种画龙点睛的作用。《诗经・召南》的《有梅》里叠加了“有梅，其实七兮”（梅子成熟了，要落下来，树上的梅子只剩十分之七）、“有梅，其实三兮”（梅子成熟了，要落下来，树上的梅子只剩十分之三）、“有梅，顷筐暨之”（梅子成熟了，要落下来，树上的落梅已装满了竹筐啊）这三个连续的意象，象征着妙龄女子的青春发展趋势：即越剩越少，直到丧失殆尽，就像这成熟的果实一样，绚丽但短暂。成熟的梅子因乏人采摘而越来越多地落下，伴随着女子一天天变大的年龄，她多么渴望有一个小伙子快来把她娶走啊！如此情景交融，更加生动地刻画了青春易逝，红颜易老的紧迫感，很容易使读者联想到“花开堪折终须折，莫教无花空折枝”的图景来。
总之，一个物象，在特定的环境中被作者赋予了特定的语用意义，就成了意象。可见，意象是与作者的写作目的和表达方式密切相关的，它实际上是作者意图的代言人。通过分析它，便对掌握作品的脉络与灵魂有所帮助，而上述意象类型是语用分析中较常见的三种类型。
参考文献：
[1] 常耀信. 美国文学简史[M]. 天津:南开大学出版社,1991:222
