顺应论视角下李白诗歌的英译对比研究

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浙江财经学院硕士学位论文

摘要

1999 年，比利时语言学家耶夫•维索尔伦（Jef Verschueren）提出了顺应论。

该理论以其完整的体系和扎实的哲学基础引起了语言学界的广泛关注。无论是在

理论层面还是应用层面，该理论都能给人们很多启示。顺应论认为，语言使用是

一个不断选择（包括语言内和语言外）的过程。人们之所以能够根据交际意图和

使用环境做出种种恰当选择，是因为语言具有变异性(variability）、商讨性

(negotiability)和顺应性(adaptability)。维索尔伦强调：语言顺应需要同时考察以下

四个方面，即：顺应的语境相关因素、顺应的结构对象、顺应的动态过程以及顺

应过程的意识凸显程度。这四个方面构成了顺应论的四个主要分析维度。

李白是我国唐代杰出的浪漫主义诗人之一。在诗中，他将自己的志向和情感

寄托于特定的形象之上，借以抒发情怀。他的诗歌大多平静乐观，这种乐观精神

来自他对艺术和生命信念的不断追求。雄浑飘逸，极具想象力是李白诗歌的最大

特点。

本研究选取的两个英译本，分别为：国内著名翻译家许渊冲先生的《李白诗

选》和美国现代主义诗人、翻译家埃兹拉•庞德（Ezra Pound）的《华夏集》。

从顺应论角度对以韵体翻译著称的许氏译作和以解释性翻译为标志的庞氏译作

进行对比研究，发掘李白诗歌研究的新视角。

在研究过程中，本文主要采取了以下几种方法：其一是定性分析与定量分析

相结合的方法。作者通过文本分析软件 ROST4.0.2.7、Concordance3.0 和ICTCLAS

进行词频统计，对词汇层面的顺应情况进行直观分析，使研究结果更具说服力。

其二是对比分析方法，基于顺应论的视角，本文对许渊冲的韵体翻译和庞德的解

释性翻译进行对比分析。其三，本文还运用了刘宓庆教授的“翻译风格标记理论”，

对两个译本分别进行文体上的对比研究。

本文共分六部分：

引言部分包括研究背景、研究意义、研究方法和本文的基本框架。

III

浙江财经学院硕士学位论文

第一章为文献综述部分，主要包括：顺应论与翻译关系研究、许渊冲和庞德

英译李白诗歌的相关研究（国外和国内）。

第二章对本文所应用的理论框架-顺应论及其对翻译的启示进行了详细阐述。

第三章着重介绍李白的诗歌及其两个英译本。包括李白的生平和诗歌特色，

对许渊冲、庞德两位译作作者的生平及其两本译作进行了叙述。

第四章为本文的主体部分。文章分别从语境性、语言结构选择性、顺应的动

态性和意识凸显性四个分析维度，对两部译作的顺应情况进行了对比研究。

最后为文章的结论部分。作者认为：许渊冲先生的韵体翻译因耽于倚重 “音

美必须押韵、形美必须符合英诗格律”，而致“因韵害义”；而庞德先生的解

释性翻译则能较好地顺应其翻译目的，故而得到英语读者的广泛好评。因此，

本文认为庞德的作品似乎更符合西方读者的审美观和阅读习惯。

关键词：顺应论；李白诗歌；《李白诗选》；《华夏集》

浙江财经学院硕士学位论文

Contents

Introduction…………………………………………………………………...1

Chapter 1 Literature Review………………………………………………...6

1.1 Studies on the English Translation of Li Bai’s Poetry…………………6

1.2 Previous Studies of Adaptation Theory and Its Application in

Translation……………………………………………………………..8

Chapter 2 Theoretical Framework………………………………………….11

2.1 Key Notions of Adaptation Theory……………………………………11

2.2 The Application of Adaptation Theory in Translation…………………18

Chapter 3 Li Bai’s Poetry and Its Two English Versions…………………..23

3.1 Li Bai and His Poetry………………………………………………….23

3.2 Xu Yuanzhong and Selected Poems of Li Bai……………………….....25

3.3 Ezra Pound and Cathay………………………………………………..26

Chapter 4 A Contrastive Study of the Two English Versions of Li Bai’s

Poems……………………………………………………………...30

4.1 Contextual Adaptation..……………………………………………….30

4.2 Structural Adaptation………………………………………….……….36

4.3 Dynamic Adaptation…………………………………………………...42

4.4 Salience of Adaptation Process………………………………………...45

Conclusion…………………………………………………….……………….47

Bibliography…………………………………………………………………..50

Appendix…………………………………………….…………….…………..54

Acknowledgements…………………………………………………….……...55

浙江财经学院硕士学位论文

Introduction

1 Research Background

The Chinese nation has a long history and a glorious culture which attract many

scholars abroad to devote themselves to exploring ancient cultural treasure. Just as

Gong Guangming said, “The best way to know a nation is to enjoy her poetry.” (龚光

明, 2004:395) As the earliest form of literature and the quintessence of the Chinese

culture, poetry is regarded as the invaluable heritage of our brilliant culture and the

intelligent crystallization of our great nation.

Starting from the emergence of the first collection of poems entitled Book of

Poetry (Shi Jing) in the twelfth century B.C.; Chinese poetry has already gone through

a long history of more than 3,000 years. If we compare the Book of Poetry as the

rising dawn of the ancient Chinese poetry, we can call the most prosperous period of

ancient Chinese in Tang Dynasty the shining midday. It is undoubted that the Tang

Dynasty is deemed to be the golden age of Chinese poetry. With its unique form,

laconic language, exquisite verse, song-like rhythmic pattern and vivid description,

Tang Poetry is applauded by both Chinese people as well as the foreigners. Each

Chinese people should be proud of this.

Among many excellent poets in Tang Dynasty, Li Bai was regarded as one of the

greatest poets with his distinctive characteristics. The language of his poetry was fresh

and clean; and his elegant poems were always associated with “flowing grace”. Li Bai

himself was a bold and straightforward person. His poetry could prove it. Through his

works, we were affected by his powerful passion of “freedom”. Maybe this was the

important reason why he was widely preferred by many foreigners. It was a pity that a

mass of Li Bai’s poems have got lost in the long history, but there were also more than

nine hundred preserved, most of which were written in the golden age of Tang

浙江财经学院硕士学位论文

Dynasty. His poems not only reflected his own life experience, but touched upon

every aspect of society at his time as well. So, the studies on Li Bai’s poetry can be

regarded as the epitome in Tang poems. For the last one thousand years, the particular

artistic features and endless aesthetic charm of Li Bai’s poems attracted the attention

of many translators and scholars both at home and abroad. Li Bai’s poems were

translated into different languages including: English, Japanese, Italian, German and

Russian. In China, the most famous translators were Yang Xianyi&Galadys Yang, Xu

Yuanzhong①, Sun Dayu, Weng Xianliang; and in the west, Arthur Waley, Arthur

Cooper, H.A. Giles, Ezra Pound were known by many readers. Among them, Xu

Yuanzhong laid emphasis on the rhyme while Ezra Pound drew his attention on the

transferring of image; their translated works of Li Bai’s poetry are going to be studied

in the thesis.

Xu Yuanzhong(1921- )is one of the brilliant translators in the field of Chinese

classical poems translation. He published selected poems of Li Bai in 1987. This book

contains 111 poems in all and is arranged in a chronological order of Li Bai’ life,

beginning with Calling on a Taoist Recluse in Daitian Moutain without Meeting Him

（《访戴天道士不遇》）and ending with On Death Bed（《临终歌》）. His translation

was based on his full understanding of Li Bai and Li Bai’s poetry. Rhymed translation

was the most representative characteristic of Xu’s poetry translation, and it was true

that this feature has been a continuing debate among scholars both at home and

abroad. According to himself, the translation of Li Bai’s poems received recognition

by western scholars as “the most beautiful translation of ancient Chinese poems.”(Xu

Yuanzhong, 2003:6-7)

Ezra Pound (1885-1972), a well-known modern poet, published Cathay in 1915.

In his book of English translation for Chinese ancient poems, 12 of Li Bai’s poems

were translated under the name of Rihaku (the Japanese pronunciation of Li Bai). It

① Xu Yuanzhong spelled his name as X.Y.Z but not Xu Yuanchong in his works, and most of

scholars at home also used the spelling of “Xu Yuanzhong” in their studies. Thus, the thesis will

choose the same spelling.

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摘要：

浙江财经学院硕士学位论文摘要1999年，比利时语言学家耶夫•维索尔伦（JefVerschueren）提出了顺应论。该理论以其完整的体系和扎实的哲学基础引起了语言学界的广泛关注。无论是在理论层面还是应用层面，该理论都能给人们很多启示。顺应论认为，语言使用是一个不断选择（包括语言内和语言外）的过程。人们之所以能够根据交际意图和使用环境做出种种恰当选择，是因为语言具有变异性(variability）、商讨性(negotiability)和顺应性(adaptability)。维索尔伦强调：语言顺应需要同时考察以下四个方面，即：顺应的语境相关因素、顺应的结构对象、顺应的动态过程以及顺应过程的意识凸显程度...

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