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在翻译中,不同的历史语境、文化经验,往往造就同一原作下风格各异的译本。诗歌凝聚着本族文化精粹,其翻译往往有着更加难以跨越的宽度,原诗审美内涵总会因此有所变形。译诗传递的文化信息与原诗之间的距离包含了原语和译语文化之间一定程度的张力,造成了原诗和译诗间相映成趣的翻译审美机制。美国诗人朗费罗的诗作“A Psalm of Life”《人生颂》曾被认为是第一首汉译英诗。清末董恂在驻华公使威妥玛“阐释性”译本的基础上裁以七言绝句,读来诗味十足。但传统翻译批评往往对这首经过中外合作的译诗多有苛责,认为其率意发挥,脱离原文。文章拟从宽广的文化视野出发,研究董恂七言诗体译本,探索文化张力在诗歌翻译中创造的巨大空间,对董恂译作做出新的历史界评。
In translation, different historical contexts and cultural experiences often produce different styles of translation under the same original text. Poetry condenses the essence of its own culture, its translation often has a more difficult to span, the aesthetic connotation of the original poem will always be somewhat deformed. The distance between the cultural information and the original poem conveyed by the poem contains a certain degree of tension between the original language and the target language culture, resulting in a translation aesthetic mechanism between the original poem and the poem. American poet Longfellow’s poem “A Psalm of Life ” “life song” was considered the first Chinese translation of English poetry. At the end of the Qing Dynasty, Dong Zhi, based on the interpretation of Wittmann’s “interpretative” version in Beijing, adopted a seven-character quatrained poem and read poetic flavor. However, the traditional translation criticism often criticizes this first poem translated by Chinese-foreign cooperation. It considers that it is intended to play its part and escape from the original text. The article intends to study Dong Qi’s poetic version of poetry from a broad cultural perspective and explore the tremendous space created by cultural tension in the translation of poetry to make a new historical review of Dong Ying’s translation.