摘要
李白的《长干行》深受二十世纪初美国诗人、学者们的青睐。相较于庞德《长干行》译诗的广为人知,尽管威廉斯《桂树集》中的译诗《长干行》也富于特色,但学界对其尚不够重视。倘立足庞德与威廉斯各自诗歌创作语境,会发现两版《长干行》的翻译策略迥异。庞德的“绝对节奏”译诗策略联结主体情感与智性两极,威廉斯的“可变音步”策略终极指向也是主体之“思”,但较之庞德的“绝对节奏”,威廉斯的“可变音步”意欲更有效贴合现时的现实生活世界。两种翻译策略背后,浓缩的毋宁是美国自由诗音乐性的嬗变。
Li Po’s“Chan Kan Xing”has been appreciated by the poets and scholars since the beginning of the 20th century.Compared with Pound’s translation of“The River-Merchant’s Wife:A Letter”,scholars at home and abroad scarcely laid emphasis on Williams’“Long Banister Lane”,although Williams’translation is worthy to be explored.Based on the respective writing contexts of these two poets,we could find that the translation strategies both of them applied were thoroughly different.Generally speaking,Pound’s translation strategy“absolute rhythm”links the two poles of human’s subjectivity:one is the sentiment,the other intellectuality;while Williams’“variable foot”ultimately points to“ideas”.On the other hand,in contrast to Pound’s“absolute rhythm”,Williams’“variable foot”aims to correspond closely to the current real life.As a matter of fact,the transmutation of musicality of American free verse was hid behind these two versions of“Chan Kan Xing”.
作者
梁晶
Liang Jing(Shanghai Institute of Technology,Shanghai 201418,China)
出处
《外国语文研究》
2023年第3期86-96,共11页
Foreign Language and Literature Research
基金
国家社科基金一般项目“威廉斯图像诗学的中国文化渊源及生成语境研究”(课题编号:18BWW013)的阶段性成果。
作者简介
梁晶,文学博士,上海应用技术大学外国语学院教授,研究方向为比较文学和英美诗歌。
