中國(guó)詩(shī)歌在海外傳播已久，充分的展示了漢語(yǔ)之美，進(jìn)行翻譯的時(shí)候有很多需要注意的事項(xiàng)，也有一定的難度，今天陪同翻譯給大家分享一下翻譯中國(guó)詩(shī)歌有哪些難題?

　　Chinese poetry has been spread abroad for a long time, fully demonstrating the beauty of Chinese. There are many matters needing attention and some difficulties in translating. What difficulties do you have in translating Chinese poetry with you today?

　　四聲平仄無(wú)對(duì)應(yīng)

　　Four tones do not correspond to each other.

　　漢字的四聲在中國(guó)古典絕句和律詩(shī)中起的地位十分重要，而外文卻沒有聲調(diào)，因此中國(guó)古典詩(shī)詞中的平仄在翻譯成外文之后，自然也就無(wú)法表現(xiàn)。

　　The four tones of Chinese characters play an important role in Chinese classical quatrains and rhythmic poems, but there is no tone in foreign languages. Therefore, the level tone in Chinese classical poems can not be expressed naturally after being translated into foreign languages.

　　格律對(duì)偶難對(duì)照

　　Grammatical Duality is Difficult to Contrast

　　具體來(lái)講，古代的漢語(yǔ)是一個(gè)單音節(jié)的語(yǔ)言。因此，每行的停頓有一定的位子。比如，在五言絕句中，停頓在每行第二個(gè)音節(jié)后;而七言絕句，每行則有兩個(gè)停頓。在第二個(gè)音節(jié)之后，有一個(gè)比較短的停頓，在第四個(gè)音節(jié)之后，有一個(gè)則有個(gè)比較長(zhǎng)的停頓。那種一致的現(xiàn)象當(dāng)然也譯不過來(lái)。因此，“律詩(shī)里頭的那非常精美的對(duì)偶的句子也不容易譯成外文?！?/p>

　　Specifically speaking, ancient Chinese is a monosyllabic language. Therefore, there are certain seats at the pause of each line. For example, in a five-character quintessence, pause follows the second syllable in each line; in a seven-character quintessence, there are two pauses in each line. After the second syllable, there is a shorter pause, and after the fourth syllable, there is a longer pause. Of course, the same phenomenon can not be translated. Therefore, it is not easy to translate into foreign languages the very beautiful antithetical sentences in the rhyme poems.

　　長(zhǎng)短句巧譯古詩(shī)

　　A Skillful Translation of Ancient Poems with Long and Short Sentences

　　雖然，翻譯家在把中國(guó)非常整齊的五言古詩(shī)和七言古詩(shī)譯成外文的時(shí)候，簡(jiǎn)直沒有辦法反映原文的結(jié)構(gòu)和節(jié)奏。但英國(guó)著名的漢學(xué)家兼翻譯家阿瑟·韋利(ArthurWaley)翻譯五言古詩(shī)和七言古詩(shī)的時(shí)候，用一種托馬斯·艾略特(T。S。Eliot) 和 E。 龐 德(EzraPound)都很欣賞的節(jié)奏。這個(gè)形式中，譯文用一個(gè)讀重的音節(jié)來(lái)相配每一個(gè)中文的音節(jié)。譯文讀重的音節(jié)之間會(huì)出現(xiàn)一個(gè)或者幾個(gè)讀輕的音節(jié)。因此，譯文的句子比原文的句子常常長(zhǎng)得多：“十五，從軍征”可以譯成英文的“At the age of fifteen I followed the armya’field”。我們同樣的可以把“少小，離家，老大回”譯成“As a very young boy I left my home，as a very old man I return”。雖然不是傳統(tǒng)意義上的嚴(yán)格的對(duì)仗，卻用共通的道理在英文的語(yǔ)境中表現(xiàn)了中國(guó)古典詩(shī)歌的格律之美。

　　Although, translators can hardly reflect the structure and rhythm of the original text when they translate five-character and seven-character ancient Chinese poems into foreign languages. But when Arthur Waley, a famous British Sinologist and translator, translated five-character and seven-character ancient poems, he used a Thomas Eliot. S. Eliot) and E. Ezra Pound enjoys the rhythm. In this form, the translation matches each Chinese syllable with a stressed syllable. There will be one or more light syllables between the stressed syllables in the translation. Therefore, the sentences in the translated version are often much longer than those in the original: "Fifteen Years, Military Expedition" can be translated into "At the age of fifteen I followed the armya'field" in English. We can also translate "As a very young boy I left my home, as a very old man I return" into "As a very young boy I left my home, as a very old man I return". Although it is not a rigorous conflict in the traditional sense, it expresses the beauty of Chinese classical poetry in the English context with common principles.

中譯國(guó)際翻譯（北京）有限公司
China International Translation service Co., Ltd.