第一篇：詩經(jīng)小雅翻譯對比

《小雅·采薇》（第6章）的翻譯。原詩：

“昔我往己，楊柳依依。今我來思，雨雪菲菲。行道遲遲，載饑載渴。我心傷悲，莫知我哀。”

回想當(dāng)初出征時(shí)，楊柳依依隨風(fēng)吹；如今回來路途中，大雪紛紛滿天飛。道路泥濘難行走，又渴又饑真勞累。滿心傷感滿腔悲。我的哀痛誰體會!籠罩全篇的情感主調(diào)是悲傷的家園之思?；蛟S是突然大作的霏霏雪花驚醒了戍卒，他從追憶中回到現(xiàn)實(shí)，隨之陷

入更深的悲傷之中。追昔撫今，痛定思痛，怎能不令“我心傷悲”呢？“昔我往矣，楊柳依依。今我來思，雨雪霏霏?！边@是寫景記時(shí)，更是抒情傷懷。個(gè)體生命在時(shí)間中存在，而在“今”與“昔”、“來”與“往”、“雨雪霏霏”與“楊柳依依”的情境變化中，戍卒深切體驗(yàn)到了生活的虛耗、生命的流逝及戰(zhàn)爭對生活價(jià)值的否定。絕世文情，千古常新。今人讀此四句仍不禁棖觸于懷，黯然神傷，也主要是體會到了詩境深層的生命流逝感?！靶械肋t遲，載渴載饑”，加之歸路漫漫，道途險(xiǎn)阻，行囊匱乏，又饑又渴，這眼前的生活困境又加深了他的憂傷?！靶械肋t遲”，似乎還包含了戍卒對父母妻孥的擔(dān)憂。一別經(jīng)年，“靡使歸聘”，生死存亡，兩不可知，當(dāng)此回歸之際，必然會生發(fā)“近鄉(xiāng)情更怯，不敢問來人”(唐李頻 《渡漢江》)的憂懼心理。然而，上述種種憂傷在這雨雪霏霏的曠野中，無人知道更無人安慰；“我心傷悲，莫知我哀”，全詩在這孤獨(dú)無助的悲嘆中結(jié)束。綜觀全詩，《采薇》主導(dǎo)情致的典型意義，不是抒發(fā)遣戍役勸將士的戰(zhàn)斗之情，而是將王朝與蠻族的戰(zhàn)爭沖突退隱為背景，將從屬于國家軍事行動(dòng)的個(gè)人從戰(zhàn)場上分離出來，通過歸途的追述集中表現(xiàn)戍卒們久戍難歸、憂心如焚的內(nèi)心世界，從而表現(xiàn)周人對戰(zhàn)爭的厭惡和反感?！恫赊薄?，似可稱為千古厭戰(zhàn)詩之祖。

（1）無韻體（也稱散體或散文式）

理雅各的譯文:

“昔我往己，楊柳依依。今我來思，雨雪菲菲。行道遲遲，載饑載渴。我心傷悲，莫知我哀?！?/p>

At first, when we set out, The willows were fresh and green;

Now, when we shall be returning, The snow will be falling clouds.Long and tedious will be our marching;We shall hunger;we shall thirst.Our hearts are wounded with grief.And no one knows our sadness.亞瑟·韋利的譯文: “昔我往己，楊柳依依。今我來思，雨雪菲菲。行道遲遲，載饑載渴。我心傷悲，莫知我哀?！?/p>

Long ago, when we started, The willows spread their shade.Now that we turn back

The snow flakes by.The march before us is long，We are thirsty and hungry, Our hearts are stricken with sorrow, But no one listens to our plaint.胡品清的譯文: “昔我往己，楊柳依依。今我來思，雨雪菲菲。行道遲遲，載饑載渴。我心傷悲，莫知我哀?！?/p>

Long ago when we set off，Thick，thick were the willow shades.Now that we start for home，Heavy，heavy are the rain and snow.Long，Long is the march before us，We are hungry and thirsty.Our hearts are pain-stricken，Nobody knows our woe.理雅各的英譯詩在內(nèi)容上一貫極其忠實(shí)，但基本上是分行寫出的散文，既無節(jié)奏，也未用韻腳，因此構(gòu)不成抑楊頓挫的詩歌韻律。韋利的譯文也沒有運(yùn)用韻，每個(gè)詩行的音步也無法一致。按他的說法，譯詩用韻不可避免地要產(chǎn)生因聲損義，所以他的要求就是準(zhǔn)確地表達(dá)原詩的意義，因此他的英譯文其實(shí)也就是散文。但是無論如何不能回避的問題是：就《詩經(jīng)》而言，如果譯出的詩不能傳達(dá)出原詩的韻味，沒有感染力，那么再忠實(shí)也欠可讀性，因而就很難認(rèn)定為成功的翻譯。以上分別代表三人風(fēng)格的典型例子已缺少了《詩經(jīng)》原詩的“原汁原味”，因?yàn)樵姼璩闪松⑽?，雖然分別也有可取之處，但從總體上來說，由于無韻，原詩的意象喪失殆盡，優(yōu)美形式也蕩然無存。這樣一來，譯文可能因難以記誦而不易流傳，也就是說：缺乏生命力。

（2）韻體（或稱詩體）

我們欣賞一下對《小雅·采薇》的幾則韻體翻譯。

威廉·詹金斯的譯文: “昔我往己，楊柳依依。今我來思，雨雪菲菲。行道遲遲，載饑載渴。我心傷悲，莫知我哀。”

At first，when we started on our track，The willows green were growing.And now，when we think of the journey back，’Tis raining fast and snowing.And tedious and slow the march will be，Ah，food and drink will fail us.Ah, hard to bear is the misery！

None knows what grief assails us.詹金斯的翻譯是比較規(guī)范的韻體翻譯，讀起來朗朗上口，基本移植了原詩的格式、韻律和節(jié)奏，因此再現(xiàn)了原詩外在形式的風(fēng)彩。他的譯本全詩常是三音步抑揚(yáng)格，而且在二、四行押韻，具有英語傳統(tǒng)詩歌的韻味，顯得古色古香。為了達(dá)到這種境界，他曾分析了《詩經(jīng)》詩章的字?jǐn)?shù)和行數(shù)，還分析了原詩的押韻方式，雖然某些地方有增刪或改變原詩意義（例如，hard to bear is the misery），但瑕不掩壁，總體來說，譯文給人一種聲美的享受。

龐德的譯文:

Willows were green when we set out，it's blowin' an’snowin’ as we go

down this road, muddy and slow，hungry and thirsty and blue a doubt(no one feels half of what we know)龐德的翻譯是自由式的，套用了譯入語的民族形式，跟原文不太貼切，給人感覺是譯者自己的創(chuàng)作。但他的譯詩由于用韻恰當(dāng)，旨趣離原文不遠(yuǎn)，符合英美讀者的口味，因此也自成一家。

汪榕培的譯文中每行末尾音節(jié)都有韻腳，其韻律安排是abab，整個(gè)詩節(jié)結(jié)構(gòu)嚴(yán)謹(jǐn)，音節(jié)鏗鏘，韻味無窮，再現(xiàn)了原詩的美感。如此絕妙的規(guī)律說明譯者對原詩的深刻理解和透徹的研究及譯者深厚的英文功底。

汪榕培的譯文:

When I set out so long ago，F(xiàn)resh and green was the willow.When now homeward I go，There is a heavy snow.The homeward march is slow，My hunger and thirst grow.My heart is filled with sorrow;

Who on earth will ever know!

許淵沖的譯文:

When I left here.Willows shed tear.I come back now.Snow bends the bough.Long，long the way；

Hard，hard the day.Hunger and thirst

Press me the worst.My grief o’er flows.Who knows？ Who knows？

許淵沖先生譯詩一路用韻，在神形皆似方面達(dá)到了很高的境界，在保持原詩的形象、意思和旨趣方面都無懈可擊：每行四個(gè)音節(jié)，與原詩相同，雙行押韻，聲美形美兼具，乃譯詩精品。在他看來，譯詩如不傳達(dá)原詩的音美，就不可能產(chǎn)生和原詩相似的效果；相反，用韻的音美有時(shí)反而有助于傳達(dá)原詩的意美。也就是說，用韻固然可能因聲損義，不用韻則一定因聲損義，用韻損義的程度反比不用韻小。也許正是籍于由這樣的理論才產(chǎn)生了其三美兼具的作品。

第二篇：《詩經(jīng)·小雅·采薇》的漢英翻譯

英漢翻譯學(xué)期論文

《詩經(jīng)·小雅·采薇》的

漢英翻譯 學(xué)期論文題目: __

學(xué) 院 外國語學(xué)院 專 業(yè) 英語專業(yè)

班 級 ___ XXXXXXXXXXX_______ 學(xué) 號

XXXXXXXXXX

姓 名

XXXXXX

指導(dǎo)教師

XXXX

教務(wù)處制 二Ｏ一三年一月七日

C-E Translation of shijing·xiaoya·caiwei

By

XXX

Under the Supervision of

XXX

Submitted in Partial Fulfillment of the Requirements

for the Term Paper For English-Chinese Translation

School of Foreign Studies

Jan.7, 2013

ABSTRACT

C-E Translation of shijing·xiaoya·caiwei

XXX

shijing is the earliest collection of poems in the world;caiwei is selected from xiaoya, and is an aulic song.The C-E translation of shijing can be traced back to the 18th century, and until now, there has been many translators both from China and abroad translating it.The thesis is divided into three chapters.Chapter one analyzes the poetry through its theme, style and artistry.Chapter two discusses its translations by predecessors, and analyzes their differences.Chapter three is the author’s personal opinions on its translation.Key words: caiwei;translation;different versions;personal opinions

摘要

《詩經(jīng)·小雅·采薇》的漢英翻譯

XXX

《詩經(jīng)》是世界上最早的詩集，《采薇》選自《詩經(jīng)》中的“小雅”，是宮廷樂歌。其中的“昔我往矣，楊柳依依。今我來思，雨雪霏霏”被稱為《三百篇》中最佳詩句之一。而《詩經(jīng)》的漢英翻譯，可追溯到18世紀(jì)，至今已有中外數(shù)名翻譯學(xué)家對其進(jìn)行翻譯。

本文分為三個(gè)章節(jié)。第一個(gè)章節(jié)通過《采薇》的主題，藝術(shù)手法等對其進(jìn)行分析。第二章探討了前輩們對其的翻譯，分析不同譯本的不同之處。第三個(gè)章節(jié)是作者個(gè)人的翻譯觀點(diǎn)。

關(guān)鍵詞：采薇；漢英翻譯；不同譯本；個(gè)人觀點(diǎn)

Introduction Shijing has 305 poems, and can be divided into three parts, feng, ya, and, song.caiwei is selected from xiaoya, but it also use overlapping syntactical structure and bixing technique like guofeng.This poem mainly shows frontier soldiers’ lives and emotions, and expresses dissatisfaction for the war and longing for home.The first three parts set off the long time away home and the desire for home by the growth of wei, which is very vivid and appropriate.The forth part shows the soldiers’ discipline through full bloom of changdi.The sentence “昔我往矣，楊柳依依。今我來思，雨雪霏霏。

行道遲遲，載渴載饑。我心傷悲，莫知我哀！”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)in the last part respectively shows the scenery and the emotion when going to war those years and when surviving at present.This sentence is considered to be the best-known one in shijing ever.The origin of English versions of Book of Poetry can date back to the 18th

century.The English versions have been a part of international communication.The research on the various versions studies how Book of Poetry spread in the world as well as their development.(Han 12)There are several versions of the translation of predecessors, and they all have their own strong points, so it is hard to judge which one is the best.The author can only express some superficial views by their forms of expression, aroma and styles.The thesis discusses different translations of Xu Yuanchong, Wang Rongpei, James Legge, and Arthur Waley.Professor Xu called himself as “書銷中外六十本，詩譯英法唯一人”, and he created a theory of “three beauties”, namely, “meaning beauty, sound beauty, form beauty”.Foreign scholars and readers all speak highly of his poetry translations.Professor Wang has made breakthrough progress in terms of C-E translation of Chinese classical literature and comparison between Chinese and Western cultures and so on.He is well up in poetry translation, and holds an idea of “要給人原詩的生動(dòng)逼真的印象，需要盡可能保持原詩的風(fēng)貌，也就是通常所說的以詩譯詩”(To give vivid expression of the original poem, and as much as possible to maintain the original style of poetry, which is commonly referred to as poetry to poetry translation).James Legge is a famous sinologist in modern England, and is the first people who studies and translates Chinese

classics systematically.He has made a great contribution for the diffusion of Chinese Confucian classics.Arthur Waley is also a famous sinologist in United Kingdom.The Encyclopedia Britannica describes him like this: "he was the most outstanding orientalist in the first half of the 20th century, and also the most outstanding translator who translated oriental languages into English.........He was a poet and a innovator of poetry.Thanks to his translations, it became easier for Western readers to understand Chinese literature.”

This thesis is only a try to express some ideas of translating caiwei, and can not be comparable with the masters’ work.The author gives some views on the poem’s rhetorical devices, technique of expression and its rhythm.In the end of the thesis, the author attempts to translate this poem using the predecessors’ versions for reference.Chapter One Analysis of Caiwei

Caiwei is a poem selected from shijing·xiaoya·lumingzhishi.There are various versions about its creative age.But according to its content and other historical records, it is probably the work during the age of Zhouxuan king.Xianyun(the Huns)had been very powerful, and they often invaded the Central Plains, which brought disaster to the people living in the North.In terms of the content of caiwei, it should be written when soldiers came back from the battleground.The poem expresses soldiers’ hard life and their nostalgia.The poem is reproduced below.采薇采薇，薇亦作止。曰歸曰歸，歲亦莫止。靡室靡家，玁狁之故。不遑啟居，玁狁之故。采薇采薇，薇亦柔止。曰歸曰歸，心亦憂止。憂心烈烈，載饑載渴。我戍未定，靡使歸聘。采薇采薇，薇亦剛止。曰歸曰歸，歲亦陽止。王事靡盬，不遑啟處。憂心孔疚，我行不來！彼爾維何？維常之華。彼路斯何？君子之車。戎車既駕，四牡業(yè)業(yè)。豈敢定居？一月三捷。駕彼四牡，四牡骙骙。君子所依，小人所腓。四牡翼翼，象弭魚服。豈不日戒？玁狁孔棘！昔我往矣，楊柳依依。今我來思，雨雪霏霏。行道遲遲，載渴載饑。我心傷悲，莫知我哀！

We gather fern which springs up here.Why not return now ends the year? We left dear ones to fight the Huns.We wake all night;the Huns cause fright.We gather fern so tender here.Why not return? My heart feels drear.Hard pressed by thirsty and hunger worst.My heart is burning for home I’m yearning.Far from home, how to send word now? We gather fern which grows tough here.Why not return? The tenth month’s near.The war not won, we cannot rest.Consoled by none, we feel distressed.How gorgeous are the cherry flowers!How great the car of lord of ours!It’s driven by four horses nice.We can’t but hie in one month thrice.Driven by four horses alined, our lord before, we marched behind.Four horses neigh, quiver and bow ready each day to fight the foe.When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?(Xu 182)This poem is written during Western Zhou dynasty, and is the thought of a soldier who is on his way home just from the battleground.And it also expresses his passion for the country.This poem describes such scenery: it was a cold sleeting winter, a soldier who just came back from the battleground walked alone on the way home.The road was bumpy, and the person was hungry and thirsty.However, home was close.He recollected the days of guarding frontiers.At this moment, all sorts of feelings welled up in his mind, so came out this poem.The whole poem has six sections, and could be divided into three levels.The preceding three sections are the first level, which is a recollection of his nostalgia and a narration of reasons for why cannot go home.The preceding four sentences express homesick feelings by clarifying meanings using repetition of reduplicated words and by advancing in regular order.This sentence reflects the hard lives of frontier soldiers.“Fern which springs up here”, “tender here”, “tough here” depict vividly the growth of Wei.They show the lapse of time and the long years of garrison, as well as “Why not return now ends the year?” and “The tenth month’s near.” They have a strong desire for home, but for the reason of garrison, they could not go home.This really makes a soldier with a limited life worried.The last four sentences give a reason for why he can not go home, and the fundamental reason is Xian Yun.Thus, one hand is the longing for home;another hand is the consciousness for fighting.They are two contradictory feelings which constitute the main key of the poem.The forth and the fifth sections describe the nervous life of marching and fighting.And the emotion also changes from distress to excitement.The previous four sentences in the forth section show the sense of pride specific to soldiers.And the following sentences describe the scene of fighting focusing on the chariots, and then depict the scene of fighting in detail focusing on soldiers.We can see from the contradictory emotions throughout the poem that the soldier has a strong responsibility as well as a longing for home.So it is very natural to recall the garrison life on the long way home.The main emotions enveloping the whole poem are nostalgia.The snow coming unexpectedly awakes the soldier from his memory and then to a deeper sadness.“昔我往矣，楊柳依依。今我來思，雨雪霏霏。”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)is a description of scenery, and also an expression of the soldier’s nostalgia.During the changes of “today” and “yesterday”, “come” and “go”, the soldier feels the lapse of time, and the negate of life made by war, thus creates an atmosphere of sadness for us.“My grief overflows.Who knows? Who knows?” The whole poem ends up with a sigh over lonely and helpless.In terms of arts, “When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?” is considered to be the best sentence in three hundred poems.The theme is sober.The poem is lined with impressive natural scenery description: the growth of wei, the tender of wei, the strong of wei, the blossom of changdi, the willow, and the snow.Here are the true thoughts of soldiers, and the distressed emotions do not diminish its value as a patriotic poem.On the contrary, this reflects the plainness of people with understandable thoughts.It is this pure authenticity that gives the poem a strong vitality and appeal.In terms of writing, it uses detail description, feeling and setting blended, qixing and harmonious rhythm, and makes the content and theme deepen step by step, thus strengthen its musical beauty and rhythmical beauty.There are narration, discussion, scenery, expression and psychological description in it, and all in an appropriate way.So caiwei is definitely one of the best poems in shijing.Chapter two Analysis of different translations Poetry is a literary style that reflects social lives with a compact language, vivid rhythm and special connotation, and it contains the poet’s personal emotions and imaginations.Because of all the above, poetry is difficult to translate.Most poems in shijing are Chinese classical poems with lines of four characters each which rhyme with each other every other sentence, but there are still changes in syntactical structure, including two characters, three characters, five characters, six characters, seven characters, and eight characters.The poems also use a lot of reduplication, alliteration, and vowel rhyme which strengthen the vitality and artistry of language.The thesis chooses the last part of the poem to analyze the style of different translations.At first, when we set out, The willows were fresh and green;Now, when we shall be returning, The snow will be our marching;We shall hunger;we shall thirst.Our hearts are wounded with grief, And no one knows our sadness.---------tr.By James Legge James Legge was born at Huntly, Aberdeenshire, and educated at Aberdeen Grammar School and then Kings College, Aberdeen.After studying at the Highbury Theological College, London, he went in 1839 as a missionary to China, but remained at Malacca three years, in charge of the Anglo-Chinese College there.The College was subsequently moved to Hong Kong, where Legge lived for nearly thirty years.A Chinese Christian, Keuh Agong accompanied Legge when he moved in 1844.He returned home to Huntly, Aberdeenshire, in 1846–7, taking with him three Chinese students.Legge and the students were received by Queen Victoria before his return to Hong Kong.(Wikipedia)“這首譯詩忠實(shí)地再現(xiàn)了原文的字面意義，使譯文讀者易于直接體會到詩的意境, 有‘身臨其境’之感”(“This version faithfully expresses the meaning of original poem, and let the readers know the artistic conception of the poem, and they could also have an immersed sense”)(Ding 50).Legge’s version is the representative of prose-style

translation of shijing.His version was the first translation of shijing published in Hong Kong in 1871.There were detailed notes and comments apart from the translation, and it became the basis of the later ones.Long ago, when we started, The willows spread their shade.Now that we turn back, The snow flakes fly.The march before us is long, We are thirsts and hungry.Our hearts are stricken with sorrow, But no one listen to our plaint.----------tr.By Arthur Waley This version is based on iambus, but not very strict.There are no metrical feet, but more rhythmical than Legge’s.His many translations include A Hundred and Seventy Chinese Poems(1918), Japanese Poetry: The Uta(1919), The No Plays of Japan(1921), The Tale of Genji(published in 6 volumes from 1921-33), The Pillow Book of Sei Shōnagon(1928), The Kutune Shirka(1951), Monkey(1942, an abridged version of Journey to the West), The Poetry and Career of Li Po(1959)and The Secret History of the Mongols and Other Pieces(1964).Waley received the James Tait Black Memorial Prizefor his translation of Monkey, and his translations of the classics, the Analects of Confucius and The Way and its Power(Tao Te Ching), are still regarded highly by his peers.Dutch poet J.Slauerhoff used poems from A Hundred and Seventy Chinese Poems and More Translations from the Chinese to write his 1929 adaptation of Chinese poetry, Yoeng Poe Tsjoeng.These translations are widely regarded as poems in their own right, and have been included in many anthologies such as the Oxford Book of Modern Verse 1892-1935, Oxford Book of Twentieth Century English Verse and Penguin Book of Contemporary Verse(1918-1960)under Waley's name.(Wikipedia)Shijing translated by Waley is a representative of blank verse.Waley translated “楊柳依依” into “The willows spread their shade”.These rhetorical devices of personification remind us of lush willows stretching out and shade the ground.This style is more close to the original poem.When I set out so long ago, Fresh and green was the willow.When now homeward I go，There is a heavy snow.The homeward march is slow, My hunger and thirst grow.My heart is filled with sorrow;Who on earth will ever know.---------tr.By Wang Rongpei This version combines meaning and rhythm ingeniously, using [?u] as the rhyme.Thus expresses a feeling of sorrow and is in accordance with the difficult pace.This version is closest to original poem in terms of “three beauties”, and is identical with the theory “closest natural equivalence” put forward by Nida, a famous western translator.When I left there, Willow shed tear.I came back now, Snow bends the bough.Long, long the way;Hard, hard the day, Hunger and thirst Press me the worst.My grief overflows.Who knows? Who knows?

---------tr.By Xu Yuanchong Professor Xu’s version is very simple.There are four syllables each line, which is same as the original poem.He translated “行道遲遲，載渴載饑?！?into “l(fā)ong, long the way;hard, hard the day.Hunger and thirst press me the worst.” This version has come to a point of zenith both in beauty of meter and rhyme.The sentence “Snow bends the bough” vividly describes the state of trees overburdened by snow, which is full of charms.And this also implies the freezing cold of the weather, adding difficulties to the journey.These are analysis of different translations of caiwei, however, different people may hold different ideas, because it is very hard to translate poetry perfectly.If the version could convey the connotation, beauty of poetry and stick to the principle of “faithfulness, expressiveness, elegance”, this could be a successful translation.Chapter three

The author’s personal views

The above translations all reproduce the poem’s original meanings, but there are still some differences.Time in the first sentence in the last part is past, and the second is today.So the tense of the first sentence should be past tense, and the second should be present tense.But Legge used future progressive to replace present tense, however, this seemed a little affected.Waley and Leege both translated the last sentence “我心傷悲，莫知我哀”(“my grief overflows.Who knows? Who knows?”)into declarative sentence which was faithful to the original poem in form and content.Waley’s version seems less vivid compared to the others in terms of expressing artistic conception and verve.Xu’s version is concise and cadenced.And he conformed to the principle of “three beauties” he pursed all the time.A text to be translated is like a particle in an electric field attracted by the opposing forces of the two cultures and the norms of two languages, the idiosyncrasies of on writer(who may infringe all the norms of his own language), and the different requirement of its readers, the prejudices of the translator and possibly of its publisher.(Newmark 19)According to the predecessors’ translations, the author gives some personal views on caiwei’s translation.Below is the final version.Yesterday when I out, Willows swung in the wind;Today when I come back, Snow flies in the air.March is so long and hard, That I feel hungry and thirsty.No one could read my sorrow Just in my heart.This is a prose-like version without meter or rhythm.The first two sentences adapt the same syntactical structure which is the similar style to the original poem.It conveys the meaning of the poem, but lacks the beauty of rhythm and artistic appeal.The two adjectives “hungry” and “thirsty” merely describe the situation and state facts, and

cannot compare with Legge’s “hunger and thirst”.This is only the author’s personal opinion, if it has any unreasonable point, please oblige the author with your valuable comments.Conclusion Translating poetry could face a lot of trouble in forms, and this is self-evident.But, the real perfect translations could throw all restraints, and show the original poetry’s verve and rhythm.If a translation could be read thousands of times by readers, this is certainly a good version.When translating poetry, one should grasp the poetry’s artistic conception and meter, and use all skills flexibly, thus convey the poetry’s beauties to a maximum limit.Works Cited Bake, Mona, ed.Routledge Encyclopedia of Translation Studies.Shanghai: Shanghai Foreign Language Education Press，2004.Ding, Xiaofeng.[丁小風(fēng)], 《小雅·采薇》英譯賞析[J].《池州師專學(xué)報(bào)》，2000，(1).Fowler, H.W.A Dictionary of Modern English Usage.Oxford: Oxford University Press，1965.Han, Kun.[韓昆], 論許淵沖的翻譯美學(xué)思想[D].上海：上海外國語大學(xué)，2009.Leech, Geoffrey.Semantics: The Study of Meaning.Harmondsworth: Penguin, 1981.Legge, James.The Chinese Classics: With a Translation, Critical and Exegetical Notes, Prolegomena, and Copious Indexes [M].Hong Kong: The Author’s, 1871.Legge, James.The Book of Poetry—Chinese Tests with English Translations[M].Shanghai: The Chinese Book Company, 1931.Newmark, P.Approaches to Translation[M].Oxford and New York: Pergamon, 1981.Nida, E.A.Toward a Science of Translating[M].Shanghai: Shanghai Foreign Language Education Press, 1993.Poe, Edgar Allan.The Poetic Principle[A], G.Richard Thompson, ed.Essays and Reviews[C].New York: Library of America, 1984.Steiner, George.After Babel.3ed[M].Shanghai: Shanghai Foreign Language education Press, 2001.Waley, Arthur.The Book of Songs[Z].New York: Grove Press, Inc.1960.Wang, Rongpei.[汪榕培], 傳神達(dá)意譯《詩經(jīng)》[J].《外語與外語教學(xué)》，1994，(4).Wang, Rongpei.[汪榕培], The Book of Poetry[M].長沙：湖南人民出版社，2008.William, Epson.The Science of Translation: Problems and Methods [M].Shanghai: Shanghai Foreign Language Education Press, 2001.Xu, Yuanchong.[許淵沖], 翻譯的藝術(shù)[M].北京：中國對外翻譯出版公司，1984.Xu, Yuanchong.[許淵沖], Book of Poetry[M].長沙：湖南出版社，1993..

第三篇：詩經(jīng)·小雅·鹿鳴（范文模版）

《詩經(jīng)·小雅·鹿鳴》

【教學(xué)設(shè)想】

《詩經(jīng)》是中國文學(xué)史上第一部詩歌總集,對后代詩歌發(fā)展有深遠(yuǎn)的影響，成為中國古典文學(xué)現(xiàn)實(shí)主義傳統(tǒng)的源頭?！堵锅Q》，《詩經(jīng)·小雅》篇名,也是《小雅》第一篇,《詩經(jīng)》中所謂四始之一,為先秦時(shí)代華夏族詩歌。全詩三章，每章八句,是周朝宴飲群臣賓客的一首宮廷樂歌。盡管其中有些詩句人們耳熟能詳，但對于六年級學(xué)生來說，真正理解起來卻并非易事。因此，本著“以學(xué)為主”的原則，這次課堂教學(xué)就化難為易，化繁為簡，以讀悟理，以讀悟情。

【教學(xué)目標(biāo)】

1.了解《詩經(jīng)》的基本知識，有感情地誦讀詩歌。

2培養(yǎng)結(jié)合注釋初步讀懂古詩的能力；品味、體會文章的內(nèi)涵，提高把握作品思想感情的能力。

3.培養(yǎng)學(xué)生對我國古代文化的熱愛之情。

【教學(xué)重點(diǎn)】

詩歌內(nèi)容的理解和背誦?！窘虒W(xué)難點(diǎn)】

詩歌主旨的把握，比興手法的運(yùn)用。

【教學(xué)方法】朗讀教學(xué)法、問題探索法、講練結(jié)合法、歸納法 誦讀法

【教學(xué)設(shè)計(jì)】

一、導(dǎo)入1、2、3、背誦《詩經(jīng)·小雅·采薇》節(jié)選 出示《詩經(jīng)小知識》，指名讀。

出示“不學(xué)詩，無以言——孔子”，齊讀。問：誰知道這里的“詩”指什么？（《詩經(jīng)》）

師：大圣人孔子對他的兒子孔鯉說：《詩》是語言的精華，不學(xué)語言的精華，就不能形象而準(zhǔn)確的說話。是啊，傳統(tǒng)文化是我們中國人的精神家園，傳承了千年，我們應(yīng)當(dāng)繼承和發(fā)揚(yáng)。今天我們就一起走進(jìn)《詩經(jīng)·小雅·鹿鳴》篇，感受詩經(jīng)的魅力?。ò鍟n題）

二、新授

（一）初讀文本，整體把握

1、出示文章，師范讀，提出聽讀要求：聽清字音，注意節(jié)奏。

出示生字，指名讀，齊讀。

自由讀文章，指名分章朗讀，齊讀（讀準(zhǔn)字音，讀出節(jié)奏）

2、結(jié)合注釋和譯文理解詩意。

a、結(jié)合注釋和譯文，自學(xué)詩文，疏通文意，提出不理解的地方。b、檢查自學(xué)效果：出示通假字，簡介通假現(xiàn)象，指名回答字意。

c本詩分三章，接下來老師和大家合作，我逐章讀詩，你們讀相應(yīng)的詩文，我們來個(gè)詩文對讀。

3、師簡介，過渡。

《鹿鳴》是《詩經(jīng)》中保存最早的一篇祝酒辭，也是一首祝酒歌，即在宴會上所唱的歌。

（二）品讀文本，感悟詩意

1、a、提出問題：主人請的什么人？（從文中找出相應(yīng)的詞）嘉賓

君子

（板書）b、你認(rèn)為什么樣的人可以稱之為“君子”？（品德高尚、博學(xué)多才）

c、你知道古詩文中有哪些描寫君子的詩句？（生答，出示）謙謙君子，溫潤如玉。君子一言，駟馬難追。

天行健，君子以自強(qiáng)不息；地勢坤，君子以厚德載物。

《周易》 夫君子之行，靜以修身，儉以養(yǎng)德，非淡泊無以明志，非寧靜無以致遠(yuǎn)。

諸葛亮《誡子書》 齊讀 d、本詩中主人是如何稱贊來客的？指名回答。

出示：“我有嘉賓，德音孔昭。視民不恌，君子是則是效?！?指名結(jié)合譯文說出意思。

e、創(chuàng)設(shè)情境，表演朗讀：假如你就是主人，在座的就是你請來的嘉賓，你來模仿主人稱贊一下來賓吧！指名（可加入動(dòng)作）師示范。

全班起立，齊誦（對著聽課的老師）

2、提出問題：主人是如何待客的？ a、瀏覽，找出文中相應(yīng)的句子，指名回答。小結(jié)歸納：《詩經(jīng)》板書）b、假如你是來的賓客，受到主人如此款待，你此時(shí)此刻的心情怎樣？（高興、開心、受寵若驚、感動(dòng)）

3、提出問題：那你知道主人此次宴客的目的是什么嗎？用詩中的話告訴我。

a、指名回答，出示：“人之好我，示我周行?！弊x出譯文。b、原來主人請客的目的是向嘉賓請教治國的大道理。由此你可以猜想主人的身份是——君王。據(jù)說《鹿鳴》反映的正是周王宴會群臣、賓客的盛況。君王以隆重的儀式歡迎賓客，奉上豐盛的禮物，待之以醇美的酒菜，這體現(xiàn)了君王對臣下的以誠相待。那么，群臣、賓客會怎么說、怎么做呢？

出示寫話練習(xí)：

主人（君王）：人（汝）之好我，示我周行。

賓客（群臣）：承蒙大王厚愛，————————————————。b、師生、生生表演對讀。（加上動(dòng)作）

師小結(jié)：古代，君臣之間本是等級森嚴(yán)，但通過宴會，可以溝通感情，使君王能夠聽到群臣的心里話。宴會的目的并非一般的吃吃喝喝，滿足口腹的需要，而是為了“安樂其心”，即本詩結(jié)尾所說“以燕樂嘉賓之心”，使得參與宴會的群臣心悅誠服，自覺地為君王的統(tǒng)治服務(wù)。這也是本詩所要闡明強(qiáng)調(diào)的為君者須以誠對待賢臣嘉賓，則臣下始得盡其忠心，君臣融洽相處，國運(yùn)才能興隆的深刻道理。

4、最后一個(gè)問題，本詩除了寫宴會的情景，還寫了什么？（每章前兩句皆以“呦呦鹿鳴”開頭。）

a、結(jié)合注釋1思考：為何寫“呦呦鹿鳴”？為何以“鹿鳴”為題？

“見食相呼”，看到吃的不獨(dú)享，呼朋引伴與之共享。出示：《傳》日：“鹿得萍，呦呦然鳴而相呼，懇誠發(fā)乎中，以興君樂賓客，當(dāng)有誠懇相招呼以成禮也。”

《毛詩傳》以鹿見食相呼比興君子誠實(shí)信用和君臣同甘共苦的深厚情意。

點(diǎn)明“興”，詩經(jīng)的一種表現(xiàn)手法，先言他物以引起所詠之辭，也就是借助其他事物為所詠之物做鋪墊。

b你覺得宴會上是一番怎樣的情景？氣氛如何？用一個(gè)詞形容。（和諧歡樂、盡情盡興、和樂且湛）

c、正如文后賞析所說，良宵美景中，主客情深意沉，酒酣耳熱，鐘磬和鳴，滿座生春，好一幅古代夜宴圖，就讓我們在座的賓客在這和諧歡樂的氣氛中共吟此詩。齊

（三）熟讀吟誦，感悟詩情

1、這首詩現(xiàn)在能背下來的舉手？（若有，問其背誦方法；若沒有，指導(dǎo)觀察本詩的結(jié)構(gòu)。）

a三章，每章八句，每句四言（二、三章結(jié)尾有變化）b每章都有很多重復(fù)的句子，只改動(dòng)其中個(gè)別字詞。（重章疊句，一詠三嘆）

c押韻（找出韻腳，注意換韻）

2、示范唱讀，打節(jié)拍。同桌、男女、師生多種形式對讀。

注意：現(xiàn)代文不能唱讀，只能朗讀?！对娊?jīng)》是可以唱的。出示：詩三百五篇，孔子皆弦以歌之。

《史記·孔子世家》

3、三、總結(jié)：

《詩經(jīng)》是中華民族傳統(tǒng)文化的瑰寶，兩千多年以來，為世代華夏兒女所傳誦。希望同學(xué)們喜歡《詩經(jīng)》，走進(jìn)《詩經(jīng)》，汲取營養(yǎng)，傳承文明。板書設(shè)計(jì)：

小雅·鹿鳴

嘉賓

君子

——

盡其忠 君王

隆重的儀式

以誠相待

豐盛的禮物 醇美的酒菜

和諧融洽

國運(yùn)興隆

欣賞：楊芬古琴吟誦《詩經(jīng)·小雅·鹿鳴》

第四篇：《詩經(jīng)·小雅·棠棣》賞析

這是周人宴會兄弟時(shí)，歌唱兄弟親情的詩.“凡今之人,莫如兄弟”,為一篇主旨.不過詩篇對這一主題的闡發(fā)是多層次的：既有對“莫如兄弟”的歌唱；也有對“不如友生”的感嘆；更有對“和樂且湛”的推崇和期望.全詩八章，可分五層，首章為第一層，先興比,后議論，開門見山，倡明主題。“棠棣之華,鄂不韡韡”，興中有比；而詩人以棠棣之花喻比兄弟,是因棠棣花開每兩三朵彼此相依而生發(fā)聯(lián)想.“凡今之人,莫如兄弟”，這寓議論于抒情的點(diǎn)題之筆,既是詩人對兄弟親情的頌贊,也表現(xiàn)了華夏先民傳統(tǒng)的人倫觀念.上古先民的部族家庭,以血緣關(guān)系為基礎(chǔ).在他們看來“兄弟,者,分形連氣之人也”（《顏氏家訓(xùn)·兄弟》）.因而,比之良朋、妻孥,他們更重兄弟親情.錢鐘書論及《棠棣》時(shí)也指出：“蓋初民重‘血族’之遺意也.就血胤論之,兄弟天倫也,夫婦則人倫耳；是以友于骨肉之親當(dāng)過于刑于室家之好.??觀《小雅·棠棣》,‘兄弟’之先于‘妻子’,較然可識”（《管錐編》）.這從文化人類學(xué)的角度,更深刻揭示了《棠棣》主題的歷史文化根源.二、三、四章為第二層.詩人通過三個(gè)典型情境,對“莫如兄弟”之旨作了具體深入的申發(fā),即：遭死喪則兄弟相收；遇急難則兄弟相救；御外侮則兄弟相助.這可能是歷史傳說的詩意概括，也可能是現(xiàn)實(shí)見聞的藝術(shù)集中.這三章在藝術(shù)表現(xiàn)上也頗有特點(diǎn).毛先舒說：“《棠棣》,俗筆必先從和樂敘至急難,便乏味”（《詩辯坻》）.此篇?jiǎng)t與之相反,事例的排列由“死喪”、“急難”到“外御”,從而由急而緩、由重而輕、由內(nèi)而外,構(gòu)成一個(gè)頗有層次的“倒金字塔”,具有強(qiáng)烈而深遠(yuǎn)的審美效果.其次,采用對比手法,把同一情境下“兄弟”和“良朋”的不同表現(xiàn)加以對照,更見出兄弟之情的誠篤深厚.“兄弟鬩于墻,外御其務(wù)”,又更深一層：即使兄弟墻內(nèi)口角,遇到外侮,也會不假思索一致對外.“鬩于墻”與“外御其務(wù)”,兩句之間沒有過渡,情緒和行為的轉(zhuǎn)變即在傾刻,有力表現(xiàn)出手足之情出于天然、發(fā)自深衷.由轉(zhuǎn)折手法構(gòu)成的這一典型情境,因表現(xiàn)了最無私的兄弟之情,成為流傳至今的典故成語.第五章自成一層.如果說,前面是詩人正面贊頌理想的兄弟之情,這一層則由正面理想返觀當(dāng)時(shí)的現(xiàn)實(shí)狀況；即由贊嘆“喪亂”時(shí)的“莫如兄弟”,轉(zhuǎn)而嘆惜“安寧”時(shí)的“不如友生”.“雖有兄弟,不如友生”,這嘆惜是沉痛的,也是有史實(shí)根據(jù)的.西周初年,出現(xiàn)過周公的兄弟管叔和蔡叔的叛亂.據(jù)此,《詩序》似認(rèn)此詩為成王時(shí)周公所作,曰：“《棠棣》,燕兄弟也.閔管、蔡之失道,故作《棠棣》”；西周末年,統(tǒng)治階級內(nèi)部骨肉相殘、手足相害的事更頻頻發(fā)生.據(jù)此,《左氏春秋》的作者認(rèn)為此詩為厲王時(shí)召穆公所作,《左傳·僖公二十四年》：“召穆公思周德之不類,故糾合宗族于成周,而作詩曰：‘棠棣之華??’云云.”《棠棣》的作者,是周公抑或召穆公,尚難定論；但有一點(diǎn)可肯定,詩人的嘆惜是有感而發(fā)的,且有警世規(guī)勸之意.不過,這是在宴飲的歡樂氣氛中所唱之詩,因此,在短暫的低沉后,音調(diào)又轉(zhuǎn)為歡快熱烈.六、七章為第四層,直接描寫了舉家宴飲時(shí)兄弟齊集,妻子好合,親情和睦,琴瑟和諧的歡樂場面.第七章“妻子”與“兄弟”的對照,包含了詩意的遞進(jìn)：“妻子好合,如鼓瑟琴”,而“兄弟既翕”,則“和樂且湛”.詩人似明確表示,兄弟之情勝過夫婦之情；兄弟和,則室家安,兄弟和,則妻孥樂.末章承上而來,卒章顯志.詩人直接告誡人們,要深思熟慮,牢記此理：只有“兄弟既翕”,方能“宜爾室家,樂爾妻帑”；兄弟和睦是家族和睦、家庭幸福的基礎(chǔ).明理規(guī)勸之意,更為明顯.《棠棣》是《詩經(jīng)》中的名篇杰作,它不僅是中國詩史上最先歌唱兄弟友愛的詩作,也是情理相融富于理趣的明理典范.陸時(shí)雍《詩鏡總論》曰：“敘事議論,絕非詩家所需,以敘事則傷體,議論則費(fèi)詞也.然總貴不煩而至,如《棠棣》不廢議論,《公劉》不無敘事.”《棠棣》的“不廢議論,不煩而至”,似可析而為二.一是真摯委曲,感人之至.開篇形象比興,富于理趣；隨之圍繞“凡今之人,莫如兄弟”之旨,“喪亂”與“安寧”、“良朋”與“妻子”,及歷史與現(xiàn)實(shí)、正面與反面,寓理于事,多層次地唱嘆闡論,既感人亦服人.全詩筆意曲折,音調(diào)也抑揚(yáng)頓挫,前五章繁弦促節(jié),多慷慨激昂之音,后三章輕攏慢捻,有洋洋盈耳之趣.委曲深至,一片真誠.二是主題恒久,深邃之至.兄弟友愛,手足親情,這是人類的普遍情感,也是文學(xué)的永恒主題.《棠棣》對這一主題作了詩意開拓,因而千古傳唱,歷久彌新.同時(shí),“棠棣之華”、“莫如兄弟”、“兄弟鬩墻,外御其務(wù)”,作為具有原型意義的意象、母題和典故,對后世“兄弟詩文”的創(chuàng)作產(chǎn)生了深刻的影響.而隋朝棠得志的《兄弟論》,在新的背境下對《棠棣》詩旨作了創(chuàng)造性的伸發(fā),可以互參.棠棣之華，鄂不韡韡，凡今之人，莫如兄弟。死喪之威，兄弟孔懷，原隰裒矣，兄弟求矣。脊令在原，兄弟急難，每有良朋，況也求嘆。兄弟鬩于墻，外御其務(wù)，每有良朋，烝也無戎。喪亂既平，既安且寧，雖有兄弟，不如友生。儐爾籩豆，飲酒之飫，兄弟既具，和樂且孺。妻子好合，如鼓琴瑟，兄弟既翕，和樂且湛。宜爾家室，樂爾妻帑，是究是圖，亶其然乎。

第五篇：蓼莪篇(詩經(jīng)小雅)

蓼莪篇（詩經(jīng)小雅）

蓼蓼者莪，匪莪伊蒿。哀哀父母，生我劬勞。

蓼蓼者莪，匪莪伊蔚。哀哀父母，生我勞瘁。

缾之罄矣，維罍之恥。鮮民之生，不如死之久矣。無父何怙，無母何恃。出則銜恤，入則靡至。

父兮生我，母兮鞠我。拊我畜我，長我育我；

顧我復(fù)我，出入腹我。欲報(bào)之德，昊天罔極！

南山烈烈，飄風(fēng)發(fā)發(fā)。民莫不穀，我獨(dú)何害！

南山律律，飄風(fēng)弗弗。民莫不穀，我獨(dú)不卒！

【全文翻譯】

那高大的植物是莪蒿吧，不是莪蒿，是青蒿。可憐的父母親?。榱松B(yǎng)我受盡勞苦。那高大的植物是莪蒿吧，不是莪蒿，是牡菣，可憐的父母親??！為了生養(yǎng)我積勞成疾。小瓶的酒倒光了，是大酒罈的恥辱。孤苦伶仃的人活著，還不如早些死去的好。沒了父親，我依靠誰？沒了母親，我仰賴誰？出門在外，心懷憂傷；踏進(jìn)家門，魂不守舍。

父母雙親?。∧B(yǎng)了我，撫慰我、養(yǎng)育我、拉拔我、庇護(hù)我，不厭其煩地照顧我，無時(shí)無刻懷抱著我。

想要報(bào)答您的恩德，而您的恩德就像天一樣的浩瀚無邊！

南山高聳聳，暴風(fēng)陣陣起，人們沒有不過好日子的，為何只有我遭受不幸！南山高巍巍，暴風(fēng)呼呼吹。人們沒有不幸福的，為何只有我不得終養(yǎng)父母！