第一篇：《詩經·小雅·采薇》賞析
《詩經·小雅·采薇》賞析
《詩經》本命“詩”或“詩三百”，傳說由孔子修訂，為六經之一。作為我國第一部詩歌總集，共305篇，還有6篇笙詩（有題目無內容之詩）。通過這些詩句，我們仍能夠感受到千年前的人們所擁有的喜怒哀樂，仍然能夠在其中找到與我們靈魂共鳴的思想。
對于305篇的詩經，其實并沒有讀過很多，還是選修了這門課才知道“詩經”起源于周易卜辭或上古歌謠，知道了“采詩說”、“獻詩說”和“刪詩說”。而在我讀的為數(shù)不多的作品中，《采薇》可以說是我最喜歡的。
先看題目《詩經·小雅·采薇》，“雅”是《詩經》分類的一種，依據(jù)音樂分為“風”“雅”“頌”三類?！把拧庇址譃椤洞笱拧泛汀缎⊙拧?。《采薇》便是《小雅》中的一首，是典型的戰(zhàn)爭徭役詩。除此之外，祭祖頌歌、農事詩、宴饗詩、怨刺詩和婚戀詩都是《詩經》的主要題材內容?？梢哉f十分具有現(xiàn)實主義色彩，可謂“饑者歌其食，勞者歌其事。（”東漢何休）“薇”，豆科野豌豆屬的一種，種子、莖、葉均可使用?！恫赊薄愤@個題目也可以說很具有代表性，以動植為題目名，又像《關雎》、《卷耳》，在讀詩的同時也讓我們“多次于鳥獸草木之名”（《論語·陽貨》），可謂一舉兩得也。
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！
首句便采用起興的手法，“先言它物以引起所詠之詞也”（朱熹）。這三段都以薇菜開頭，而薇菜卻分別是“薇亦作止”、“薇亦柔止”和“薇亦剛止”，從春到秋，薇菜從嫩到老，時光在無情地流逝。而戍卒們仿佛也在一邊采薇充饑，一邊計算歸鄉(xiāng)的日子。詩人把天地四時的變化融入到幾句詩中，讓我們看到的不僅僅是植物的輪回，也是戍卒的思鄉(xiāng)之情。而這三章的后半部分也點明了戍卒們不能歸家的原因，因為玁狁之故，因為戰(zhàn)事頻頻，因為王差無窮……
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！
雖然思念家鄉(xiāng)，雖然一直在曰歸曰歸而不得回，但是作為軍人，也會自然地為自己驕傲。戰(zhàn)車的描寫，體現(xiàn)了威嚴的軍容和高昂的士氣，“象弭魚服”也顯示出裝備的精良，可仍需要日日戒備，可見當時邊關的形勢。一面是身為戰(zhàn)士的驕傲，一面是對家鄉(xiāng)的思念，這種矛盾復雜的感情交織，讓人不禁想起范仲淹的《漁家傲》來，“濁酒一杯家萬里，燕然未勒歸無計”。而或許也是因為愛故鄉(xiāng)愛的深沉，才會在戰(zhàn)場上浴血奮戰(zhàn)吧，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！
在最初讀前四句時，只覺得有一種纏綿柔情，根本無法將之與戰(zhàn)爭詩聯(lián)系起來，倒覺得其與“死生契闊，與子成說。執(zhí)子之手，與子偕老”放在一起讀更合適，可沒想到的是，這句話出自的《國風·邶風·擊鼓》，也是一首戰(zhàn)爭詩。能把戰(zhàn)爭詩描寫的如此含蓄雋永，意味深長的，怕是也只有《詩經》了吧。而“昔我往矣”四句也被公認為《詩經》中最好的句子，昔我往矣與今我來思的景色對比，讓人感慨，季節(jié)的變換，時光的流逝，何人送我？又有何人等我？漫天風雪中只有一個載饑載渴的征人，步履蹣跚地走著，不知“何日平胡虜，良人罷遠征？”（李白《子夜吳歌》）
再次讀一遍全詩，總會覺得回味無窮。運用重章疊句，使內容和情趣得以層層遞進，漸漸深化。而韻律和諧，也加強了整體的節(jié)奏感和音樂美。其實，我更愿意把這首詩理解為戰(zhàn)爭結束后的和平時期，戍邊歸來的征人對往日生活的追思與懷念，就像一首同名歌《采薇》中唱的：
卿尚小，共采薇，風欲暖，初成蕊，問離人，山中四季流轉又幾歲？
卿初嫁，獨采薇，露尚稀，葉已翠，問征人，何處望鄉(xiāng)一枯一葳蕤？
卿已老，憶采薇，草未凋，又抽穗，問斯人，等到野火燃盡胡不歸？
昔我往，楊柳垂，今我來，雪霏霏，問故人，可記當年高歌唱《采薇》？
第二篇：詩經-采薇 賞析
采薇
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！
《詩經》，又稱詩三百，是中國最早的詩歌總集，其包含風、雅、頌和賦、比、興，合稱《詩經》的六義。其中風、雅、頌，是詩經的體裁，也是詩經作品分類的主要依據(jù)。賦、比、興，是詩經的表現(xiàn)手法，也就是現(xiàn)在所說的修辭。詩經收錄了自西周初年至春秋中葉大約500多年的詩歌，《采薇》是出自《詩經·小雅·鹿鳴之什》中的一首詩。其類歸《小雅》，卻頗似《國風》，其運用了重疊的句式與比興的手法，集中體現(xiàn)了《詩經》的藝術特色，言淺意深，情景交融，歷來被認為是《詩經》中最有名的詩篇之一。全詩六節(jié)，用一個戍卒的口吻，以采薇起興，描述了一位解甲退役的征夫在陰雨霏霏，雪花紛紛的寒冬，踽踽獨行在返鄉(xiāng)的途中。道路崎嶇，又饑又渴；但邊關漸遠，鄉(xiāng)關漸近。當他遙望家鄉(xiāng)，撫今追昔，不禁思緒紛繁，百感交集。艱苦的軍旅生活，激烈的戰(zhàn)斗場面，無數(shù)次的登高望歸情景，一幕幕在眼前重現(xiàn)。接下來，我就將對《采薇》中的寫作手法、結構和主題思想進行簡要的評論。
首先，《采薇》主要采取興的寫作手法，前三章的第一句都是“采薇采薇”起興，以此來引起下文?！安赊薄奔床杉吧霓辈?，糧草不續(xù)，士兵只好以它充饑。詩歌的一開始就給讀者展示了一幅凄涼的戍邊生活畫面，我們仿佛看到面帶饑色的戍卒一邊在荒野漫坡上采集野菜，一邊思念著久別的家鄉(xiāng)，屈指計算著返家的日期。值得注意的是，這三章雖然采用重復的形式來表達同一種情緒，但是作者在字句上略加變化，從而表現(xiàn)出感情的進展。例如，第一章開頭兩句寫道：“采薇采薇，薇亦作止”，這是寫春天，薇菜剛剛綻出嫩綠的芽尖；第二章寫道：“采薇采薇，薇亦柔止”，這是寫夏天，薇菜的葉片肥嫩；第三章則是：“采薇采薇，薇亦剛止”，這是寫秋天，薇菜的葉莖將老而粗硬。這里作者運用了重章疊句的手法，讓詩句充滿了節(jié)奏感和音韻美，暗示著從春到秋，薇菜由嫩而老，時光無情地流逝了；戍卒思歸，從春到秋，一年將盡，何時才能歸家呢？──這些意蘊都是通過薇菜的變化表達出來的。除了作者賦予薇菜的意象外，天氣等自然環(huán)境描寫同樣烘托了悲涼的氣氛。在一個雨雪紛飛的日子，戍卒終于踏上了歸途。這本來是一件令人興奮的事，然而我們在這里看不到一絲歡愉，只感到一片悲涼。長久的戍邊生活在戍卒心中留下了難以彌合的精神創(chuàng)傷，他是懷著一顆破碎的心走向故鄉(xiāng)的。他憂傷地想起：“昔我往矣，楊柳依依”──當年我離開家鄉(xiāng)的時候，正是春天，柳絲低拂；在中國古代，楊柳的“柳”與挽留的“留”諧音，固有挽留直意，同時，楊柳易于生長，在送別時也暗示無論遠行者飄向何方都能枝繁葉茂，而纖柔細軟的柳絲也象征著不舍的情意。而今天呢，“今我來思，雨雪霏霏”──今天我重返故鄉(xiāng)，卻是雨雪迷濛的冬天了。在這里，詩人沒有直接傾訴內心的感情，而是以春天隨風飄拂的柳絲來渲染昔日上路時的依依不惜之情，用雨雪紛飛來表現(xiàn)今日返家路途的艱難和內心的悲苦，讓那一股纏綿的、深邃的、飄忽的情思，從風景畫面中自然流出，含蓄深永，味之無盡。這四句詩被后人譽為《詩經》中最好的句子。
其次，全詩共分六章，前三章以倒敘的方式，回憶了征戰(zhàn)的苦況。這位戍邊戰(zhàn)士長期遠離家室，戎馬倥傯。軍旅生活是那么艱苦，駐守地轉移不定，王室公事無休無止，戰(zhàn)士們無暇休息，有時還得采薇充饑。對此，難免怨嗟，產生渴望返回故鄉(xiāng)之情，但為了抵御狁的侵擾，為了實現(xiàn)邊境早日安定，戰(zhàn)士們堅持下來，恰當?shù)靥幚砹藗€人憂傷痛苦與保衛(wèi)疆土的矛盾。
四、五兩章筆鋒陡轉，描寫邊防將士出征威儀，全篇氣勢為之一振。先以自問自答的形式，流露出出征將士們雄糾糾氣昂昂的自豪感。接下來對戰(zhàn)車以及弓箭的描寫，顯示出將士們裝備的精良和高度警惕的精神狀態(tài)，使主人公的愛國思想得到了充分的體現(xiàn)。末章憶昔傷今。“昔我”兩句以樂景寫哀，“今我”兩句以哀景寫樂。然而在九死一生歸來之際，慶幸之余，難免痛定思痛；加之歸途艱難，又饑又渴，怎不悲從中來呢！在《采薇》的最后一節(jié)中，“行道遲遲，載渴載饑”，這是寫戍卒歸途上的情形。路途是那么遙遠，似乎總也走不到盡頭，他忍渴耐饑，掙扎著走向故鄉(xiāng)。在這艱難的歸途上，戍卒痛定思痛，回憶起離開故鄉(xiāng)后的種種經歷，默默地吮吸著內心的苦楚，體會著自己的孤獨，他痛苦地吟唱：“我心傷悲，莫知我哀！”此時士兵心情的悲苦，又有誰知道呢？
最后，《采薇》這首詩既寫士卒在出征和戰(zhàn)斗中緊張、饑渴和勞碌的痛苦生活，同時也表現(xiàn)了他們能不顧安危，急國家之難的愛國熱情。全詩借自然景觀以托情，情感真摯，凄楚動人。在每章的后六句具體描寫思歸之情時，表達形式也有所變化。比如，第一章作者僅僅說，到了年底，還回不了家；并抱怨：“靡室靡家，狁之故；不遑啟居，狁之故”，是狁害得他有家難歸。而第二章則說：“曰歸曰歸，心亦憂止；憂心烈烈，載饑載渴”，他因思鄉(xiāng)而心頭煩悶，好像火燒一樣，而且感到饑渴難忍，還想到：“我的駐地沒有一定，連捎個家信也不可能”。第三章，眼見已到十月小陽春了，回家還是沒有指望，戍卒不禁發(fā)出痛苦的呻吟：“憂心孔疚，我行不來”，心情極其痛苦，誰能寬解呢？──顯然，隨著戍邊時間的延長，鄉(xiāng)情也日益深重。作者就是采用這種反復吟誦，漸次深入的方式，讓讀者一步步走到戍卒的心靈深處，體會著他們與日俱增的思鄉(xiāng)之苦。又如在第四節(jié)這么寫道，“駕彼四牡，四牡骙骙。君子所依，小人所腓?！睂泜凂{著車馬上路了，戍卒也踏上艱難的征途；將帥們坐在車上，士卒們則圍在車的兩旁，打起仗來就靠它來隱蔽。他們南北轉戰(zhàn)，一個月要轉移多次，不敢安居；他們時刻警戒，不敢松懈，因為他們面臨的是極其兇狠的敵人。從字面上看，這一部分主要描寫士兵的征戰(zhàn)之旅，并沒有思鄉(xiāng)的感情流露，但那一股苦澀的情味始終縈繞在詩人的歌聲中。從這處側面描寫中，我們不難看到，這些可憐的戍卒，當他們拖著疲乏的身子，掙扎著在車馬后面奔跑的時候，當他們靠著車廂躲避敵人飛矢的時候，當他們枕戈待旦的時候，怎能不加倍思念安寧和平的生活呢！
讀罷全詩，我們仿佛看見這個身心憔悴的戍卒，冒著雨雪，沿著泥濘的小路慢騰騰地走向畫面深處，走向雨雪濃重的遠方。只給我們留下一個孤獨的背影，一聲幽怨的嘆息。
第三篇：《詩經·小雅·采薇》的漢英翻譯
英漢翻譯學期論文
《詩經·小雅·采薇》的
漢英翻譯 學期論文題目: __
學 院 外國語學院 專 業(yè) 英語專業(yè)
班 級 ___ XXXXXXXXXXX_______ 學 號
XXXXXXXXXX
姓 名
XXXXXX
指導教師
XXXX
教務處制 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·小雅·采薇》的漢英翻譯
XXX
《詩經》是世界上最早的詩集，《采薇》選自《詩經》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》的漢英翻譯，可追溯到18世紀，至今已有中外數(shù)名翻譯學家對其進行翻譯。
本文分為三個章節(jié)。第一個章節(jié)通過《采薇》的主題，藝術手法等對其進行分析。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。第三個章節(jié)是作者個人的翻譯觀點。
關鍵詞：采薇；漢英翻譯；不同譯本；個人觀點
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 “要給人原詩的生動逼真的印象，需要盡可能保持原詩的風貌，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], 《小雅·采薇》英譯賞析[J].《池州師專學報》，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思想[D].上海：上海外國語大學，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], 傳神達意譯《詩經》[J].《外語與外語教學》，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[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..
第四篇：詩經采薇
詩經·采薇
采薇采薇，薇亦作止。曰歸曰歸，歲亦莫(mù)止。靡室靡家，玁(xiǎn）狁(yǔn)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(mǐ)使歸聘。
采薇采薇，薇亦剛止。曰歸曰歸，歲亦陽止。王事靡盬(gǔ)，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(kuí)骙。君子所依，小人所腓(féi)。四牡翼翼，象弭(mǐ)魚服。豈不日戒？玁狁孔棘！
昔我往矣，楊柳依依。今我來思，雨（yù）雪霏霏。行道遲遲，載渴載饑。我心傷悲，莫知我哀！
第五篇：《詩經·采薇》賞析
《詩經·采薇》賞析
采薇(《詩經·小雅·采薇》)
朝代：先秦
作者：佚名
原文：
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!
《詩經·采薇》賞析
這首詩描述了這樣的一個情景：寒冬，陰雨霏霏，雪花紛紛，一位解甲退役的征夫在返鄉(xiāng)途中踽踽獨行。道路崎嶇，又饑又渴;但邊關漸遠，鄉(xiāng)關漸近。此刻，他遙望家鄉(xiāng)，撫今追昔，不禁思緒紛繁，百感交集。艱苦的軍旅生活，激烈的戰(zhàn)斗場面，無數(shù)次的登高望歸情景，一幕幕在眼前重現(xiàn)。此詩就是三千年前這樣的一位久戍之卒，在歸途中的追憶唱嘆之作。其類歸《小雅》，卻頗似《國風》。
全詩六章，可分三層。既是歸途中的追憶，故用倒敘手法寫起。前三章為一層，追憶思歸之情，敘述難歸原因。這三章的前四句，以重章之疊詞申意并循序漸進的方式，抒發(fā)思家盼歸之情;而隨著時間的一推再推，這種心情越發(fā)急切難忍。首句以采薇起興，但興中兼賦。因薇菜可食，戍卒正采薇充饑。所以這隨手拈來的起興之句，是口頭語眼前景，反映了戍邊士卒的生活苦況。邊關士卒的“采薇”，與家鄉(xiāng)女子的“采蘩”、“采桑”是不可同喻的。戍役不僅艱苦，而且漫長?！稗币嘧髦埂薄ⅰ叭嶂埂?、“剛止”，循序漸進，形象地刻畫了薇菜從破土發(fā)芽，到幼苗柔嫩，再到莖葉老硬的生長過程，它同“歲亦莫止”和“歲亦陽止”一起，喻示了時間的流逝和戍役的漫長。歲初而暮，物換星移，“曰歸曰歸”，卻久戍不歸;這對時時有生命之虞的戍卒來說，不能不“憂心烈烈”。后四句為什么戍役難歸的問題作了層層說明：遠離家園，是因為玁狁之患;戍地不定，是因為戰(zhàn)事頻頻;無暇休整，是因為王差無窮。其根本原因，則是“玁狁之故”?！稘h書·匈奴傳》說：“(周)懿王時，王室遂衰，戎狄交侵，暴虐中國。中國被其苦，詩人始作，疾而歌之曰：‘靡室靡家，獫狁之故’云云。”這可視為《采薇》之作的時代背景。對于玁狁之患，匹夫有戍役之責。這樣，一方面是懷鄉(xiāng)情結，另一方面是戰(zhàn)斗意識。前三章的前后兩層，同時交織著戀家思親的個人情和為國赴難的責任感，這是兩種互相矛盾又同樣真實的思想感情。其實，這也構成了全詩的情感基調，只是思歸的個人情和戰(zhàn)斗的責任感，在不同的章節(jié)有不同的表現(xiàn)。
第四、五章追述行軍作戰(zhàn)的緊張生活。寫出了軍容之壯，戒備之嚴，全篇氣勢為之一振。其情調，也由憂傷的思歸之情轉而為激昂的戰(zhàn)斗之情。這兩章同樣四句一意，可分四層讀。四章前四句，詩人自問自答，以“維常之華”，興起“君子之車”，流露出軍人特有的自豪之情。接著圍繞戰(zhàn)車描寫了兩個戰(zhàn)斗場面：“戎車既駕，四牡業(yè)業(yè)。豈敢定居，一月三捷。”這概括地描寫了威武的軍容、高昂的士氣和頻繁的戰(zhàn)斗;“駕彼四牡，四牡骙骙。君子所依，小人所腓?！边@又進而具體描寫了在戰(zhàn)車的掩護和將帥的指揮下，士卒們緊隨戰(zhàn)車沖鋒陷陣的場面。最后，由戰(zhàn)斗場面又寫到將士的裝備：“四牡翼翼，象弭魚服?！睉?zhàn)馬強壯而訓練有素，武器精良而戰(zhàn)無不勝。將士們天天嚴陣以待，只因為玁狁實在猖狂，“豈不日戒，玁狁孔棘”，既反映了當時邊關的形勢，又再次說明了久戍難歸的原因。《毛序》根據(jù)這兩章對軍旅生活的描寫，認為《采薇》是“遣戍役”、勸將士之詩。這與詩意不符。從全詩表現(xiàn)的矛盾情感看，這位戍卒既戀家也識大局，似乎不乏國家興亡匹夫有責的責任感。因此，在漫長的.歸途上追憶起昨日出生入死的戰(zhàn)斗生活，是極自然的。
籠罩全篇的情感主調是悲傷的家園之思?；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，隨之陷入更深的悲傷之中。追昔撫今，痛定思痛，不能不令“我心傷悲”。“昔我往矣，楊柳依依。今我來思，雨雪霏霏?！边@是寫景記事，更是抒情傷懷。個體生命在時間中存在，而在“今”與“昔”、“來”與“往”、“雨雪霏霏”與“楊柳依依”的情境變化中，戍卒深切體驗到了生活的虛耗、生命的流逝及戰(zhàn)爭對生活價值的否定。絕世文情，千古常新。現(xiàn)代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憂。一別經年，“靡使歸聘”，生死存亡，兩不可知，當此回歸之際，必然會生發(fā)“近鄉(xiāng)情更怯，不敢問來人”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”，全詩在這孤獨無助的悲嘆中結束。綜觀全詩，《采薇》主導情致的典型意義，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的個人從戰(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、憂心如焚的內心世界，從而表現(xiàn)周人對戰(zhàn)爭的厭惡和反感。《采薇》，似可稱為千古厭戰(zhàn)詩之祖。
在藝術上，“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。自南朝謝玄以來，對它的評析已綿延成一部一千五百多年的闡釋史。王夫之《姜齋詩話》的“以樂景寫哀，以哀景寫樂，一倍增其哀樂”和劉熙載《藝概》的“雅人深致，正在借景言情”，已成為詩家口頭禪。而“昔往”、“今來”對舉的句式，則屢為詩人追摹，如曹植的“始出嚴霜結，今來自露晞”(《情詩》)，顏延之的“昔辭秋未素，今也歲載華”(《秋胡詩》之五)，等等。
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