談詩歌的可譯性及其限制

王粉 敖佳勇

【摘要】可譯與不可譯的駁論在翻譯史中由來已久。許多詩人，語言學(xué)家和翻譯家不贊成詩歌的翻譯，甚至認(rèn)為詩歌是不可能被翻譯的。但另一方面又有很多的翻譯家進(jìn)行詩歌的翻譯嘗試，并且成功的翻譯出了很多優(yōu)秀的詩歌。本篇文章主要研究的是詩歌的可譯性及其他的限制問題。

【關(guān)鍵詞】可譯 詩歌 限制

一、詩歌的定義（The Definition of Poetry）

詩歌是一種主情的文學(xué)體裁，它以抒情的方式，高度凝練，集中地反映社會生活，用豐富的想象、富有節(jié)奏感、韻律美的語言和分行排列的形式來抒發(fā)思想情感。詩歌是有節(jié)奏、有韻律并富有感情色彩的一種語言藝術(shù)形式，也是世界上最古老、最基本的文學(xué)形式。《尚書·虞書》：詩言志，歌詠言，聲依永，律和聲。早期，詩、歌與樂、舞是合為一體的。The famous translator Lin Yutang defined poetry as “poetry is essentially thought colored with emotion ”. （林語堂，1998）

二、詩歌的聲調(diào)和音韻（Tone and Rhyme of the Poetry）

聲調(diào)是音節(jié)的高低升降形式，它主要是由音高決定的。音樂中的音階也是由音高決定的，可以用音階來模擬，學(xué)習(xí)聲調(diào)也可以借助于自己的音樂感。但要注意聲調(diào)的音高是相對的，不是絕對；聲調(diào)的升降變化是滑動的，不像從一個音階到另一個音階那樣跳躍式地移動。聲調(diào)的高低通常用五度標(biāo)記法：立一豎標(biāo)，中分5度，最低為1，最高為5。普通話有四個聲調(diào)：陰平，陽平，上聲，去聲。

Any speech has a tone and tone is especially important in poetry. As we know， there are four tones in Chinese language： level， rising， entering and falling. The four different tones are used to contrast with each other in poetry for auditory effect. For metrical purposes， the first tone is regarded as even tone， while the other three tones are regarded as oblique tones. Even-toned and oblique-toned characters have their proper places in poetry and the musical effect of Chinese poetry lies in its fixed arrangement of even and oblique tones. As to the ideographic relations of the four tones， Shi Chuzhong in Tang dynasty said in his《元和韻譜》，“The first tone is horizontal and steady， the second is loud and clear， the third is high and melodious， and the fourth is short and rapid.” Thus the variation of the four tones plays a very important part in Classical Chinese Poetry.

音韻是古代用來注音的東西，就跟現(xiàn)在的拼音差不多。通常注音都有兩個字，前一個字代表原字的聲母，后一個字是韻母。另外也是指和諧的聲音。

In the Chinese tradition， the use of rhyme is an essential part of verse writing， and Chinese poetry has attached importance to the use of rhyme since ancient times. The Book of Poetry （《詩經(jīng)》） contains305 poems， among which only seven poems are not rhymed. In a general classification of literature， verse has been defined as “rhymed composition” （yun-wen）， as opposed to prose which is labeled “free composition” （san-wen）. The difference between the two types of writing rests in whether or not rhyme is present. End-rhyme is ubiquitous in classical Chinese poetry except for a few very early poems， giving it a special musical quality， “Tian Jin Sha” （《天凈……