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1、本科毕业论文（设计）论文题目Translation of Tang Poetry Viewed from the Principle of Three Beauties -A Case Study of chunxiao 学 院 外国语学院 专 业 英语（国际商务） 班 级 2008 级 8 班 姓 名 学 号 指导教师 完成日期 2012年5月19日 教务处CONTENTSAbstract in ChineseAbstract in English11. Introduction21.1 Research Background21.2 Research Objectives and Sign
2、ificance of the Study21.3 Structure of the Paper32. Literature Review42.1 Previous Studies Abroad42.2 Previous Studies in China43. Theoretical Framework63.1 Three Beauties63.2 The Relationship between Tang Poetry Translation and Three Beauties64 Three Beauties Analysis by Comparing the Four Translat
3、ion Versions of chunxiao74.1 The Background Information of chunxiao74.1.1 The Chinese Version of chunxiao74.1.2 The Three Beauties Analysis of the Chines chunxiao84.1.2.1 The Beauty in Meaning of Chines chunxiao84.1.2.2 The Beauty in Sound and Form of Chines chunxiao84.2 The Four Translation Version
4、s of chunxiao94.3 The Beauty in Meaning of the Four Translation Versions of chunxiao94.4 The Beauty in Sound of the Four Translation Versions of chunxiao104.5 The Beauty in Form of the Four Translation Versions of chunxiao114.6 Summary of the Analysis and the Authors Translation Version of chunxiao1
5、25. Conclusion12Reference13从三美视角探讨唐诗的翻译 -以孟浩然的春晓为例摘要 唐代诗歌不仅是中国古典文学的巅峰，而且是世界文学的灿烂瑰宝。为了更好地把唐诗推向世界，国内广大翻译学者应该重视唐诗的翻译问题。诗歌具有意美、音美和形美等重要特征。译者只有再现原诗的这“三美”，才能让目的语读者获得美感与产生共鸣。本文以许渊冲提出的三美为理论基础，通过比较唐代诗人孟浩然的春晓的四种译法，分别从这四种译法体现的意美，音美和形美进行深入的比较、研究和分析,目的在于探讨美学原则指导下的唐诗翻译规律，从而更好地运用“三美”指导唐代诗歌的翻译。同时作者在结合三美原则的基础上，对许渊冲译
6、本的个别字词进行了修改，形成新的译文。关键词 唐代诗歌；翻译；许渊冲；意美；音美；形美 Translation of Tang Poetry Viewed from the Principle of Three Beauties-A Case Study of chunxiao 广州大学外国语学院2008级英语(国际商务)专业08班李丽琼 0807010258指导老师：张黎琴Abstract Tang Poetry is not only the peak of the classical literature in China, but also the bright treasure of
7、 literature in the world. In order to introduce the Tang Poetry to the world and make it much more popular, the translators in our country should pay much more attention to the translation of it. Poetry has the characteristics such as beauty in meaning, beauty in sound and beauty in form. Only when
8、the translators reproduce these three beauties at the same time, can the target language readers get aesthetic feeling and resonance . Based on Xu Yuanchongs three beauties theory, this essay is to explore the rules and strategies of tang poetry translation under the guide of three beauties principl
9、e by comparing the four translation versions of chunxiao which was written by Meng Haoran in Tang Dynasty, in order that we can better use three beauties as guilding principle when translating Tang Poetry. Meanwhile, on the basis of following the three beauties theory and revising a few words of Xu
10、Yuanchongs translation, a new translation version of chunxiao will be put forward by author.Key words Tang Poetry; translate; Xu Yuanchong; beauty in meaning; beauty in sound; beauty in form1. Introduction1.1 Research BackgroundWith the development of the economic globalization, the cultural globali
11、zation has also developed in a fast way. More and more foreigners have become interested in the excellent traditional culture in China, and more and more Chinese culture have been translated into many other language and have been introduced to many other countries. Among the traditional, Tang Poetry
12、 is the essence of Chinese culture. It is not only the peak of the classical literature in China, but also the valuable treasure of literature in the world. Therefore, in order to better introduce the Tang Poetry to the world and make it much more popular, translating the Tang Poetry in a proper way
13、 is a heated topic in translation field.The translators both around the world and in China have been committed to the translation of Tang Poetry long before. The English translation of Tang Poetry originated in the western countries, and the Chinese translators began to study the translation of Tang
14、 Poetry from Chinas Reform and Opening-up. And now there are a variety of theories about how to translate Tang Poetry into English. For example, Tytler, A.F. thought a good translation should, firstly, express completely the original thought; secondly, have all the ease of the original composition;
15、thirdly, be as smooth as the Tang Poetry(Tytler, A.F. 1970). Poetry has the characteristics such as beauty in meaning, beauty in sound and beauty in form. Only when the translators reappear these three beauties at the same time, can the target language readers get aesthetic feeling and resonance. An
16、d this essay is based on Xu Yuanchongs three beauties theory.1.2 Research Objectives and Sigificances of the StudyThe aim of this paper is to explore the rules and strategies of tang poetry translation under the guide of three beauties principle through comparing the four translation versions of chu
17、nxiao (translated by Xu Yuanchong, Weng Xianliang, Wu Juntao and John Turner) which was written by Meng Haoran in Tang Dynasty, So that we can better use three beauties as guilding principle when translating Tang Poetry.The study of this paper will make great senses in theory as well as in practice.
18、On one hand, the principle of three beauties will become a standard in translating the Tang Poetry, which will offer the translators a guildance when translating Tang Poetry. Previously, the translating theories were different from each other and most of them only pay attention to the beauty in mean
19、ing, beauty in sound or beauty in form of the Tang Poetry but seldom considered these three beauties at the same time. However, since the poetry has the characteristics such as beauty in meaning, beauty in sound and beauty in form, only when the translators reappear these three beauties at the same
20、time, can the target language readers get aesthetic feeling and resonance. Therefore, translating the Tang Poetry under the principle of three beauties is a wonderful theory.On the other hand, a good translation of Tang Poetry will better introduce the Tang Poetry and even the Chinese culture to the
21、 whole world, which will have deep social and cultural meanings. An amazing translation which can reappear the three beauties of the Tang Poetry will meet the readers aesthetic value orientation and needs and will make the readers get aesthetic feeling and resonance. Thus it will arouse the foreigne
22、rs interest in Tang Poetry, even Chinese traditional as well as Chinese culture. 1.3 Structure of the PaperThe thesis consists of five chapters. A sketch of each chapter is presented as followed.Chapter one is an introduction of the disseration concerning such issues as the background of the researc
23、h, its purpose, significance and structure. Chapter two presents the previous studies of Tang Poetry translation abroad and in China. Chapter three provides the theories used in this study: definition of three beauties theory and the relationship between Tang Poetry translation and three beauties. C
24、hapter four, which constitutes the main body of the paper, compares and analyses the four translation versions of chunxiao from perspective of three beauties theory. a new translation version of chunxiao will be put forward.Chapter five concludes the main findings and implications.2. Literature Revi
25、ew2.1 Previous Studies AbroadThe English translation of Tang Poetry originated in the western countries and had a long history, and it was influenced by the western translating theories. For example, John Dryden viewed that the translation of Tang Poetry was divided into three heads. First, that of
26、metaphrase, or turning an author word by word, and line by line, from one language into another. The second way is that of paraphrase or translate with latitude. The third way is that of imitation (Douglas Robinson. 2006). Besides, Waley maintained that paying too much attention to rhythm would caus
27、e bad effect on the expression of the target language and the special perspective of the translators. Therefore, he applied literal translation and emphasized the rhythm and image of the poetry, combining the rhythm of the original poetry with English free verse and becoming a new rhythm pattern spr
28、ung rhythm (Waley, Arthur. 1986). Whats more, the famous translator Nida thought a successful translation should, firstly, make sense; secondly, convey the original spirit style; thirdly, express in a natural and smooth way; lastly, resonate (Jeremy, Munday. 2005).In conclusion, the western translat
29、ors mainly focused on the rhythm, image, style or fluency when translating Tang Poetry. There was not many translators lay stress on the beauty in meaning, beauty in sound and beauty in form at the same time.2.2 Previous Studies in China In China, the translations and translating theories of Tang Po
30、etry were comparatively rare before Chinas Reform and Opening-up, after which, however, the translations as well as theories of Tang Poetry translation became more and more. Meanwhile, it appeared many famous translators. Yan Fu as a modern domestic translator insisted that translating should be fai
31、thful, expressive and elegant. Faithfulness was that the translation should be faithful to the original text; Expressiveness was that the translation should be smooth, fluent and accurate. Elegance were that the text should be classical and the style should be elegant( 张晓. 2011). Gu Zhengyang studie
32、d the translation of ancient Chinese Poetry from the aesthetic approach. “translating the endless ancient Chinese Poetry into glamour English should experience two processes: hunt for beauty and show beauty, which are interal and balanced. For the translators, these two processes is also an aestheti
33、c process (Gu Zhengyang, 2006)”. Wu Juntao and Lu Yuming attached importance to the form of the poetry, they said that the form of the poetry was very important and must not be ignored when translating the poetry. Since it was the form that made the poetry has real sense. Once the poetry separated i
34、tself from its form, it would not be a poem any longer( 陆钰明、吴钧陶,1995 ). However, our famous translator Xu Yuanchong applied the principle of three beauties in Tang Poetry translation. “Among the three beauties, beauty in meaning is the first important, beauty in sound is the second and beauty in for
35、m is the third. Under the premise of conveying the beauty in meaning, we should try to convey the beauty in sound of the original text. Besides, under the premise of conveying the beauty in meaning and sound, we should try to convey the beauty in form of the original text and pay attention to the th
36、ree beauties at the same time( 许渊冲，2006 ).”Xu Yuanchong is the first translator who theoretically and practically considers beauty in meaning, beauty in sound and beauty in form as a whole when translating Tang Poetry. This article will study the translation of Tang Poetry under the guildance of Xu
37、Yuanchongs three beauties.3. Theoretical Framework3.1 Three Beauties The three beauties theory was put forward by Xu Yuanchong. The three beauties are beauty in meaning, beauty in sound and beauty in form. Beauty in meaning is the beauty of the content, which can touch people; Beauty in sound is the
38、 beauty of the rhythm, which is rhythmical and musical; Beauty in form is the beauty of form such as the structure of the fronts and the arrangement of the sentences and paragraphs, which lets people feel pleased to the eyes (Xu Yuanchong, 2003). 3.2 The Relationship between Tang Poetry Translation
39、and Three BeautiesTang Poetry has the characteristics such as beauty in meaning, beauty in sound and beauty in form. If an English translation of Tang Poetry want to be as attractive and popular as the Chinese original one, the translators should pay attention to these three beauties and convey the
40、beauty in meaning, beauty in sound and beauty in form in translation.The translators should try to convey the beauty in meaning, beauty in sound and beauty in form of the original poem, which is also the so-called three beauties theory. Firstly, the poetry translation should keep the meaning beauty
41、of the original poem; Secondly, the poetry translation should keep the sound beauty of the original poem; lastly, the Poetry translation should give consideration to the form beauty of the original poem. Therefore, if it can achieve the beauty in meaning, beauty in sound and beauty in form, it is th
42、e tidemark of poetry translation (Wang Shuyi, 2010).“A poetry translation should be the same as the original poem which can touch people and this is meaning beauty; a poetry translation should be the same as the original poem which has pleasant rhythm and this is sound beauty; a poetry translation s
43、hould keep the form as the original poem and this is meaning beauty (Yang Weizhong, Wang Tianzhi, 2011 )”. Achieving the beauty in meaning, beauty in sound and beauty in form is the highest place in translating Tang Poetry, and theses three are in a mutual depend and complementary relationship. With
44、out beauty in sound and beauty in form, beauty in meaning can not be reflected but become empty beauty and meaningless beauty. Only when these three organs together, can reflect the integral beauty of the poetry (Mu Yanqiu, 2009 ).The reason why Tang Poetry has a long history and has been popular wi
45、th Chinese people as well as people all over the word all the time is that it has beauty in meaning, beauty in sound and beauty in form as a whole. People will produce aesthetic feeling when enjoying it and feel happy when reading it since its meaning is graceful, its sound is rhyming and its form i
46、s neat and orderly. For the same reason the English version of Tang Poetry should also reflect these three beauty, otherwises, it will lose the beauty and essence of Tang Poetry. In this term, Xu Yuanchong pointed that a translation should try its best to transmit the beauty in meaning, beauty in so
47、und and beauty in form of the Chinese Poetry(许渊冲2006).Therefore, the English translation of Tang Poetry should pay attention to the beauty in meaning, beauty in sound and beauty in form. Only when the translators reappear these three beauties at the same time, can the target language readers get aesthetic feeling and resonance. 4 . Three Beauties Analysis by Comparing the Four Translation Versions of chunxiao 4.1 The Background Information of chunxiao4.1.1 The Chinese Version of chunxiao春晓唐 孟浩然春眠不觉晓，处处闻啼鸟。夜来风雨声，花落知多少。4.1.2 The Three Beauties Analysis of the Chine
