從許淵沖三美論觀點分析比較李清照詠梅詞兩種英譯本

A Comparative Research on Two English Translation Versions of Li Qing-zhao’s Ci-poems Chanting Plum Blossom from Xu Yuan-chong’s Perspective of Three Beauties Theory

張殿禎(Tien-Chen Chang)

指導教授 ： 李恭蔚

長榮大學/人文社會學院/翻譯學系(所)/碩士(2017年)

摘要

本研究旨在試從許淵沖對中國詩詞翻譯所提出的「三美論」為觀點，探討兩種英文譯本中李清照六闋詠梅詞分別在意美、音美與形美方面的表現以及譯者翻譯方法的差異。筆者採用美國詩人、翻譯家王紅公和臺灣學者、詩人鐘玲合著《李清照詞全集》（Li Ch’ing-Chao: Complete Poems）與中國翻譯家王椒升所著《李清照詞全集——英譯新版》（The Complete Ci-poems of Li Qingzhao: A New English Translation）的兩種自由詩體英文譯本為分析樣本。
本論文分為五章，第一章為緒論，包括研究動機與研究目的。第二章為文獻探討，介紹作者與譯者以及闡述三美論。第三章為研究方法，分為資料收集、比較研究以及三美論之應用。在三美論之應用中，分別依意美、音美和形美之重現，援引相關論述並舉例說明。意美之重現依據許淵沖所運用的「三化」譯法，即淺化包括一般化、抽象化、減詞、合譯等譯法；等化包括靈活對等、詞類轉換、正說反說、語態轉換等譯法；深化包括特殊化、具體化、加詞、分譯等譯法。音美之重現包括韻律和節奏。韻律講究尾韻和頭韻，節奏要求原詞規律的平仄是以譯文符合英詩格律之輕重音組成的音步來補償。形美之重現注重譯文在長短和對稱上與原詞相對應的工整性。第四章為兩種英文譯本六闋詠梅詞三美之比較研究。第五章為結論與建議，筆者總結研究結果，並進一步提供未來在中國詩詞翻譯研究上的建議。

關鍵字

三美論 ； 詠梅詞 ； 自由詩體 ； 三化 ； 平仄 ； 英詩格律

並列摘要

This research is aimed at probing into the performance of beauty in sense, sound and form of Li Qing-zhao’s six ci-poems chanting plum blossom in two English translation versions, and the translation methods wielded by translators, from the viewpoint of Xu Yuan-chong’s three beauties theory for Chinese classical poetry. The author adopts two free verse English translation versions, including Li Ch’ing-Chao: Complete Poems, the cooperative translation by Kenneth Rexroth and Chung Ling in 1979, and The Complete Ci-poems of Li Qingzhao: A New English Translation by Wang Jiao-sheng in 1989, as the analytical samples.
This research is divided into five chapters. The first chapter is an introduction containing research motivation and research purpose. The second chapter is the literature review in which the poetess and the translators will be introduced separately and the three beauties theory will be expounded. The third chapter is the methodology, including data collection, comparative research and application of the three beauties theory. In the application of three beauties theory, the related theories for the reproduction of the beauty in sense, sound and form will be elaborated and exemplified respectively. The translation methods of three-izations proposed by Xu will be employed in the reproduction of beauty in sense, namely the generalization involving commonization, abstraction, omission and combination; the equalization involving dynamic equivalence, conversion of parts of speech, the change of voices and negation; the particularization involving specialization, concretization, amplification and division. The reproduction of the beauty in sound includes rhyme and rhythm. The rhyme emphasis on end rhyme and alliteration; however, the rhythm requires that the regularly level and oblique tones of the original should be compensated by the feet composed by unstressed and stressed tones conforming to the meter of English poetry of the translation. The reproduction of beauty in form predominantly lays emphasis on the orderliness of length and symmetry of the translation corresponding to the original. The fourth chapter contains a comparison of the three beauties between two English translation versions. The fifth chapter is the conclusions and suggestions, in which the author concludes the research results and provides some suggestions for future research on Chinese poetry and ci-poem studies.

並列關鍵字

three beauties theory ； ci-poem chanting plum blossom ； free verse ； three-izations ； the level and oblique tones ； the meter of English poetr

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