汉诗意象的英译——以《诗经》翻译为例【毕业论文】.doc

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1、(20_届)本科毕业设计英语汉诗意象的英译以诗经翻译为例IMAGETRANSLATIONOFCHINESEPOEMACASESTUDYOFTHEBOOKOFSONGSI摘要诗经作为中国的国粹,蕴涵着巨大的文学翻译研究价值。现阶段的英译研究在进一步发展,但是还存在问题,特别是意象的翻译,还不够深入与全面,有待进一步加强。本文首先介绍意象概念及其在诗经中的体现,然后比较同一意象在杨宪益版本与JAMESLEGGE的版本中的不同翻译,并观察这些意象在哪个版本中翻译的更恰当。关键词诗经意象文学翻译概念IIABSTRACTBOOKSOFSONGS,AQUINTESSENCEOFCHINA,CONTAINS

2、GREATVALUEINITSLITERARYTRANSLATIONTHERECENTRESEARCHHASBEENDEVELOPINGBUTTHEREARESTILLPROBLEMSIMAGETRANSLATIONASTHEMAINOBJECTOFRESEARCHESISSTILLHARDFORUSANDNEEDSMOREATTENTION,FORTHEPREVIOUSWORKISNOTTHOROUGHANDCOMPREHENSIVEENOUGHTHISTHESISFIRSTINTRODUCESTHECONCEPTOFIMAGESANDIMAGESINTHEBOOKOFSONGSTHENIT

3、WILLCOMPARETHEIRTRANSLATIONINYANGXIANYISANDJAMESLEGGESVERSIONSTOSEEWHOSETRANSLATIONISMORESUITABLEANDFAITHFULTOTHEORIGINALKEYWORDSBOOKSOFSONGS,IMAGE,LITERARYTRANSLATION,CONCEPTCONTENTSABSTRACT1INTRODUCTION12THESTUDYOFIMAGE121THEDEFINITIONOFIMAGE222THEDEVELOPMENTOFIMAGEINCHINAANDWESTERNCOUNTRIES23THEB

4、RIEFINTRODUCTIONOFPLANTIMAGEINTHEBOOKOFSONGS331THEIMAGEOFLOVE332THEPROSPEROUSPLANTS433THEWITHERINGPLANTS44CONTRASTINGTHESAMEIMAGEINDIFFERENTTRANSLATIONVERSIONS541THEIMAGEOFCREEPINGGRASSTRANSLATEDINTWOVERSIONS742THEIMAGEOFPLUMSTRANSLATEDINTWOVERSIONS95METHODSOFTRANSLATION106CONCLUSION12BIBLIOGRAPHY13

5、ACKNOWLEDGEMENTS1411INTRODUCTIONTHERESEARCHESONTHETRANSLATIONOFTHEBOOKOFSONGSHAVEALONGHISTORYWITHTHEPROGRESSMADE,MOREANDMOREASPECTSHAVEBEENDEVELOPEDBYTHESCHOLARSTHERECENTRESEARCHESAREUNDERGONEWITHFOURASPECTSBELOW1RESEARCHESONTHETRANSLATORSTHISKINDOFRESEARCHAIMSPURELYATTHETRANSLATORS,ANDITPAYSLITTLEA

6、TTENTIONTOOREVENNEGLECTSTHETRANSLATORSSTRATEGY,PERSONALVALUEANDTHEIRIDEASSOTHISKINDOFRESEARCHISSTILLNOTVERYPOPULARUNTILNOW2RESEARCHESONTHEVERSIONSTHEREAREMOREANDMOREVERSIONSINRECENTYEARSBUTFEWWITHHIGHQUALITYIN1993,ZHOUFAXIANGANDXUYUANCHONGPUTFORWARDTHEIDEAOFDOINGRESEARCHFROMCULTURETRANSMISSION,WHICH

7、WASINGREATVALUE李玉良,200720AFTERTHISPOUNDALSOSTATEDINTHISASPECT,ANDMANYOTHERSCHOLARSALSOMADECONTRIBUTIONSTOTHERESEARCHESABOVEALL,THISKINDOFRESEARCHESISNOTTHOROUGHANDCOMPREHENSIVE3RESEARCHESONCONTRASTINGDIFFERENTVERSIONSTHISKINDOFRESEARCHHASNTBEENUNDERGONEINLARGESCALEINCHINA,ESPECIALLYINMAINLANDITWASFI

8、RSTPUTFORWARDBYZHANGSHANGGUAN,ASCHOLARINTAIWAN李玉良,200722HEADVISEDTODORESEARCHESONCONTRASTINGPARTOFTHEVERSIONS,ANDTHISCASEFIRSTMADEITALARGESCALEINCHINA4RESEARCHESONMETHODSOFTRANSLATIONINMAINLAND,THISKINDOFRESEARCHMAINLYUNDERGOESWITHTHEDISCUSSIONOFMETHODSINACERTAINVERSION,ANDUSUALLYCHOOSESONLYONEORTWO

9、POEMSTHEDISCUSSIONDEVELOPSMAINLYWITHTWOASPECTSTHEMETHODSOFDEALINGTHERHYTHMS,THEMETHODSOFREPRODUCINGTHEPOETRYTHEPREVIOUSRESEARCHESHAVEGAINEDASOLIDFOUNDATION,BUTTHEREARESTILLDEFICIENCIESINGENERALSOWENEEDTOTRYOURBESTTOCREATEMOREASPECTSTODORESEARCHANDALSOWESHOULDDEEPENOURRESEARCHESINEVERYASPECT2THESTUDY

10、OFIMAGE21THEDEFINITIONOFIMAGEIMAGEISTHECOMBINATIONOFIMAGESCHEMAANDPRAGMATICMEANING,ANDTHEYARETWOPARTSTHATCANNOTBESEPARATEDTOACERTAINEXTENTIMAGESCHEMAISAKINDOFLANGUAGETHATEXISTSINITSSPECIFICIMAGE,WHILEPRAGMATICMEANINGREFERSTOPEOPLESTHOUGHTSANDFEELINGSGENERALLYSPEAKING,ITTOTALLYINCLUDESALLTHECONSCIOUS

11、NESSWITHIMAGESINPOEMSANDOTHERLITERARYWORKSINANARROWSENSE,ITREFERSTOTHEPROCESSOFHOLDINGTHECREATORSSUBJECTIVE2ANDOBJECTIVEMINDSANDEXPRESSINGTHEIRDETAILSINALANGUAGE22THEDEVELOPMENTOFIMAGESINCHINAANDWESTERNCOUNTRIESTHECONCEPTOFIMAGEHASBEENDISCOVEREDINEARLYDAYSANDHASALONGHISTORYINCHINAACCORDINGTOTHEBOOKO

12、FCHANGESTHESAGESUSUALLYFINDIMAGESTOEXPRESSTHEIRFEELINGSFULLY金景芳,1998291THENINNORTHERNANDSOUTHERNDYNASTIES,LIUXIECAMEUPWITHTHEIMAGESTHATWEREBASEDONESTHETICCONCEPTIONWHENITCOMESTOTANGDYNASTY,LIUYUXIMADETHECONCEPTOFIMAGESFURTHERHETHOUGHTTHATARTISTICCONCEPTIONINCLUDESNOTONLYTHESPECIFICIMAGESTHATCANBEFEL

13、TDIRECTLY,BUTALSOTHEILLUSIONSAROUND,ANDAESTHETICMEANINGBECOMESTHEMAINOBJECTIVEOFCHINESECLASSICLITERARYHOWEVER,THEREISNOSUCHCONCEPTINTHEWEST,ANDITISFIRSTPUTFORWARDBYTHOMASERNESTHUMLE(殷国明,1999140)INTHETWENTIETHCENTURY,FAMOUSIMAGISTPOETSHEADEDBYPOUNDINFLUENCETHEWESTERNLITERARYDEEPLYANDTHOROUGHLYPOUNDRE

14、ALIZEDTHEIMPORTANCEOFIMAGESTHROUGHREADINGERNESTFENOLLOSASWORKSCHINESESCHOLARZHAOYIHENGTHINKSTHATPOMESINTHEEASTMAKEGREATEFFECTSONIMAGISTS,ANDACTUALLYCHINESEPOEMSCONTRIBUTEFARMORETOTHEIMAGISTSTHANTHEJAPANESEONESDOTHUS,THECONCEPTOFTHEWESTERNIMAGEISCLOSELYBOUNDTOTHECHINESEONES(殷国明,1999140POUNDONCEGAVEAD

15、EFINITIONOFTHEIMAGESAS“ACOMBINATIONOFRATIONANDEMOTIONSHOWINGFORASHORTWHILE“(黄晋凯等,1989132),THATISTOSAY,THEIMAGESEXPRESSRATIONANDEMOTION,BUTEMPHASIZEONTHESHORTWHILEHOWEVER,THISDEFINITIONIGNORESTHECHARACTEROFIMAGESSPECIFICALTHOUGHITWASVERYLATETOCOMEUPWITHTHECONCEPTOFIMAGESINTHEWEST,THEREARESTILLMANYIMA

16、GESINTHEIRLITERARYWORKSBEFORETHETWENTIETHCENTURYHEREANDTHERE,FOREXAMPLE,IMAGESINSHAKESPEARSWORKSSUMMER,ROUGHWINDS,BUDS,THEEYEOFHEAVEN,GOLDCOMPLEXIONANOTHEREXAMPLE,IMAGESINWORDSWORTHSWORKSCLOUD,VALES,HILLS,GOLDENDAFFODILS,LAKE,TREES,FLUTTERING,DANCINGANDBREEZEINCHINA,IMAGESEXISTEDANDEVENBECAMEAMAINWA

17、YTOEXPRESSIDEAS,FOREXAMPLE,CREEPINGGRASS,PLUMS,REEDS,MILLETINAWORD,IMAGEHASBEENOFGREATIMPORTANCENOTONLYINPOEMSBUTALSOINOTHERLITERARYWORKSINTHEWORLD3THEBRIEFINTRODUCTIONOFPLANTIMAGEINTHEBOOKOFSONGSPLANTSAREUSEDINMANYPOEMSWRITTENINBOTHANCIENTANDMODERNTIME,INWHICHTHEYAREUSUALLYUSEDTOEXPRESSFEELINGSBYTH

18、EPOETSASAVERYPOPULARIMAGE,THEYHAVELOTSOFDIFFERENTMEANINGS,SUCHASMARRIAGE,LOVEANDLIFETHEBOOKOFSONGSISTHEEARLIESTPOETRYCOLLECTIONINANCIENTCHINA,WHICHNOTONLYSHOWSTHECHANGINGOFPEOPLESFEELINGSANDEMOTIONS,BUTALSOPRESENTSTHECUSTOMS3000YEARSAGOALSOTHEREAREANUMBEROFPLANTIMAGESINITACCORDINGTOSTATISTICS,TOTALL

19、YTHEREARE1600KINDSOFPLANTS,OFWHICHMOSTHAVE3THEIRSPECIALMEANINGRELATEDTOPEOPLESEMOTIONSALMOSTALLTHEPLANTSINTHEBOOKOFSONGSHAVEBEENDESCRIBEDINALITERARYWAY,VIVID,LIVELYANDFULLOFVITALITYTHELANGUAGEFULLOFAESTHETICVALUECOMBINEDWITHWONDERFULIDEASPRESENTSMOREBEAUTIFULANDCLASSICIMAGESOFTHEPOEMTHANOFTHEREALLIF

20、EPLANTSINTHEPOEMSHAVERICHMEANINGSANDBECOMETHEHOPESTORELYONWHETHERTHEYAREPROSPEROUSORWITHERING31THEIMAGEOFLOVESOMEPARTSINTHEBOOKOFSONGSMAINLYSTATETHEGROWTHOFPLANTSALTHOUGHITISSIMPLYAMERELINEDRAWINGSTYLE,ITCANWELLREFLECTTHECONTENTOFPOETRY,ANDMIXWITHITORGANICALLYPLANTSPLAYAVERYIMPORTANTROLEINANCIENTPEO

21、PLESLIFEINTEGRATIONOFPLANTSANDAGRICULTURALCIVILIZATIONBECOMETHENATURALWAYTOEXPRESSEMOTIONOFCOURSE,THEBOOKOFSONGSISNOTJUSTDESCRIBINGASINGLEPLANT,SHOWINGASIMPLEPICTURE,BUTALSOPRESENTINGUSPICTURESWITHRICHMEANINGSFOREXAMPLES,蒹葭苍苍,白露为霜。所谓伊人,在水一方。遡洄从之,道阻且长;遡游从之,宛在水中央。蒹葭萋萋,白露未晞。所谓伊人,在水之湄。遡洄从之,道阻且跻;遡游从之,宛在水

22、中坻。蒹葭采采,白露未所谓伊人,在水之涘。遡洄从之,道阻且右遡游从之,宛在水中沚。(秦风蒹葭)THEMAINTOPICOFTHISPOEMISLOVE,ANDDESCRIBESTHEDATEBETWEENYOUTHSLOVEISBEAUTIFULANDDIMTHEREAREAVARIETYOFWRITINGTECHNIQUESTODESCRIBEDATING,THECLASSICLOVESCENETHEDATESCENEINTHISPOEMFULLYSHOWSUSAPICTURE,INWHICHAMANCOULDNTGETTOGETHERWITHTHEGIRLHELOVESSOMUCHBUTO

23、NLYCANWATCHANDMISSHERFROMTHEOTHERSIDEOFTHERIVERHEREITUSESTHEREEDSASIMAGE,BYWHICHTHEAUTHORCANBESTEXPRESSAKINDOFDISAPPOINTEDFEELINGWITHOUTGETTINGTOGETHERWITHHISBELOVEDINADDITIONTOTHEEXPRESSIONOFTHOUGHTSOFLOVEBETWEENMENANDWOMEN,THEBOOKOFSONGSALSOHASALOTOFPOEMSTOEXPRESSTHEWISHESOFHARVESTANDABETTERLIFETH

24、ROUGHTHEPLANT,FOREXAMPLE芃芃黍苗,阴雨膏之。四国有王,郇伯劳之。(曹风下泉)芃芃黍苗,阴雨膏之。悠悠南行,召伯劳之。(小雅黍苗)原隰既平,泉流既清。召伯有成,王心则宁。(小雅黍苗)INTHISPOEM,THEAUTHORMADEMILLETASITSMAINIMAGE,WHICHFULLYSHOWSUSTHATTHECIVILATTHATTIMESINCERELYHOPEDPEACEINSTEADOFFREQUENTWARS32THEPROSPEROUSPLANTS4THEPROSPEROUSPLANTSCOMPAREDTOTHEIMAGEOFBETTERLIFEORW

25、ONDERFULTHINGSACCOUNTFORALARGEPROPORTIONOFTHEBOOKOFSONGSSOMEPROSPEROUS,BEAUTIFULPLANTSAREWIDELYUSEDASAMETAPHORTODESCRIBEBEAUTIFULWOMENORPRETTYGIRLSFOREXAMPLE,手如柔荑,肤如凝脂。领如蝤蛴,齿如瓠犀。螓首蛾眉,巧笑倩兮,美目盼兮。(卫风硕人)THISSENTENCECOMPARESPRIMARYBUDSTOSOFTANDTENDERHANDSOFTHEGIRLS,VIVIDLYANDTHOROUGHLYSHOWINGTHEIMAGETHAT

26、THEYLIVEAHAPPYLIFE33THEWITHERINGPLANTSNOMATTERHOWWELLTHEPLANTSLIVE,THEYCANHARDLYESCAPETHEDEATHSWITHLEAVESFALLINGANDWINTERSNOWCOVERINGTHEMINTHEBOOKOFSONGSERA,THOUGHTHEREISNOGRIEVEFORTHEENTIRESEASON,AFEELINGOFSEEINGTHELEAVESFALLINGSTILLEXISTSALTHOUGHTHISFEELINGISFARFROMTHEONEINSPRINGANDSUMMER,WHENTHEJ

27、OYRESOUNDSWITHTHEPLANTSPROSPEROUSANDSTRONG,ITDOESOPENTHEDOORINAUTUMNTHOUGHTSFOREXAMPLE桑之未落,其叶沃若。于嗟鸠兮,无食桑葚。于嗟女兮,无与士耽。士之耽兮,犹可说也。女之耽兮,不可说也。桑之落矣,其黄而陨。自我徂尔,三岁食贫。淇水汤汤,渐车帷裳。女也不爽,士贰其行。士也罔极,二三其德。(卫风氓)WEIFENGMENGISAVERYFAMOUSPOEMWHICHDESCRIBESAWOMANDESERTEDBYHERHUSBANDTHISPOEMTAKESADVANTAGEOF桑MULBERRYASITSMAI

28、NIMAGE,WHICHISTHEONLYTHINGTHATSHECANRELYONAFTERSHEISABANDONEDTHEAIMISTOTELLPEOPLEESPECIALLYWOMENNOTTOPAYTHEIRALLEMOTIONSANDYOUTHTOMENWHODONTPAYTHEIRTRUELOVEANDNOTTOBEBLINDFOLDEDBYLOVE4CONTRASTINGTHESAMEIMAGESINDIFFERENTTRANSLATIONVERSIONS41THEIMAGEOF“CREEPINGGRASS“GRASSISAKINDOFPLANTTHATHASTOUGHLIFE

29、INCHINAPEOPLEUSUALLYUSEITASANIMAGETOENCOURAGEOTHERSORTHEMSELVESONCEFACINGSOMEPROBLEMSINTHEIRLIFEORWORKALSOTHEREAREMANYOTHERMEANINGSPEOPLEINANCIENTCHINAONCEREGARDEDCREEPINGGRASSASTHEIMAGEOFLOVEBETWEENYOUNGMENANDWOMENHEREISAPOEMFROMTHEBOOKOFSONGSWHICHDESCRIBESCREEPINGGRASS野有蔓草野有蔓草,零露漙兮。有美一人,清扬婉兮。邂逅相遇,

30、适我愿兮。5野有蔓草,零露瀼瀼。有美一人,婉如清扬。邂逅相遇,与子偕臧。THISISAPOEMOFLOVE,ANDITSMAINIDEAISTHATAYOUNGMANMETAGIRLINTHEWILDWHERETHECREEPINGGRASSWITHDEWDROPSWASLIVINGINAGOODLIFEANDTHENTHEYOUNGMANFELLINLOVEWITHTHEGIRLDEEPLYONSEEINGHERBEAUTIFULLOOKS,STRONGLYEXPRESSINGHISDESIRETOACCOMPANYHERANDLIVEWITHHERFOREVERINORDERTOEXPRE

31、SSHISSINCERELOVE,THEAUTHORUSESCREEPINGGRASSASTHEMAINIMAGE,WHICHINTHISPOEMMEANSVIGOROUSLIFETHEGIRLWASCOMPAREDTOTHECREEPINGGRASSSOASTOSHOWHERBEAUTIFULLOOKSANDHERLIVELYLIFETHEGIRLLIKETHECREEPINGGRASSWASLIVINGINAGOODSTATE,WHICHATTRACTEDTHEMANSOMUCHTHATHEWANTEDANDWISHEDTOSPENDALLHISLIFETOLIVEWITHHERTHEAU

32、THORFULLYSHOWSUSWHATTHELIFEINZHOUDYNASTYWASLIKEANDWHATTHEPURELOVEWASLIKEWITHTHISIMAGETHISPOEMCANBEDIVIDEDINTOTWOPARTSTHEFIRSTPARTSHOWSUSABEAUTIFULPICTUREINWHICHAYOUNGMANMETABEAUTIFULGIRLINTHEWILDWHERECREEPINGGRASSWITHDEWDROPSAREAROUNDHELOVESTHEGIRLATFIRSTSIGHTANDCANNOTHELPBUTEXPRESSINGHISHAPPINESSAT

33、THATTIMEINTHESECONDPARTHEEXPRESSEDHISLOVETOHERANDBESTWISHTOLIVEWITHHERBYPRAISINGHERBEAUTIFULLOOKSNOWTHATWEHAVEKNOWNTHEMAINIDEA,WEWILLCOMPARETWOVERSIONSOFTRANSLATIONABOUTTHISPOEMINTHEWILDSGREWCREEPERS,WITHDEWDROPSSOHEAVYANDTHICKTHEREWASAGIRL,BEAUTIFULANDBRIGHTHERFEATURESSODELICATEANDCHARMINGBYCHANCEW

34、EMETEACHOTHER,SHEEMBODIEDMYLONGCHERISHEDWISHINTHEWILDSGREWCREEPERS,WITHDEWDROPSSOHEAVYANDTHICKTHEREWASAGIRL,BEAUTIFULANDBRIGHTHERFEATURESSODELICATEANDCHARMINGBYCHANCEWEMETEACHOTHER,TOGETHERWITHHERLIFEWILLBEHAPPY(杨宪益戴乃迭)ONTHEMOORISTHECREEPINGGRASS6ANDHOWHEAVILYISITLOADEDWITHDEWTHEREWASABEAUTIFULMAN,L

35、OVELY,WITHCLEAREYESANDFINEFOREHEADWEMETTOGETHERACCIDENTALLY,ANDSOMYDESIREWASSATISFIEDONTHEMOORISTHECREEPINGGRASSHEAVILYCOVEREDWITHDEWTHEREWASABEAUTIFULMAN,LOVELY,WITHCLEAREYESANDFINEFOREHEADWEMETTOGETHERACCIDENTALLY,ANDHEANDIWEREHAPPYTOGETHERTRJAMESLEGGENOWTHATWEHAVEKNOWNTHEMAINIDEA,WEWILLCOMPARETHE

36、TWOVERSIONSOFTRANSLATIONABOVETOSEETHESIMILARITIESANDDIFFERENCEFIRST,LETSSEETHESIMILARITIESFROMTHETWOVERSIONS,WESEETHATTHEYBOTHTRANSLATED蔓草TOCREEPINGGRASS,WHICHREPRESENTEDTHELOVEBETWEENYOUTHS,ANDITWASSIMILARTOCREEPINGGRASSINWESTERNCOUNTRIESINTHISWAYTHEFOREIGNREADERSWILLUNDERSTANDTHEIMAGEANDEVENTHEPOE

37、MMOREEASILYANOTHERSIMILARITYISTHATBOTHOFTHEMWERETRANSLATEDINTOTWOSTANZAS,SIXLINESASTANZAWITHSENTENCESCLEARANDNEAT,WHICHWASCONSISTENTWITHTHEFORMOFTHEORIGINALCHINESEONETOACERTAINEXTENTBOTHVERSIONSMAKETHEMSELVESEASIERFORREADERSTOREADNEXTWEWILLTALKSOMETHINGDIFFERENTINTHESETWOVERSIONSFROMTHEVERSIONTRANSL

38、ATEDBYGLADYYANG,WECANSEETHATITTRANSLATED人TOGIRLDIRECTLY,WHICHMAKESUSKNOWCLEARLYTHATTHEAUTHORINTHISPOEMWASGIVINGADESCRIPTIONOFAMANSADMIRATIONANDLOVETOAGIRLSINCETHEWHOLEPOEMDEVELOPEDAROUNDTHEIMAGEOFCREEPINGGRASSANDAGIRL,ITWASSUITABLEANDACCEPTABLEFORUSTOTRANSLATEINTHISWAYHOWEVER,FROMTHEVERSIONBYLEGGE,W

39、EACQUIREDTHAT人HEREWASTRANSLATEDTOMAN,WHICHBECAMEVAGUEANDITWASDIFFICULTFORUSTOUNDERSTANDWHETHERMANWASAGIRLORAMANASWEKNOW,IMAGEINTHISPOEMWASCLOSELYCONNECTEDWITHTHEGIRL,THELEADINGROLESOTHISTRANSLATIONMAYMISLEADTHEREADER,ANDITSNOTACCEPTABLETOTHISPOINTTHEWORDSDELICATEANDCHARMINGCOMPAREDWITHTHEDIRECTDESCR

40、IPTIONCLEAREYESANDFINEFOREHEADINTHESECONDONEMAYHAVEADEEPERDEGREEANDEXTENT,ANDTHUSITCANNOTONLYMATCHTHEFORMBUTALSOBELOYALTOTHEORIGINALVERSIONSOTHEFIRSTONEWOULDBEBETTER742THEIMAGEOF“PLUM“MARRIAGEISAVERYHOTTOPICINTHEBOOKOFSONGSINTHEAGEOFZHOUDYNASTY,MARRIAGEISABASICELEMENTOFTHESOCIETY,FORFAMILYISESSENTIA

41、LFORTHESOCIETYMARRIAGE,WHICHCANLEGALLYGIVEMANANDWOMANAFAMILY,ISONEOFTHEMOSTIMPORTANTTHINGSINTHELIFEOFPEOPLESINCEWOMANSSTATUSINTHESOCIETYISLOWERTHANMANSATTHATTIME,THESIGNIFICANCEOFMARRIAGEISESPECIALLYIMPORTANTTOWOMANWHATSMORE,WEDDINGRELIESONBOTHAGEANDSEASONINANCIENTTIMEAGIRLWHOONCEGETSFIFTEENWILLBERE

42、GARDEDASANADULT,WHILEAFTERTWENTYWILLBETOOOLDTOBEMARRIEDMOREOVER,BECAUSEOFFREQUENTWARSATTHATTIME,MENAREALWAYSLESSTHANWOMENALLTHESEREASONSMAKEWOMAN,WHOHASNOTMARRIED,WORRYABOUTHERMARRIAGE,ESPECIALLYINTHEWEDDINGSEASON摞有梅摞有梅,其实七兮。求我庶士,迨其吉兮。揉有梅,其实三兮。求我庶士,迨其今兮。揉有梅,顷筐暨之。求我庶士,迨其谓之。THISPOEMDESCRIBESAGIRLWISHI

43、NGTOBELOVED,WHOSEWISHFORLOVEANDMARRIAGEISCOMPLETELYSHOWNTOUSASSOONASTHEGIRLSEESMOREANDMOREFRUITSDROPPINGFROMTHETREE,SHEBECOMESWORRIEDABOUTTHELOSINGOFHERYOUTHANDGETSMOREANDMOREANXIOUSTOGETMARRIEDSOSHEATFIRSTASKSTHEMANWHOLOVESHERTOCOURTHERONAGOODDAYINTHEFIRSTPART,ANDATLASTTELLHIMSTRAIGHTFORWARDINTHETH

44、IRDPARTWHENALLTHEFRUITSHAVEFALLENTHETHREEPARTSDEVELOPINAPROGRESSIVEWAY,ANDTHESONGREACHESITSCLIMAXINTHELASTPARTTHISPOEMVIVIDLYSHOWSASCENETHATAGIRL,WHOISWAITINGFORHERLOVERINAPSYCHOLOGYOFFROMBEINGHOPEFULTOBEINGDISAPPOINTED,ANDATTHESAMETIME,GIVESUSTHEDESCRIPTIONOFTHEMINDCHANGINGOFAGIRLFROMYOUNGTOTOOOLDT

45、OMARRYEACHWOMANMAYEXPERIENCETHISWORRYINEACHSPRING,ANDEVENINTHEIRWHOLEADOLESCENCETIMEPASSING,WOMANWILLBEMOREANDMOREWORRIEDFORHERMARRIAGEANDSHOWHERSINCEREHOPETOGETMARRIED,FORSHECANNOTWAITANYMOREASISMENTIONEDABOVE,PLANTSGENERALLYREPRESENTFEMALEINTHEBOOKOFSONGSWOMANSYOUTHPASSESJUSTLIKETHEFRUIT,FLOWER,OR

46、LEAFFALLINGFORTHESEASONSSAKEAGIRL,WHOISWISHINGTOMEETHERLOVER,WAITSFROMTHEBEGINNINGOFTHESPRINGTOTHEENDONCE8SHEDISCOVERSTHATTHEFRUITISFALLING,SHEKNOWSTHATSHEISBECOMINGOLDERANDOLDERATFIRST,SHEWANTSAGOODTIMETOGETMARRIED,BUTATLAST,SHECANGETMARRIEDIFONLYTHEMANSPEAKSTHEFALLINGFRUITGIVESUSANIMAGEOFTIMEPASSI

47、NG,ANDTHEANXIETYOFTHEGIRLISSTRONGERANDSTRONGERTIMEPASSINGQUICKLY,SHECANNOTCHOOSETHETIME,ANDCAREABOUTANYTHINGEVENTHEMARRIAGEITSELF,FORSHEHASNOTIMETOWASTEANYMOREANDSHEISNTYOUNGANYMOREPLOP,FALLTHEPLUMSOFTENONTHETREE,SEVENREMAINLETTHOSEWHOWOULDCOURTMECOMEBEFORETHELUCKYDAYSLIPSBYPLOP,FALLTHEPLUMSOFTENONT

48、HETREE,THREEREMAINFORTHOSEWHOWOULDCOURTMENOWISTHETIMEPLOP,FALLTHEPLUMSPLACETHEMINFLATBASKETSLETTHOSEWHOWOULDCOURTMECOMETOTHEGATHERING(杨宪益戴乃迭)RIPE,THEPLUMSFALLFROMTHEBOUGHONLYSEVENTENTHLEFTTHERENOWYETWHOSEHEARTONMEISSET,NOWTHETIMEISFORTUNERIPE,THEPLUMSFALLFROMTHEBOUGHONLYTHREETENTHLEFTTHERENOWYETWHOW

49、ISHMYLOVETOGAIN,9WILLNOTNOWAPPLYINVAINNOWMOREPLUMSUPONTHEBOUGHALLAREINMYBASKETNOWYETWHOMEWITHADORESEEK,NEEDTHEWORDBUTFREELYSPEAKTRJAMESLEGGETHEFIRSTVERSIONISSIMPLEANDVIVID,ANDITISLOYALTOTHEORIGINALMEANINGHOWEVER,THESECONDONEMAYBEALITTLELONGERTHANTHEFIRSTONEDURINGTHETRANSLATION,THEREARESOMESIMILARITIESANDDIFFERENCESINDEALINGWITHTHEIMAGENOWLETSTALKABOUTTHEBACKGROUNDANDSIMILARITIESFIRSTTHEIMAGEOFTHISPOEMISPLUM,WHICHISVERYSIMILARTOTHEIMAGEPLUMINWESTERNCOUNTRIESPLUMISRIPEINSPRING,WHICHISASEASONFORWEDDINGSOWHENWESEETHIS,THEIMAG

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