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王维禅诗英译的三美重构——以《鹿柴》及其许译本为例
Reconstruction of the Three Beauties in the English Translation of Wang Wei’s Zen Poems—Taking The Deer Enclosure and Its English Versions Translated by Xu Yuanchong as Examples

DOI: 10.12677/ML.2022.1010293, PP. 2170-2177

Keywords: 王维,禅诗英译,《鹿柴》,三美,重构
Wang Wei
, English Translation of Zen Poems, The Deer Enclosure, Three Beauties, Reconstruction

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Abstract:

禅,通“蝉”,静也。诗,境也。禅诗之静、之境意蕴颇丰,耐人寻味,禅诗的最高峰在于唐,大唐禅者不在少数,最动人者当属信奉佛禅、死生看淡的“诗佛”王维,其诗色相俱泯、万法皆空,读之令人身世两忘、万念俱寂,其归隐辋川时所作的《辋川集》最为经典。王维禅诗在海外儒家文化圈里影响广泛,在欧美文化圈里亦广为流传,王维禅诗外译,尤其是禅诗英译,是中华典籍外译、讲好中国故事的一个文化“窗口”,但禅诗英译究竟怎么译才能原汁原味地再现王维的思绪和画境,许渊冲先生以“三美论”回答了这个问题,关于“三美论”如何实现对原文形式、音韵、意境的重构,本文以《鹿柴》及其许译本作答。
Zen, originally meaning “cicada” in ancient China, symbolizes peace. The essence of poetry lies in artistic conception. The quiet artistic conception of Zen poetry contains rich charm, which is thought-provoking. The highest peak of Zen poetry was in the Tang Dynasty during which there were quite a few poets who practiced Zen. The most outstanding one of them was Wang Wei, the “Poetic Buddha” who believed in Buddhism and was indifferent to life and death. His poems are devoid of color in which all methods are empty, which makes readers forget their life experiences and forget everything. Wang-Chuan Collection of Poetry, which Wang Wei wrote when he retired to Wang-chuan Villa, should be regarded as the most classic ones. Wang Wei’s Zen poems have a wide influence in overseas Confucian cultural circles, and are also widely spread in European and American cultural circles. The external translation of Wang Wei’s Zen poetry, especially the English translation of Zen poetry, is acultural “window” of the external translation of Chinese classics and telling China’s stories well. However, how to translate Zen poetry into English in order to reproduce Wang Wei’s thoughts and picturesque scenes in their original way became a difficult problem which has been answered by Mr. Xu Yuanchong by means of putting forward the translation theory of “Three Beauties”. This paper analyzes how the “Three Beauties” translation theory reconstructs the form, phonology and artistic conception of the original text of The Deer Enclosure and its English versions translated by Xu yuanchong.

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