从“无我”之道看《红色手推车》——兼评该诗的五译比较

"THE RED WHEELBARROW" in the Light of the Taoist Concept of "Non-self"——A Comparative Comment on the Five Chinese Translated Versions

从生命理想和生活价值两个角度来说,道家"无我"思想在艺术精神和审美价值方面师法自然。美国诗人威廉·卡洛斯·威廉斯在《红色手推车》的文学创作中所体现的这一倾向,可结合其五译本进行分析。具体从如下三方面阐述:一为原诗呈现主体隐退凸显客体的意境构造模式,译诗宜含而不露隐藏信息;二为原诗采取对比烘托意象群安排手法,译诗可相应体现为意象组合简单自然静态;三为原诗"无"技巧式韵律结构,译诗可采取长短句韵文结构予以再现。由此观之,"无我"之道对诗歌创作、鉴赏及其翻译均有较高理论价值和指导意义,可开辟一条中西诗歌研究的新思路。

With the introduction of the Taoist concept of ＂non-self＂ from the angle of life ideals and values, this article sheds light on the literary composition trend of employing natural ways, based on which further analysis is made upon appreciation and translation of THE RED WHEELBARROW while five translated versions of it are taken into account. This analysis consists of three parts： firstly, the original poem takes on a construction pattern of meaningful realm of object prominence with subject hidden, which demands a corresponding method of information concealment in the translated version; secondly, the original poem adopts the measure of contrasting and foiling of image groups, which can be reflected in its translation with simple, natural and static state of image compounding, and thirdly, the metrical structure of the original poem turns out to be artless, and thus the translated version should reproduce the same structure by using the unique Chinese rhymed verses. To sum up, the Taoist concept of ＂non-self＂ bears a high degree of significance both in theory and practice for poetic composition, appreciation and translation, and paves a new way for the research of Chinese and western poetry.