论《恶之花》中的视觉艺术因素在翻译中的再现——以陈敬容的翻译为例

On the Representation of Visual Arts Factors in CHEN Jingrong's Translation of The Flower of Evil

《恶之花》是波德莱尔将视觉艺术与诗歌创作相融合的产物,是对其"应和理论"的实践。陈敬容的翻译完美地再现了其中的视觉因素。她在诗歌创作中对色彩的敏感使其对画面色调的整体感较其他译者有更好的把握;通过改变词汇的词性以及句序,突出了诗歌的物质感,借由物质的想象增强了画面的质感;通过添加标点,将原诗句分为流水小句,以小句代替画笔模拟绘画手法,完美地实现了画面的再现。更为重要的是,借助这些手段,陈敬容的译诗不仅再现了通常意义上的"图画",并且传达出了这些画面中的"寓托"。

The Flower of Evil is a combination of visual art and poetic creation, which embodies Baudelaire’s “Theory of Harmony”. Through the translation of CHEN Jingrong, the visual factors are perfectly reproduced: as a poet, her sensitivity to color in poetic creation contributed to her translation, enabling her to have a better sense for the overall tone of the “picture” in the poems than other translators;by changing the part of speech of words and sentence sequence, her translation highlighted the material sense of poetry and by the imagination evoked by material enhanced the texture of the “picture”;by adding punctuations, she divided the original verse into run-on phrases, with which she imitated painting techniques and perfectly accomplished the reproduction of the “pictures” in the poems. More importantly, through these means, CHEN Jingrong’s poetic translation not only reproduced the “pictures” in the usual sense, but also conveys the “allegory” in these pictures.