以平仄代抑扬 找回遗落的音美:英诗汉译声律对策研究

Retrieving the Lost Musicality:A Study of Rhythmic Sound Pattern in Poetry Translation

有关英诗汉译的研究,到目前为止,所讨论的方面从内容到形式几乎已经面面俱到,但有一个问题却至今没有涉及,即节奏单位中的声律问题,具体而言为节奏单位内的声音变化的规律,这几乎成了诗歌翻译研究的一个盲区,甚至禁区,因为一般认为,英汉两种语言的语音差异较大,语音方面不存在形式对应的可能性,这很可能是导致这一问题一直没有人研究的原因所在。本文认为,英汉格律诗的声律都是以双音节为主,两种语言对诗歌节奏的声调分类也都是二分制:英语是抑扬,汉语是平仄,虽然两种诗歌体系的声律体式有所不同,但对语音资源在诗学上的运用价值则有着共同的认识,因此从诗学功能上看,英汉两种语音资源是存在着翻译对应的理据。

The research concerning poetry translation from English into Chinese has so far covered almost every aspect from content to form. There is one issue,however,that has not been touched upon yet and hence become a forbidden zone,or a blind spot,that is,the rhythmic sound pattern of poetry. It has been taken for granted that the phonetic systems are so different from English to Chinese that there is no possibility for any match between the two in terms of poetic tone. That might explain why there has been so little study in this aspect. This paper,however,raises this issue and holds that since the sound pattern in English and Chinese poetry both basically resorts to a disyllabic pattern,which basically in English poetry is an iambic foot,i. e. one accented plus one unaccented,while in Chinese,pingze,or flat-sharp,there is then a correspondence potential between the two sound patterns. Despite their difference in one way or another,the application of the sound resources is poetically of the same orientation. Therefore,there exists a motivation for a possible translational match in this aspect.