从奈达的动态对等理论看李清照《声声慢》的两个英译本

An Analysis of Two English Translations of Li Qingzhao’s Sheng Sheng Man through Nida’s Dynamic Equivalence Theory

古诗词翻译长久以来都是文学翻译领域的难题,尤其是如李清照的代表作《声声慢》这样以叠词为特色,拥有跌宕缠绵的音韵之美和细腻的情感表达的诗词。翻译家奈达主张,翻译应通过最自然和对等的语言传递源文信息,以确保译文读者能最大限度地获得与原文读者一致的体验。应用奈达的理论,本文从语言风格、美学意境、翻译的忠实度以及文化意象等四方面对《声声慢》的两个英译版本——许渊冲和朱纯深的译作进行了深入分析。研究结果显示,许渊冲的译文语言风格过于直白且存在一些误译;相对而言,朱纯深的译文则无论在形式还是内容上都更为贴近原文,成功捕捉了原文复杂的形式之美和文化意象,更好地为读者提供了与原文读者相似的体验。

Translating classical poetry has always been a challenging task in literary translation, especially when dealing with work like Li Qingzhao’s Ci poetry Sheng Sheng Man known for its innovative use of repetition, captivating melodious rhythm and conveying delicate emotional expression. Transla-tion theorist Eugene Nida proposed that translation should convey the spirit and manner of the original in the most natural and equivalent manner, ensuring that readers of the translated work can experience a similar resonance as the original readers. This paper applies Nida’s theory to compare Xu Yuanchong and Zhu Chunshen’s English translations of Sheng Sheng Man from four perspectives: language style, aesthetic imagery, faithfulness, and cultural imagery. The study re-veals that Xu Yuanchong’s translation tends to be overly straightforward in language style and con-tains several mistranslations. In contrast, Zhu Chunshen’s translation aligns better with the original in both style and content, emphasizing the unique beauty of the original text’s form and its cultural imagery.