中国古典诗歌的意境传达——以《诗经·关雎》与唐诗《静夜思》英译为例

The Transmission of Artistic Conception in Classical Chinese Poetry—Taking the English Translations of The Guanju from the Book of Songs and Tang Poem Jing Yesi as the Example

摘要: 随着现代社会发展与全球化进程的演变，中西方国家的文化交流愈发密切，中国典籍，特别是诗歌翻译领域迎来了较大的发展。而诗歌的精髓在于意境，即主观情思与客观物象交融形成的艺术境界。然而，在诗歌翻译中，意境的传递面临语言结构、音韵系统与文化传播三重根本性挑战。本文以《诗经·关雎》与《静夜思》为典型案例，对比分析汉学家阿瑟·韦利与翻译家许渊冲的代表性英译本，旨在探究中国古典诗歌的意境在翻译中的有效重构与再生，重点论证意境传递，其关键在于从逐词对应转向以整体美学效果为导向的创造性重构。中国古典诗歌的意境并非不可译，而是要求译者兼具学者的精准与诗人的灵感，在深刻理解原作灵魂的基础上，于目标语中进行一场艺术再创造。

Abstract: With the development of modern society and the evolution of globalization, cultural exchanges between China and Western countries have grown increasingly close. Chinese classics, especially the field of poetry translation, have witnessed significant progress. The essence of poetry lies in its artistic conception (hereinafter referred to as yijing), an artistic realm formed by the fusion of subjective feelings and objective images. However, in the translation, the transmission of yijing faces three fundamental challenges: they are linguistic structure, phonological systems, and cultural communication. This paper takes The Guanju from the Book of Songs and Jing Yesi written by Li Bai as typical cases, conducting a comparative analysis of representative English translations by Arthur Waley and Xu Yuanchong. The aim is to explore how the yijing of classical Chinese poetry can be effectively reconstructed and regenerated through translation, with a key focus on arguing that the crucial factor in transmitting yijing lies in shifting from word-for-word correspondence to a creative reconfiguration oriented toward an overall aesthetic effect. The yijing of classical Chinese poetry is not untranslatable. It just demands that the translator possess both the scholar’s precision and the poet’s inspiration, and, on the basis of a deep understanding of the original work’s essence, carry out an artistic re-creation in the target language.