基于语料库的宋词英译显化与隐化研究——以许渊冲、卓振英译本为例

A Corpus-Based Study on Explicitation and Implicitation in English Translations of Song Ci—A Case Study of Xu Yuanchong’s and Zhuo Zhenying’s Versions

摘要: 为探索宋词翻译实践道路及译者在古典诗词翻译中的风格差异，本研究基于自建宋词英译语料库，对许渊冲译《宋词三百首》和卓振英编译《英译宋词集萃》中42首重合宋词的译文进行数据定量统计与理论定性阐释，以探析两译本基于显化、隐化策略呈现的译者风格特征。通过比对两位译者译文、译文与原文、译文与BNC Baby语料库的词汇丰富度、词汇密度、特定词类频率、平均词长、平均句长等参数，研究发现，许渊冲与卓振英在宋词英译中形成了差异化、稳定化的译者风格，其风格差异核心体现为显化与隐化翻译策略的倾向性选择。结合定性阐释，研究进一步发现，从宏观翻译方式上看，许译本以“诗学再造式隐化”为主导，追求诗的意美与简洁，卓译本以“文化传真式显化”为主导，追求信息的精确与文化的可解。然而，两者显化与隐化的具体操作并不是非此即彼的，实则是同一翻译行为中“显”与“隐”的动态平衡，构成了译者个性化风格的核心表征。基于显化与隐化维度的译者风格研究，为古典诗词翻译的信息缺失补偿、跨文化差异弥合、文学对外话语体系建构提供切实可行的实践范式，助力优秀传统文化对外传播。

Abstract: This study aims to explore practical approaches to Song Ci translation and translator stylistic differences in classical Chinese poetry translation. Based on a self-built corpus of English translations of Song Ci, the study integrates quantitative statistical analysis with qualitative theoretical interpretation to explore the translational stylistic features reflected through explicitation and implicitation strategies in the English renderings of 42 identical Song Ci poems selected from 300 Song Lyrics, translated by Xu Yuanchong, and Selected Ci-Poems of the Song Dynasty, compiled and translated by Zhuo Zhenying. By comparing the two translators’ versions with each other, with the original texts, and with the BNC Baby Corpus in terms of lexical richness, lexical density, frequencies of specific word classes, mean word length and mean sentence length, this study reveals prominent explicitation and implicitation features in both translations, indicating that Xu Yuanchong and Zhuo Zhenying have each developed a distinct and stable translational style in their English versions of Song Ci poetry, and that their stylistic differences are essentially embodied in differentiated preferences for explicitation and implicitation. Combined with qualitative interpretation, the study further finds that at the macro level, Xu’s version is dominated by poetics-driven reconstructive implicitation, giving priority to artistic conception and poetic conciseness, while Zhuo’s version is characterized by culture-oriented faithful explicitation, striving for accurate information transmission and intelligibility of cultural connotations. Nevertheless, the specific application of explicitation and implicitation in the two translations is not an absolute binary choice. Instead, they represent a dynamic balance between explicitation and implicitation within the same translatorial act, which constitutes a hallmark of the translators’ individual stylistic identities. The research on translational styles from the perspective of explicitation and implicitation provides a viable and practical framework for compensating for information loss, bridging cross-cultural differences, and constructing an effective external discourse system for classical Chinese literature, thereby contributing to the international dissemination of fine traditional Chinese culture.