许渊冲英译本《春江花月夜》的“化境说”解读

An Interpretation of the English Translation of Xu Yuanchong’s The Moon over the River on a Spring Night from “Theory of Sublimity”

摘要: 钱钟书提出的“化境说”使得中国传统翻译思想臻于完善。许渊冲的英译本《春江花月夜》将“化境”与“至境”珠联璧合，贯通了中国古代哲学、文学、美学思想，拓展了诗歌艺术的生命维度。本文从“化境说”视角解读许渊冲的英译本《春江花月夜》：动静相宜，虚实相生；象外之象，韵外之旨；返璞归真，游心化境。中国古典诗词的英译推动了“化境”向“译境”的延伸，英译过程将中国之美转化为世界之“大美”。

Abstract: Qian Zhongshu’s “Theory of Sublimity” has nearly consummated the traditional Chinese transla-tion thoughts. Xu Yuanchong’s English translation of The Moon over the River on a Spring Night matches a perfect pair of “sublimation” and “ultimate artistic conception”, which also integrates ancient Chinese philosophy, literature and aesthetics, expanding the life dimension of poetry art. Through the vision of “Theory of Sublimity”, this paper intends to interpret Xu Yuanchong’s Eng-lish translation of The Moon over the River on a Spring Night by facilitating the intergrowth be-tween entity and emptiness dynamically, revealing implicit poetic images and rhymes. The English translation of Chinese classical poetry has promoted the extension of “sublimation” to “artistic conception of translation”, carrying forward the charm of Chinese culture, and making it into “cosmopolitan beauty”.