从《雨霖铃》的译文谈汉诗英译的意境传达
[Abstract] Chinese poem translation is a difficult task. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. It is difficult to translate the original meaning, the atmosphere and the charm completely. The English versions of many outstanding Chinese classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. This thesis first points out that artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. It is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader. The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in words and expressions. This thesis then takes the version of Bells Ringing in the Rain for example to analyze the difficulty of the conveyance of the poem briefly. In the point of the author’ view, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. The author narrates three ways through the comparison of the two versions of “bells ringing in the rain” and other examples for further explanation. At the end, the author points out that they are only three effective ways but not the absolute means.
[Key Words] Chinese poetry; artistic conception; Bells Ringing in the Rain; solution
【摘 要】 汉诗英译是否成功就在于能否成功的传达意境。要成功的传达意境是不容易的，许多好的汉语诗歌翻译成后总是会失去原作的魅力、本文首先指出：意境是通过形象化的情景交融的艺术描写，能够把读者引入到一个想象的空间的艺术境界，意境传达的困难在于中西方存在着诸多差异，不同的文化，风俗习惯和思维定势都使汉语诗歌的意境传达成为一个难题，本文以《雨霖铃》的译文为例，分析了这首诗歌意境传达的困难，接着通过《雨霖铃》的两种译文对比提出了意境传达的三种有效方式：传情达意，挖掘意象，激发联想。最后作者提出，这只是三种有效的方式，而不是绝对的方式。
【关键词】汉诗英译；意境；《雨霖铃》；方式
1. Introduction
"Poetry is a super art of language.”[1] A well-known statement is made by Robert Frost “Poetry is what gets lost in translation”.[2] Poetry translation is a difficult task and it is especially true in the Chinese poetry translation. “Indeed, poetry translation is a creative task.”[3] Burton Raffel says, “The translated poem should first be a new poem, a good one, and should be the favor of life, instead of lifeless academic accuracy.”[4] The English versions of many outstanding Chinese classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. Many famous sayings and beautiful lines, which enjoy great popularity during hundreds of years, make the Chinese readers have a deep sympathetic chord. But foreign readers cannot understand them actually, or they may even feel bewildered and the most important reason is that the translation of Chinese poetry is lack of the conveyance of artistic conception. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. China’s poet as well as literary and theoreticians mostly think that the greatest achievement of poetry creation lies in artistic conception .It is the soul of poetry. Then what on earth is artistic conception of poetry?
1.1 The definition of artistic conception
Artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. The blend of situation and emotion is the basic component of artistic conception, which is involved in two aspects, one is the objective of images in life, the other is the ideal subjective creation of the poet, we call the former one as “jing”, and the later one as “yi”. Therefore, artistic conception is the unified entity of the two aspects. [5]
Artistic conception is one of the most important aesthetic conceptions in ancient China, which can be traced back to Tang Dynasty. In his The Style of Poetry poet Wang Changlin firstly put forward artistic conception together with “物境”“情境” (two of three levels like artistic conception used to describe respectively the object and the circumstances of a poem).[6] Although he proposed the three levels together, he didn’t point out the relationship. Jiaoran, a poet and a monk as well, once pointed out the relations between Yi (image) and Jing (situation). He thought that the feelings of a reader to a poem start from its situation.[7] Liu Yuxi who carried on Jiaoran’s theory advanced that we can say in Tang Dynasty, the Aesthetic School---the leading school of poetry which analyzes poem with artistic conception, was formed.[8] And in Qing Dynasty, Wang Guowei gave a deeper research on the connotation and creation of artistic conception. As he says in his “Comments on ci Poetry”, “Not only can literature motivate the writer himself, but also it can touch the hearts of others.”[9] Mao Dun then thought the connotation of the literature translation is the transmission of the ideal condition .He said "the literature translation is to transmit the artistic ideal condition of the original work in another language and make reader be inspired equally, affected and get the beautiful feeling when they read the original work. [10]
1.2. The difficulties of the conveyance of artistic conception
For many years, lots of Chinese scholars as well as foreign researchers put their effort to do the arduous work to translate classical Chinese poems into English. And among their works, there is no lack of excellent translation. As a matter of fact, just through the wonderful translation of some excellent translator, a lot of famous classical Chinese poems have won their world reputation. However, as a kind of artistic appreciation, we usually have a little pity that the translation of Chinese poetry still cannot express artistic conception when we read as the Chinese readers, lots of Chinese classical poems have lost their original romantic charm, complete information, three-dimensional effect, and the state that can lead the readers into a indefinite imagination. It is not surprised to see that many scholars consider the translation of Chinese ancient styled poetry to be an unsuccessful field so far. We can see that even if some translations display the content of poetry, they fail to transmit, interpret the mood, the image, and the situation of poetry. Because of the huge divergence between the East and the West, it is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader.
The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in the aspect of words and expressions.
The renowned translator Mr. Yang Xianyi has said:" There are many other factors constituting certain meanings in original text .It is simply not impossible to transmit these meanings for the persons under different cultures. [11] For example: the Chinese readers have some association spontaneously with weeping willow in a Chinese poetry, it is impossible to cause this kind of association naturally if it is translated into another language. In many poems the terminology (poem language) often has their cultural historical background causing the reader to associate sufficiently. [12] There is no final translation for any translation is partial since it is hardly possible for any translator to seek balance between various requirement.[13] Of course it contains the conveyance of artistic conception.
2. The analysis of Bells Ringing in the Rain
Here, the author will probe how to transmit artistic conception in the translation of Chinese poetry by the English version of Bells Ringing In The Rain.
2.1 The comment of Bells Ringing In The Rain
LiuYong’ poems are good at description of details, and written in a pithy style . This poem expresses the parting feelings and describes the scene of parting and the painful mood. The emotion is also very sentimental. This poem is of Liu Yong’s representative works. The first stanza describes the parting scene, the author describes the cicada chillily, and two loves were parting in the roadside shelter. The boat was urging. They were reluctant to part, hand in hand with tearful eyes, sobbing without a word. The misty waves in the great distance and the distant sky also appeared so heavy. In the second stanza, the author sighed woefully: parting lets the human be sad since the old times. The longer they part, the sadder they feel. Even if there is bright days and beautiful scenery, the poet still cannot cheer up.
“The cicada”, “the roadside shelter”, “the sudden downpour”, “the national capital” “the boat”, “the misty wave” and “the southern sky”----- these images composed the departure picture of gloomy color, brim with the thick deep sorrow. The Chinese reader can feel the author's sad mood after they read and produce the sympathetic chord, but as a result of the cultural environment and the background difference, foreign readers may not have similar feeling, nor can they induce to this dignified atmosphere. the Chinese reader could carry on the very natural association to above these images, form a series of pictures in the brains, but the foreign reader possibly can not be able to understand this completely. In the second stanza, what is the relation between “多情” and “自古”? How to translate “晓风残月”? what is“良辰好景虚设” on earth? It is very difficult to describe the painful mood and the deep sorrow faithfully to the foreigners.
2.2 The difficulties of the conveyance of artistic conception of Bells Ringing in the Rain
It is not completely possible to translate the original poem, the mood and the atmosphere，which is also an extremely big difficult problem, such as:
Firstly, It is difficult to convey the emotion in the poem: the emotion here is not presented explicitly but implied in the description of the images. It is hard to convey the connotation and association significance of images to the foreigners. In addition, the Chinese poems usually consist of several images, the poet can display some pictures in front of the readers through the depiction of the images. In Bells Ringing in the Rain, “ the pavilion” “evening clouds” “willow trees” “waning moon”---these images constitute a scene of sorrow departure in dreary Autumn. It is not easy to select proper words to convey the images as well as suitable words to connect them in the process of translation. Finally, In Bells Ringing in the Rain, Chinese readers can associate the waving willow trees and waning moon to the reluctance of departure. It is hard to bring the similar fantasy to readers in English version, because some image cannot arouse the same association to the foreigners. There is also one point that we should notice: the conveyance of artistic conception is a common problem, sometimes even if the version embodies the charm of the original poem, the foreigners may not understand it completely because of the cultural differences. Just as the foreigners cannot understand the love of Liang Shanbo and ZhuYingtai, Here, the author only would like to discuss the ways to convey artistic conception.
3. Three strategies to convey artistic conception
To be exact, Zhao Zecheng’s artistic conception includes three aspects: Qing (emotion), Jing (situation), and imagination. To counter these three aspects, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. [14]
3.1 Express feelings and ideas
When doing the translation of Chinese poems, we should firstly make clear the main idea of the original poem, the situation set in the poem and ideas and feelings that the author wants to express, otherwise, we do not translate but create poetry.
In ancient China, there are the sayings like “ideal can be conveyed by poetry, and ‘poetry is stemmed from emotions.”[15] Wang Guowei, an aesthete in modern times, indicates that ‘only when a poet is able to reflect the real life and express his real feelings by his poem has he reached a higher level of poetry creation.’[16] In his opinion, the simple natural scenery, such as birds’ singing, flowing water, flowers’ blossom and drifting clouds cannot consist of ‘Artistic conception’ by their poems. The famous literary theoretician in Qing Dynasty, Ye Xie thought that emotion from the bottom of heart is one of the indispensable conditions in the creation of artistic conception, and whether artistic conception can be conveyed successfully by the translations or not depends on whether the translator is able to transmit the feelings between the lines, and understand poet’ mind. [17] As Eveing says in his ‘Translation and Sentiment’, translator should not only translate the ‘tears’, the ‘laughter’, the ‘anger’, the readiness to give life on the battlefield and the visible things, but also the grief, the happiness, the indignation, the utter devotion and the invisible sentiment. [18] For instance, here is several verses of Bells Ringing In The Rain. A is translated by Rewi Alley, and B is translated by Xu Yuanchong.
“都门帐饮无绪”
A We drink to each other
B Can we care for drinking before we part
“饮”“无绪”the two words add anxiety to the parting, people usually would drink wine when parting in ancient time. The poet was so sad that he would not like to drink at all. ‘Drink to each other’ in Alley’s translations does not show this kind of mood. Xu Yuanchong translates the words into ‘Can we care for drinking before we part’ reflect a kind of disconsolateness，So, XuYuangchong’ s translation is better. If the poem embodies the poet’ emotion, the version should indicate it. Let us look at another verse:
执手相看泪眼，竟无语凝噎
A we clasp hands, faces wet
with tears; unable to say anything
B Hand in hand we gaze at each other’s tearful eyes
And burst into sobs with words congealed on our lip
To translate the emotion in these two verses，we must grasp the psychological condition of the poet. Looking at each other ‘s tearful eyes with hand connecting, they would like to say something, yet speechless for sobbing finally. “执手”“相看”“泪眼”“无语凝噎” are a succession of words describing the hero’s sorrow and the grief, Xu Yuanchong uses‘gaze at’and‘tearful eyes’to describe the mood, and transmit the emotion, ‘burst into’ indicates the eruption of his preserved sentiment, ‘congealed’ vividly manifest the sadness. Obviously, in version A ‘wet with tears’ greatly weakens the emotion and cannot transmit artistic conception of the original poem. Obviously, it is inadequate to only display the content, we also should express the feelings between the lines properly. For example:
多情自古伤离别，更那堪、冷落清秋节
That is to say, people always feel sad when parting since the ancient times. How does a lonely person live in this chilly autumn? Here the poet is displaying a kind of disconsolate mood.
A ever have people hated
leaving there friends, and now
the cold autumn with its sadness
on top of it all;
How could you stand this clear autumn day so cold
Compared with ‘hated’, ‘grieve’in B indicates that the poet feels brokenhearted, the rhetorical question corresponds the original poem expressing the psychology of sad feeling in the lonely autumn, which conformed to the artistic conception of the original poem. Obviously, B is more successful in transmitting artistic conception.
A does not display the emotion, therefore it fails in the transmission of artistic conception, but, XuYuanchong fully comprehends the poet’s emotion of Bells Ringing In The Rain, and carries on the poet’s sorrow by choosing the words. Finally he succeeds in the transmission of artistic conception. Transmission of artistic conception is closely linked with the emotion transmission. So we can make conclusion from the examples above, the transference of artistic conception is incomplete, if there is emotion in an original poem, but the translation fails to manifest the feelings in the verses,. In order to further the understanding the importance of emotion expression in translation, the author would like to give more examples: “晓镜但愁云鬓改，夜吟应觉月光寒。” （To One Unnamed） by Li Shangyin）The poem describes the immortal love: he cannot help thinking of his beloved for his deep love to her so that he does not see his image but that of his beloved while looking into the mirror. The two lines selected in the poem describe the feeling: the poet worries about his beloved’s gray hair on head but not his own when he is looking into the mirror, he does not feel the chill of moonlight, but he worries that she will feel cold when he is crooning verse at night. The following are two kinds of translations of Innes Herdan(A) and Xu Yuanchong(B)
A Grief at the morning mirror---
Cloud –like-hair must change;
Verses hummed at night,
Feeling the chill of moonlight…
B At dawn I’m grieved to think your mirrored hair turns grey;
At night you would feel cold while I croon by moonlight.
A describes the poet’s worries about his own gray hair, and he feels chill, which is the literal translation without understanding the feeling of the poet to his beloved. So it fails to transmit that kind of sentiment in the poem and reveal the immoral love. Xu yuanchong adds person to describe the immoral love, thus the readers are moved by the poet’s feelings, and get the deep comprehension of artistic conception.
Here is another example:“ 思君如满月，夜夜减清辉。” (Since My Lord From My Parted by Zhang Jiuling) The poet uses the moon to describe the feelings of the wife that she is duller day by day by missing her husband. Let us see the translation by Herbert A. Giles:
My heart is like the full moon, full of pains,
Save that’ tis always full and never wanes.
“Giles compares the wife’s heart to the painful moon that never wane, succeeds in conveying the essential idea of her sorrow.”[19] In this poem, the key point of the understanding of artistic conception is to comprehend the wife’s emotion. Since Giles convey the distress of the wife’s missing vividly and incisively, the readers can feel this kind of pains, therefore Giles succeeds in the conveyance of artistic conception.
The analysis above suggests that the transmission of emotion is important to the transference of artistic conception. If the poem embodies poet’s emotion, the translated version should indicate it, thus the readers can get a deep comprehension of artistic conception.
3.2 Unearth image.
Besides the conveyance of emotions and ideas, a translator should also pay attention to the images. The image refers to the object in the poetry, which receive subjective sentiment of the author. Setting sun, fragrant grass, weeping willow, song of the birds, cicada chirping and so on are the commonly employed images in ancient Chinese poems. Usually, a poet does not reveal the sentiment straightly but awaken our memory by the description of the image and stimulate our feeling and cause our sympathetic chord. [20] Precisely the author reveal subjective sentiment by taking and describing the image, the reader can enter the artistic conception of poetry.
The image is the essence of language of poem. “Image model captures the essence of picture in prose or in poetry.”[21] The poets always utilizes the visualized language which can stimulate the reader’s imagination and the association to describe the image in the literary works, if the literary figure is fresh, then the exquisite artistic conception will appear. The translator should pay attention to the transplantation of the literary figure and visualization of the language in the process of translation. Therefore they can fully manifest the beauty of artistic conception. We should transmit the images to translate the poem. Image is the basic element of poems. The basic feature is that readers can experience the feelings of poets through the description of the image. “We mean to define image as the attribute for the whole mental conception of a literary work. In some sense, ‘image’ here is countable as eyeable linguistic point, and all the images in a work form into a meaningful whole, which is often called its imagery. So ‘imagery’ is uncountable as an inseparable entity that can only be perceived from the entire work”. [22]
There are several images in this poetry as follows: cicadas, showers, heavy cloud, southern sky, willow trees, waning moon. “These objects to be described are never selected at random, but are the manifestation of the poet’s shrewd power of observation and unique artistic view” [23] These images are objects, but the poet renders his emotion to them that has been the symbol of departure and distress. He set off the parting atmosphere by the description of objects, thus the readers will portray a chill and dreary picture as if they hear the singing of the cicadas and see the parting scene. Then how do the translations give the readers the same expression by unearthing images? It is rare for us to feel cold and dreary when hearing the singing of cicadas, while the poet use "寒"and "凄" to describe it, for the pain from the bottom of his heart. "寒" and "凄" uncover directly the poet’s mood, the person have to part with his beloved and feels the coldness of the outside world, which is his innermost feelings. The following translations are also presented by Rewi Alley (A) and Xu Yuanchong (B):
A Now comes the note of the cicada，mournfully;
B Cicadas chill
Drearily shrill
Compared with Rewi Alley’s‘mournfully’ Xu Yuanchong’ s‘Cicadas chill ’ describes the cicada's condition, "drearily shrill" corresponds" 凄切" they established a basic main key for the entire poem ----cloudy and cold, "drearily shrill" further exaggerated this atmosphere. So,“chill” “drearily” describe the process of psychology and transmit ‘artistic conception’ of “寒蝉凄切”. Pavilion is considered as a symbol of parting, sudden shower may be considered as a symbol of the tears falling from their eyes. Look at the verses:
对长亭晚，骤雨初歇
A at our pace for parting
evening falls; the rainstorm that broke
has cleared away;
B We stand face to face at an evening hour
Before the pavilion, after a sudden shower
We can see Rewi Alley omits the image of pavilion, which is very important to the conveyance of artistic conception as a symbol of parting.In ancient China, people usually part in pavilion, so Chinese readers can associate the pavilion with departure. And XuYuanchong reserves the image of pavilion and shower using “before” and “after” to connect the two sentences, so that we see the natural scenery and human feelings well blended in the beginning of the poem. [24] So, It does well at the transition of the artistic conception. In this poem, the image of the boat waiting for the person describes a picture of a lonely sail. The verse:
方留恋处、兰舟催发
A the boatman urges departure
B we are lingering late, but the boat is waiting for you to depart
Rewi Alley only uses “boatman” omitting the image of boat, and XuYuanchong’s translation describes a picture: two people are loathing to part, the boat is urging a person to embark quickly, we can guess that the boat has been waiting for a long time. The picture of a lonely sail is the symbol of the parting lover, carrying the visual feeling. And B is better at the transition of artistic conception compared to Rewi Alley that is only narrating. In this poem, cloud and sky also are symbolical, the heavy cloud is the symbol of his heavy heart, and the boundless sky is the symbol of long distance. [25] The original verses and translations are as follows:
念去去千里烟波，暮霭沉沉楚天阔。
A and I know that soon I shall be far
from here, over the hills;
at night a mist will come
down from heavens, and soon
I will be in Hupeh, where
skies are high, and ground low;
B You ‘ll go your way far, far away, on miles and miles of misty waves
where sail the ships, and evening clouds hang low in boundless southern
skies
The two images “暮霭” and “楚天”should be translated. Rewi Alley does not transmit the image: cloud, and “skies are high” does not describe the boundless of the skies. Therefore his translation weakened the effect of the transition of artistic conception of original poem greatly. In the original poem the first stanza begins with an image and ends with another, both reveal the grief of parting. [26] Therefore in translation there should be the transference of the vivid image to let the reader feel the poet's emotion through the images to understand the artistic conception of the poem.
As we know, In a Chinese poem, there are always many images; these vivid images bring the beauty to people. In order to achieve the similar effect, the translator should carry on the appropriate description to the images. For example, “小楼西角断虹明，栏杆私倚处，遥见月华生”（Immortal At the river by Ou Yangxiu）portray a beautiful scene：the broken rainbow appears after a heavy rain，two persons are leaning on rails watching the rising moon. Teresa Yee-wha Yu translates the lines in this way：
Across the western corner of the
Small house, a broken rainbow hangs
brightly, as I rest on the balcony,
awaiting moonrise.
The image of the original poem is broken rainbow，why is the rainbow broken？Teresa Yee-wha Yu only uses‘broken rainbow’，which fails to manifest the esthetic sense of the moon raises slowly, therefore the beauty is inferior than the one of the original poem. The translation by Xu Yuanchong is:
An imperfect rainbow is seen,
Shut out of view by Western Tower.
We lean on rails alone
To watch the rising moon.
Xu Yuanchong uses ‘shut out of view by western tower’，giving people a more vivid picture: Above the small building, a broken rainbow appears, --two people are closely leaning in the rail, watching the slowing rising moon, the phrase shut out describes the broken rainbow, the typical image matches the image verb, has exaggerated the original poem main key of the original poem, so, compared to Teresa Yee-wha’s Yu. Xu Yuanchong’s is better in transmitting artistic conception.
The analysis above suggests that unearthing images is one of effective ways to convey artistic conception, of course, in the translation techniques of image, aparting from unearthing images, there are other ways to convey the artistic conception, such as footnoting and paraphrasing, which this article only discusses one of effective ways.
3.3 Stimulate imagination
In the author’s view, the connotation of stimulating imagination is that if the poet leaves a great space of imagination to the readers, so should the translator. It is of great importance for the translations to stimulate the readers’ imagination. Just as Xu Yuanchong points out in his New Concept of Translation in New Century the low standard of literary translation is to resemble or reflect the truth of the original poems, while the high standard is to keep the beauty of poems in source language [27] The translator should try his best to bring the advantage of target languages into full play, which means making full use of the best form of expression of target language as well, and to make poems understood finally. The translations of literary works should be wonderful and splendid. Although we can read or to the literary works, we cannot visualize them like watching pictures or get auditory images like listening to the music. Therefore, if the literary language is dull, tedious and insipid, it cannot stimulate the imagination of readers, thus cannot convey artistic conception to readers, let alone let them grasp the artistic images in the original works. It is the translators’ responsibility to take advantage of target language to reach the translation to stimulate readers’ imagination finally.
The following is another example from Bells Ringing In The Rain: “今宵酒醒何处？杨柳岸晓风残月。Xu Yuanchong ‘s translation is
Where will you be found at daybreak
From wine awake?
Moored by a riverbank planted with willow trees
Beneath the waning moon and in the morning breeze.
The poem asks where he will be when he wakes up tomorrow morning. “willow trees” and “Beneath the waning moon and in the morning breeze.” stimulate the readers’ imagination, and make the readers imagine the scene by themselves. For example: how is the poet’s condition when he awake? And what will he be think? Different people have different images. People can image the scene of the poet awaking in the morning according to their own understanding of the poem. “Moored” give the readers large space of imagination that is the need to transmit artistic conception to readers.
From the author’s point of view, stimulating imagination plays a quite important role in transmission of artistic conception. Many translators notice the point in the process of translation. For instance, there are two verses in the renowned poem "Song of a Pipa Player" (琵琶行)by Bai Juyi：“大弦嘈嘈如急雨，小弦切切如私语；嘈嘈切切错杂谈，大珠小珠落玉盘。” The two verses describe the music by the Pipa. “It is difficult to describe abstract music in words, but Bai Juyi compares it in turn to a patterning rain, to pearls dropping on a plate of jade”[28] which greatly stimulate the readers’ imagination, “so that you can not only hear it but sometimes even see it before your eyes”. [29] Here are two versions respectively translated by C.Gaunt(A) and Xu Yuanchong(B)
A The great strings with a crash resound,
As when the rain-storm strikes the ground;
The small strings whisper manifold,
Like secret confidences told;
And then the vibrant chords outfling
A mingled crash and whispering,
Like shower of pearls, some large some small, that on a jade-dish pattering fall.
B The thick strings loudly thrummed like the pattering rain;
The fine strings softly tinkled in a murmuring strain
When mingling loud and soft notes were together played
‘Twas like large and small pearls dropping on plate of jade
C.Gaunt’s‘the rain-storm strikes the ground’; ‘whisper’‘ like shower of pearls, some large some small,’and Xu Yuanchong’s ‘pattering rain’‘murmuring strain’ ‘murmuring strain’all stimulate the readers’ imagination and convey artistic conception of the poem in source language as well. The original poem does well in stimulating imagination, so does the translation.
Stimulating imagination is a part of the conveyance of artistic conception, we get artistic treat through abundant association and fantasy, which achieve the effect of artistic conception. As we analyze above, the translation that arouse the imagination of readers convey artistic conception effectively. There is a point we are sure that even if the translations cannot achieve the charm of the poem perfectly, we should exert our great efforts to resemble the effect.
4. Conclusion
We can find that the conveyance of artistic conception is not easy. However, through the three means, we still can effectively transmit artistic conception by experiencing the emotion and imaging the image of original poems. The author discusses three strategies: expressing feelings and ideas; unearthing images; stimulating imagination. They are three effective ways but not the absolute means. In addition, there is one point that we should notice: when we proposed request to the translators, we should pay attention to the fact that the readers should be qualified to comprehend the poems’ artistic conception.
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[20] 同[4]. P113
[21] 袁哲. 文学翻译中审美再现的三个层面[D]. 长沙：湖南师范大学，2004(05). P27
[22] 刘建华. 古诗意境英译分析[D]. 长春：吉林大学, 2004 (05). P26-27
[23] 陈月红. 中国古典诗词翻译中的意境问题刍议[D]. 武汉：华中师范大学, 2002 (04). P32
[24] 同[18]. P370
[25] 同[18]. P370
[26] 同[18]. P370
[27] 同[4]. P114
[28] 同[18]. P312
[29] 同[18]. P312