十讲：融入文化的英语诗歌.docVIP

《英美诗歌选读》课程教案首页 学生专业班级 学 时 数 教学目的 教学内容 教学重点 教学难点 教学进程 教学方法 教 具 课后总结 作 业 备注：教学进程一栏可根据教学内容的多少自定页数。 第十五讲 融入中国文化的英美诗歌 庞德（Ezra Pound, 1885~1972）的《河商妻：一封信》（The River-Merchant’s Wife: A Letter）译自李白的《长干行》，很多西方读者就是通过这首诗了解到中国古诗的魅力的，此诗常被当成一首庞德的创作，其中从“十四为君妇”到“猿声天上哀”的译文如下： At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever and forever. Why should I climb the look out? At sixteen you departed, You went into far Ku-tou-yan, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. 庞德当时并不懂汉语，某些地方的翻译并不到位，如典故“常存抱柱信”就没有译出，只是意译出了部分意思。“五月不可触”原意指五月份的季节里，看见一切都充满生机，而自己独守空房，了无生趣，十分伤心，译文you have been gone five months（你已离开五个月）是错误理解的结果。 庞德还翻译了汉武帝的《落叶哀蝉曲》，名之为Liu Che： The rustling of the silk is discontinued, Dust drifts over the court-yard, There is no sound of foot-fall, and the leaves Scurry into heaps and lie still, And she the rejoicer of the heart is beneath them: A wet leaf that clings to the threshold. 此诗被称为美国象征派诗史上的杰作。特别落叶一句，被称意象叠加法的典范，落叶句成了美国诗史上一个很有名典故。庞德的这种翻译法，也被翻译界称为创造性翻译。 1938年，英国诗人奥登（1907~1973）同小说家衣修武德(Isherwood, 1904~1986)来到武汉，并去前线采访，他们一个用诗，一个用散文写下了他们在中国的见闻，合作而成《战地行》一书，于1939年出版。奥登的《中国十四行组诗》抒发了他对中国的关注，其中一首如下： Far from a cultural centre he was used: Abandoned by his general and his lice, Under a padded quilt he turned to ice And vanished. He will never be perused When this campaign is tidied into books: No vital knowledge perished in that skull; His jokes were stale; like wartime, he was dull; His name is lost for ever like his looks. Though runeless, to instructions from headquarters He added meaning like a comma when He joined the dust of China, that our daughters Might keep their upright carriage, not again Be shamed before the dogs, that, where are waters, Mountains and houses, may be also men. (W.H. Auden: Sonnets from China, XII) 这首诗表现了一个英国诗人对普通中国士兵的深切同情，而且他还能充分理解，中国的士兵化为尘，是为了我们的女儿不再为狗所凌辱，能够有一个充满人间烟火的江山田园。 女诗人凯莎（Carolyn Kizer, 1925~ ）在诗歌《我这辈子曾经去过的地