[Abstract]Chinesepoemtranslationisadifficulttask.ThesuccessoftranslationofChinesepoemsdependsonwhetheritcanapproximatelytransmitartisticconceptionofChinesepoemsandleadthereadersintoaspaceofimagination.Itisdifficulttotranslatetheoriginalmeaning,theatmosphereandthecharmcompletely.TheEnglishversionsofmanyoutstandingChineseclassicalpoemswhicharegentlybeautiful,vigorousanddeepusuallycannotpresenttheoriginaltasteandflavorofthepoetry.Thisthesisfirstpointsoutthatartisticconceptionisakindofidealartisticstate,whichcanleadreadersintothesituationandemotionofapoem.ItisimpossibletoexpresscompletelytheprimarytasteandartisticconceptionofChinesepoetrytoeveryreader.Thereasonisthatthedifferenthistoricalcultureconnotationsanddifferenthabitsandcustomsaswellasdifferentthinkingmethodsareformedinwordsandexpressions.ThisthesisthentakestheversionofBellsRingingintheRainforexampletoanalyzethedifficultyoftheconveyanceofthepoembriefly.Inthepointoftheauthor’view,artisticconceptioncanbeeffectivelytransmittedtoreadersbythefollowingthreemeans:first,toexpressamorousfeelingsandideas;second,tounearthimages;finally,tostimulateimagination.Theauthornarratesthreewaysthroughthecomparisonofthetwoversionsof“bellsringingintherain”andotherexamplesforfurtherexplanation.Attheend,theauthorpointsoutthattheyareonlythreeeffectivewaysbutnottheabsolutemeans.

[KeyWords]Chinesepoetry;artisticconception;BellsRingingintheRain;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英语后总是会失去原作的艺术魅力、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，不同的历史文化，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

"Poetryisasuperartoflanguage.”[1]Awell-knownstatementismadebyRobertFrost“Poetryiswhatgetslostintranslation”.[2]PoetrytranslationisadifficulttaskanditisespeciallytrueintheChinesepoetrytranslation.“Indeed,poetrytranslationisacreativetask.”[3]BurtonRaffelsays,“Thetranslatedpoemshouldfirstbeanewpoem,agoodone,andshouldbethefavoroflife,insteadoflifelessacademicaccuracy.”[4]TheEnglishversionsofmanyoutstandingChineseclassicalpoemswhicharegentlybeautiful,vigorousanddeepusuallycannotpresenttheoriginaltasteandflavorofthepoetry.Manyfamoussayingsandbeautifullines,whichenjoygreatpopularityduringhundredsofyears,maketheChinesereadershaveadeepsympatheticchord.Butforeignreaderscannotunderstandthemactually,ortheymayevenfeelbewilderedandthemostimportantreasonisthatthetranslationofChinesepoetryislackoftheconveyanceofartisticconception.ThesuccessoftranslationofChinesepoemsdependsonwhetheritcanapproximatelytransmitartisticconceptionofChinesepoemsandleadthereadersintoaspaceofimagination.China’spoetaswellasliteraryandtheoreticiansmostlythinkthatthegreatestachievementofpoetrycreationliesinartisticconception.Itisthesoulofpoetry.Thenwhatonearthisartisticconceptionofpoetry?

1.1Thedefinitionofartisticconception

Artisticconceptionisakindofidealartisticstate,whichcanleadreadersintothesituationandemotionofapoem.Theblendofsituationandemotionisthebasiccomponentofartisticconception,whichisinvolvedintwoaspects,oneistheobjectiveofimagesinlife,theotheristheidealsubjectivecreationofthepoet,wecalltheformeroneas“jing”,andthelateroneas“yi”.Therefore,artisticconceptionistheunifiedentityofthetwoaspects.[5]

ArtisticconceptionisoneofthemostimportantaestheticconceptionsinancientChina,whichcanbetracedbacktoTangDynasty.InhisTheStyleofPoetrypoetWangChanglinfirstlyputforwardartisticconceptiontogetherwith“物境”“情境”(twoofthreelevelslikeartisticconceptionusedtodescriberespectivelytheobjectandthecircumstancesofapoem).[6]Althoughheproposedthethreelevelstogether,hedidn’tpointouttherelationship.Jiaoran,apoetandamonkaswell,oncepointedouttherelationsbetweenYi(image)andJing(situation).Hethoughtthatthefeelingsofareadertoapoemstartfromitssituation.[7]LiuYuxiwhocarriedonJiaoran’stheoryadvancedthatwecansayinTangDynasty,theAestheticSchool---theleadingschoolofpoetrywhichanalyzespoemwithartisticconception,wasformed.[8]AndinQingDynasty,WangGuoweigaveadeeperresearchontheconnotationandcreationofartisticconception.Ashesaysinhis“CommentsonciPoetry”,“Notonlycanliteraturemotivatethewriterhimself,butalsoitcantouchtheheartsofothers.”[9]MaoDunthenthoughttheconnotationoftheliteraturetranslationisthetransmissionoftheidealcondition.Hesaid"theliteraturetranslationistotransmittheartisticidealconditionoftheoriginalworkinanotherlanguageandmakereaderbeinspiredequally,affectedandgetthebeautifulfeelingwhentheyreadtheoriginalwork.[10]

1.2.Thedifficultiesoftheconveyanceofartisticconception

Formanyyears,lotsofChinesescholarsaswellasforeignresearchersputtheirefforttodothearduousworktotranslateclassicalChinesepoemsintoEnglish.Andamongtheirworks,thereisnolackofexcellenttranslation.Asamatteroffact,justthroughthewonderfultranslationofsomeexcellenttranslator,alotoffamousclassicalChinesepoemshavewontheirworldreputation.However,asakindofartisticappreciation,weusuallyhavealittlepitythatthetranslationofChinesepoetrystillcannotexpressartisticconceptionwhenwereadastheChinesereaders,lotsofChineseclassicalpoemshavelosttheiroriginalromanticcharm,completeinformation,three-dimensionaleffect,andthestatethatcanleadthereadersintoaindefiniteimagination.ItisnotsurprisedtoseethatmanyscholarsconsiderthetranslationofChineseancientstyledpoetrytobeanunsuccessfulfieldsofar.Wecanseethatevenifsometranslationsdisplaythecontentofpoetry,theyfailtotransmit,interpretthemood,theimage,andthesituationofpoetry.BecauseofthehugedivergencebetweentheEastandtheWest,itisimpossibletoexpresscompletelytheprimarytasteandartisticconceptionofChinesepoetrytoeveryreader.

Thereasonisthatthedifferenthistoricalcultureconnotationsanddifferenthabitsandcustomsaswellasdifferentthinkingmethodsareformedintheaspectofwordsandexpressions.

TherenownedtranslatorMr.YangXianyihassaid:"Therearemanyotherfactorsconstitutingcertainmeaningsinoriginaltext.Itissimplynotimpossibletotransmitthesemeaningsforthepersonsunderdifferentcultures.[11]Forexample:theChinesereadershavesomeassociationspontaneouslywithweepingwillowinaChinesepoetry,itisimpossibletocausethiskindofassociationnaturallyifitistranslatedintoanotherlanguage.Inmanypoemstheterminology(poemlanguage)oftenhastheirculturalhistoricalbackgroundcausingthereadertoassociatesufficiently.[12]Thereisnofinaltranslationforanytranslationispartialsinceitishardlypossibleforanytranslatortoseekbalancebetweenvariousrequirement.[13]Ofcourseitcontainstheconveyanceofartisticconception.

2.TheanalysisofBellsRingingintheRain

Here,theauthorwillprobehowtotransmitartisticconceptioninthetranslationofChinesepoetrybytheEnglishversionofBellsRingingInTheRain.

2.1ThecommentofBellsRingingInTheRain

LiuYong’poemsaregoodatdescriptionofdetails,andwritteninapithystyle.Thispoemexpressesthepartingfeelingsanddescribesthesceneofpartingandthepainfulmood.Theemotionisalsoverysentimental.ThispoemisofLiuYong’srepresentativeworks.Thefirststanzadescribesthepartingscene,theauthordescribesthecicadachillily,andtwoloveswerepartingintheroadsideshelter.Theboatwasurging.Theywerereluctanttopart,handinhandwithtearfuleyes,sobbingwithoutaword.Themistywavesinthegreatdistanceandthedistantskyalsoappearedsoheavy.Inthesecondstanza,theauthorsighedwoefully:partingletsthehumanbesadsincetheoldtimes.Thelongertheypart,thesaddertheyfeel.Evenifthereisbrightdaysandbeautifulscenery,thepoetstillcannotcheerup.

“Thecicada”,“theroadsideshelter”,“thesuddendownpour”,“thenationalcapital”“theboat”,“themistywave”and“thesouthernsky”-----theseimagescomposedthedeparturepictureofgloomycolor,brimwiththethickdeepsorrow.TheChinesereadercanfeeltheauthor''''ssadmoodaftertheyreadandproducethesympatheticchord,butasaresultoftheculturalenvironmentandthebackgrounddifference,foreignreadersmaynothavesimilarfeeling,norcantheyinducetothisdignifiedatmosphere.theChinesereadercouldcarryontheverynaturalassociationtoabovetheseimages,formaseriesofpicturesinthebrains,buttheforeignreaderpossiblycannotbeabletounderstandthiscompletely.Inthesecondstanza,whatistherelationbetween“多情”and“自古”?Howtotranslate“晓风残月”?whatis“良辰好景虚设”onearth?Itisverydifficulttodescribethepainfulmoodandthedeepsorrowfaithfullytotheforeigners.

2.2ThedifficultiesoftheconveyanceofartisticconceptionofBellsRingingintheRain

Itisnotcompletelypossibletotranslatetheoriginalpoem,themoodandtheatmosphere，whichisalsoanextremelybigdifficultproblem,suchas:

Firstly,Itisdifficulttoconveytheemotioninthepoem:theemotionhereisnotpresentedexplicitlybutimpliedinthedescriptionoftheimages.Itishardtoconveytheconnotationandassociationsignificanceofimagestotheforeigners.Inaddition,theChinesepoemsusuallyconsistofseveralimages,thepoetcandisplaysomepicturesinfrontofthereadersthroughthedepictionoftheimages.InBellsRingingintheRain,“thepavilion”“eveningclouds”“willowtrees”“waningmoon”---theseimagesconstituteasceneofsorrowdepartureindrearyAutumn.Itisnoteasytoselectproperwordstoconveytheimagesaswellassuitablewordstoconnectthemintheprocessoftranslation.Finally,InBellsRingingintheRain,Chinesereaderscanassociatethewavingwillowtreesandwaningmoontothereluctanceofdeparture.ItishardtobringthesimilarfantasytoreadersinEnglishversion,becausesomeimagecannotarousethesameassociationtotheforeigners.Thereisalsoonepointthatweshouldnotice:theconveyanceofartisticconceptionisacommonproblem,sometimeseveniftheversionembodiesthecharmoftheoriginalpoem,theforeignersmaynotunderstanditcompletelybecauseoftheculturaldifferences.JustastheforeignerscannotunderstandtheloveofLiangShanboandZhuYingtai,Here,theauthoronlywouldliketodiscussthewaystoconveyartisticconception.

3.Threestrategiestoconveyartisticconception

Tobeexact,ZhaoZecheng’sartisticconceptionincludesthreeaspects:Qing(emotion),Jing(situation),andimagination.Tocounterthesethreeaspects,artisticconceptioncanbeeffectivelytransmittedtoreadersbythefollowingthreemeans:first,toexpressamorousfeelingsandideas;second,tounearthimages;finally,tostimulateimagination.[14]

3.1Expressfeelingsandideas

WhendoingthetranslationofChinesepoems,weshouldfirstlymakeclearthemainideaoftheoriginalpoem,thesituationsetinthepoemandideasandfeelingsthattheauthorwantstoexpress,otherwise,wedonottranslatebutcreatepoetry.

InancientChina,therearethesayingslike“idealcanbeconveyedbypoetry,and‘poetryisstemmedfromemotions.”[15]WangGuowei,anaestheteinmoderntimes,indicatesthat‘onlywhenapoetisabletoreflectthereallifeandexpresshisrealfeelingsbyhispoemhashereachedahigherlevelofpoetrycreation.’[16]Inhisopinion,thesimplenaturalscenery,suchasbirds’singing,flowingwater,flowers’blossomanddriftingcloudscannotconsistof‘Artisticconception’bytheirpoems.ThefamousliterarytheoreticianinQingDynasty,YeXiethoughtthatemotionfromthebottomofheartisoneoftheindispensableconditionsinthecreationofartisticconception,andwhetherartisticconceptioncanbeconveyedsuccessfullybythetranslationsornotdependsonwhetherthetranslatorisabletotransmitthefeelingsbetweenthelines,andunderstandpoet’mind.[17]AsEveingsaysinhis‘TranslationandSentiment’,translatorshouldnotonlytranslatethe‘tears’,the‘laughter’,the‘anger’,thereadinesstogivelifeonthebattlefieldandthevisiblethings,butalsothegrief,thehappiness,theindignation,theutterdevotionandtheinvisiblesentiment.[18]Forinstance,hereisseveralversesofBellsRingingInTheRain.AistranslatedbyRewiAlley,andBistranslatedbyXuYuanchong.

“都门帐饮无绪”

AWedrinktoeachother

BCanwecarefordrinkingbeforewepart

“饮”“无绪”thetwowordsaddanxietytotheparting,peopleusuallywoulddrinkwinewhenpartinginancienttime.Thepoetwassosadthathewouldnotliketodrinkatall.‘Drinktoeachother’inAlley’stranslationsdoesnotshowthiskindofmood.XuYuanchongtranslatesthewordsinto‘Canwecarefordrinkingbeforewepart’reflectakindofdisconsolateness，So,XuYuangchong’stranslationisbetter.Ifthepoemembodiesthepoet’emotion,theversionshouldindicateit.Letuslookatanotherverse:

执手相看泪眼，竟无语凝噎

Aweclasphands,faceswet

withtears;unabletosayanything

BHandinhandwegazeateachother’stearfuleyes

Andburstintosobswithwordscongealedonourlip

Totranslatetheemotioninthesetwoverses，wemustgraspthepsychologicalconditionofthepoet.Lookingateachother‘stearfuleyeswithhandconnecting,theywouldliketosaysomething,yetspeechlessforsobbingfinally.“执手”“相看”“泪眼”“无语凝噎”areasuccessionofwordsdescribingthehero’ssorrowandthegrief,XuYuanchonguses‘gazeat’and‘tearfuleyes’todescribethemood,andtransmittheemotion,‘burstinto’indicatestheeruptionofhispreservedsentiment,‘congealed’vividlymanifestthesadness.Obviously,inversionA‘wetwithtears’greatlyweakenstheemotionandcannottransmitartisticconceptionoftheoriginalpoem.Obviously,itisinadequatetoonlydisplaythecontent,wealsoshouldexpressthefeelingsbetweenthelinesproperly.Forexample:

多情自古伤离别，更那堪、冷落清秋节

Thatistosay,peoplealwaysfeelsadwhenpartingsincetheancienttimes.Howdoesalonelypersonliveinthischillyautumn?Herethepoetisdisplayingakindofdisconsolatemood.

Aeverhavepeoplehated

leavingtherefriends,andnow

thecoldautumnwithitssadness

ontopofitall;

BLoverswouldgrieveatpartingasofold.

Howcouldyoustandthisclearautumndaysocold

Comparedwith‘hated’,‘grieve’inBindicatesthatthepoetfeelsbrokenhearted,therhetoricalquestioncorrespondstheoriginalpoemexpressingthepsychologyofsadfeelinginthelonelyautumn,whichconformedtotheartisticconceptionoftheoriginalpoem.Obviously,Bismoresuccessfulintransmittingartisticconception.

Adoesnotdisplaytheemotion,thereforeitfailsinthetransmissionofartisticconception,but,XuYuanchongfullycomprehendsthepoet’semotionofBellsRingingInTheRain,andcarriesonthepoet’ssorrowbychoosingthewords.Finallyhesucceedsinthetransmissionofartisticconception.Transmissionofartisticconceptioniscloselylinkedwiththeemotiontransmission.Sowecanmakeconclusionfromtheexamplesabove,thetransferenceofartisticconceptionisincomplete,ifthereisemotioninanoriginalpoem,butthetranslationfailstomanifestthefeelingsintheverses,.Inordertofurthertheunderstandingtheimportanceofemotionexpressionintranslation,theauthorwouldliketogivemoreexamples:“晓镜但愁云鬓改，夜吟应觉月光寒。”（ToOneUnnamed）byLiShangyin）Thepoemdescribestheimmortallove:hecannothelpthinkingofhisbelovedforhisdeeplovetohersothathedoesnotseehisimagebutthatofhisbelovedwhilelookingintothemirror.Thetwolinesselectedinthepoemdescribethefeeling:thepoetworriesabouthisbeloved’sgrayhaironheadbutnothisownwhenheislookingintothemirror,hedoesnotfeelthechillofmoonlight,butheworriesthatshewillfeelcoldwhenheiscrooningverseatnight.ThefollowingaretwokindsoftranslationsofInnesHerdan(A)andXuYuanchong(B)

AGriefatthemorningmirror---

Cloud–like-hairmustchange;

Verseshummedatnight,

Feelingthechillofmoonlight…

BAtdawnI’mgrievedtothinkyourmirroredhairturnsgrey;

AtnightyouwouldfeelcoldwhileIcroonbymoonlight.

Adescribesthepoet’sworriesabouthisowngrayhair,andhefeelschill,whichistheliteraltranslationwithoutunderstandingthefeelingofthepoettohisbeloved.Soitfailstotransmitthatkindofsentimentinthepoemandrevealtheimmorallove.Xuyuanchongaddspersontodescribetheimmorallove,thusthereadersaremovedbythepoet’sfeelings,andgetthedeepcomprehensionofartisticconception.

Hereisanotherexample:“思君如满月，夜夜减清辉。”(SinceMyLordFromMyPartedbyZhangJiuling)Thepoetusesthemoontodescribethefeelingsofthewifethatsheisdullerdaybydaybymissingherhusband.LetusseethetranslationbyHerbertA.Giles:

Myheartislikethefullmoon,fullofpains,

Savethat’tisalwaysfullandneverwanes.

“Gilescomparesthewife’shearttothepainfulmoonthatneverwane,succeedsinconveyingtheessentialideaofhersorrow.”[19]Inthispoem,thekeypointoftheunderstandingofartisticconceptionistocomprehendthewife’semotion.SinceGilesconveythedistressofthewife’smissingvividlyandincisively,thereaderscanfeelthiskindofpains,thereforeGilessucceedsintheconveyanceofartisticconception.

Theanalysisabovesuggeststhatthetransmissionofemotionisimportanttothetransferenceofartisticconception.Ifthepoemembodiespoet’semotion,thetranslatedversionshouldindicateit,thusthereaderscangetadeepcomprehensionofartisticconception.

3.2Unearthimage.

Besidestheconveyanceofemotionsandideas,atranslatorshouldalsopayattentiontotheimages.Theimagereferstotheobjectinthepoetry,whichreceivesubjectivesentimentoftheauthor.Settingsun,fragrantgrass,weepingwillow,songofthebirds,cicadachirpingandsoonarethecommonlyemployedimagesinancientChinesepoems.Usually,apoetdoesnotrevealthesentimentstraightlybutawakenourmemorybythedescriptionoftheimageandstimulateourfeelingandcauseoursympatheticchord.[20]Preciselytheauthorrevealsubjectivesentimentbytakinganddescribingtheimage,thereadercanentertheartisticconceptionofpoetry.

Theimageistheessenceoflanguageofpoem.“Imagemodelcapturestheessenceofpictureinproseorinpoetry.”[21]Thepoetsalwaysutilizesthevisualizedlanguagewhichcanstimulatethereader’simaginationandtheassociationtodescribetheimageintheliteraryworks,iftheliteraryfigureisfresh,thentheexquisiteartisticconceptionwillappear.Thetranslatorshouldpayattentiontothetransplantationoftheliteraryfigureandvisualizationofthelanguageintheprocessoftranslation.Thereforetheycanfullymanifestthebeautyofartisticconception.Weshouldtransmittheimagestotranslatethepoem.Imageisthebasicelementofpoems.Thebasicfeatureisthatreaderscanexperiencethefeelingsofpoetsthroughthedescriptionoftheimage.“Wemeantodefineimageastheattributeforthewholementalconceptionofaliterarywork.Insomesense,‘image’hereiscountableaseyeablelinguisticpoint,andalltheimagesinaworkformintoameaningfulwhole,whichisoftencalleditsimagery.So‘imagery’isuncountableasaninseparableentitythatcanonlybeperceivedfromtheentirework”.[22]

Thereareseveralimagesinthispoetryasfollows:cicadas,showers,heavycloud,southernsky,willowtrees,waningmoon.“Theseobjectstobedescribedareneverselectedatrandom,butarethemanifestationofthepoet’sshrewdpowerofobservationanduniqueartisticview”[23]Theseimagesareobjects,butthepoetrendershisemotiontothemthathasbeenthesymbolofdepartureanddistress.Hesetoffthepartingatmospherebythedescriptionofobjects,thusthereaderswillportrayachillanddrearypictureasiftheyhearthesingingofthecicadasandseethepartingscene.Thenhowdothetranslationsgivethereadersthesameexpressionbyunearthingimages?Itisrareforustofeelcoldanddrearywhenhearingthesingingofcicadas,whilethepoetuse"寒"and"凄"todescribeit,forthepainfromthebottomofhisheart."寒"and"凄"uncoverdirectlythepoet’smood,thepersonhavetopartwithhisbelovedandfeelsthecoldnessoftheoutsideworld,whichishisinnermostfeelings.ThefollowingtranslationsarealsopresentedbyRewiAlley(A)andXuYuanchong(B):

ANowcomesthenoteofthecicada，mournfully;

BCicadaschill

Drearilyshrill

ComparedwithRewiAlley’s‘mournfully’XuYuanchong’s‘Cicadaschill’describesthecicada''''scondition,"drearilyshrill"corresponds"凄切"theyestablishedabasicmainkeyfortheentirepoem----cloudyandcold,"drearilyshrill"furtherexaggeratedthisatmosphere.So,“chill”“drearily”describetheprocessofpsychologyandtransmit‘artisticconception’of“寒蝉凄切”.Pavilionisconsideredasasymbolofparting,suddenshowermaybeconsideredasasymbolofthetearsfallingfromtheireyes.Lookattheverses:

对长亭晚，骤雨初歇

Aatourpaceforparting

eveningfalls;therainstormthatbroke

hasclearedaway;

BWestandfacetofaceataneveninghour

Beforethepavilion,afterasuddenshower

WecanseeRewiAlleyomitstheimageofpavilion,whichisveryimportanttotheconveyanceofartisticconceptionasasymbolofparting.InancientChina,peopleusuallypartinpavilion,soChinesereaderscanassociatethepavilionwithdeparture.AndXuYuanchongreservestheimageofpavilionandshowerusing“before”and“after”toconnectthetwosentences,sothatweseethenaturalsceneryandhumanfeelingswellblendedinthebeginningofthepoem.[24]So,Itdoeswellatthetransitionoftheartisticconception.Inthispoem,theimageoftheboatwaitingforthepersondescribesapictureofalonelysail.Theverse:

方留恋处、兰舟催发

Atheboatmanurgesdeparture

Bwearelingeringlate,buttheboatiswaitingforyoutodepart

RewiAlleyonlyuses“boatman”omittingtheimageofboat,andXuYuanchong’stranslationdescribesapicture:twopeopleareloathingtopart,theboatisurgingapersontoembarkquickly,wecanguessthattheboathasbeenwaitingforalongtime.Thepictureofalonelysailisthesymbolofthepartinglover,carryingthevisualfeeling.AndBisbetteratthetransitionofartisticconceptioncomparedtoRewiAlleythatisonlynarrating.Inthispoem,cloudandskyalsoaresymbolical,theheavycloudisthesymbolofhisheavyheart,andtheboundlessskyisthesymboloflongdistance.[25]Theoriginalversesandtranslationsareasfollows:

念去去千里烟波，暮霭沉沉楚天阔。

AandIknowthatsoonIshallbefar

fromhere,overthehills;

atnightamistwillcome

downfromheavens,andsoon

IwillbeinHupeh,where

skiesarehigh,andgroundlow;

BYou‘llgoyourwayfar,faraway,onmilesandmilesofmistywaves

wheresailtheships,andeveningcloudshanglowinboundlesssouthern

skies

Thetwoimages“暮霭”and“楚天”shouldbetranslated.RewiAlleydoesnottransmittheimage:cloud,and“skiesarehigh”doesnotdescribetheboundlessoftheskies.Thereforehistranslationweakenedtheeffectofthetransitionofartisticconceptionoforiginalpoemgreatly.Intheoriginalpoemthefirststanzabeginswithanimageandendswithanother,bothrevealthegriefofparting.[26]Thereforeintranslationthereshouldbethetransferenceofthevividimagetoletthereaderfeelthepoet''''semotionthroughtheimagestounderstandtheartisticconceptionofthepoem.

Asweknow,InaChinesepoem,therearealwaysmanyimages;thesevividimagesbringthebeautytopeople.Inordertoachievethesimilareffect,thetranslatorshouldcarryontheappropriatedescriptiontotheimages.Forexample,“小楼西角断虹明，栏杆私倚处，遥见月华生”（ImmortalAttheriverbyOuYangxiu）portrayabeautifulscene：thebrokenrainbowappearsafteraheavyrain，twopersonsareleaningonrailswatchingtherisingmoon.TeresaYee-whaYutranslatesthelinesinthisway：

Acrossthewesterncornerofthe

Smallhouse,abrokenrainbowhangs

brightly,asIrestonthebalcony,

awaitingmoonrise.

Theimageoftheoriginalpoemisbrokenrainbow，whyistherainbowbroken？TeresaYee-whaYuonlyuses‘brokenrainbow’，whichfailstomanifesttheestheticsenseofthemoonraisesslowly,thereforethebeautyisinferiorthantheoneoftheoriginalpoem.ThetranslationbyXuYuanchongis:

Animperfectrainbowisseen,

ShutoutofviewbyWesternTower.

Weleanonrailsalone

Towatchtherisingmoon.

XuYuanchonguses‘shutoutofviewbywesterntower’，givingpeopleamorevividpicture:Abovethesmallbuilding,abrokenrainbowappears,--twopeoplearecloselyleaningintherail,watchingtheslowingrisingmoon,thephraseshutoutdescribesthebrokenrainbow,thetypicalimagematchestheimageverb,hasexaggeratedtheoriginalpoemmainkeyoftheoriginalpoem,so,comparedtoTeresaYee-wha’sYu.XuYuanchong’sisbetterintransmittingartisticconception.

Theanalysisabovesuggeststhatunearthingimagesisoneofeffectivewaystoconveyartisticconception,ofcourse,inthetranslationtechniquesofimage,apartingfromunearthingimages,thereareotherwaystoconveytheartisticconception,suchasfootnotingandparaphrasing,whichthisarticleonlydiscussesoneofeffectiveways.

3.3Stimulateimagination

Intheauthor’sview,theconnotationofstimulatingimaginationisthatifthepoetleavesagreatspaceofimaginationtothereaders,soshouldthetranslator.Itisofgreatimportanceforthetranslationstostimulatethereaders’imagination.JustasXuYuanchongpointsoutinhisNewConceptofTranslationinNewCenturythelowstandardofliterarytranslationistoresembleorreflectthetruthoftheoriginalpoems,whilethehighstandardistokeepthebeautyofpoemsinsourcelanguage[27]Thetranslatorshouldtryhisbesttobringtheadvantageoftargetlanguagesintofullplay,whichmeansmakingfulluseofthebestformofexpressionoftargetlanguageaswell,andtomakepoemsunderstoodfinally.Thetranslationsofliteraryworksshouldbewonderfulandsplendid.Althoughwecanreadorlistentotheliteraryworks,wecannotvisualizethemlikewatchingpicturesorgetauditoryimageslikelisteningtothemusic.Therefore,iftheliterarylanguageisdull,tediousandinsipid,itcannotstimulatetheimaginationofreaders,thuscannotconveyartisticconceptiontoreaders,letaloneletthemgrasptheartisticimagesintheoriginalworks.Itisthetranslators’responsibilitytotakeadvantageoftargetlanguagetoreachthetranslationtostimulatereaders’imaginationfinally.

ThefollowingisanotherexamplefromBellsRingingInTheRain:“今宵酒醒何处？杨柳岸晓风残月。XuYuanchong‘stranslationis

Wherewillyoubefoundatdaybreak

Fromwineawake?

Mooredbyariverbankplantedwithwillowtrees

Beneaththewaningmoonandinthemorningbreeze.

Thepoemaskswherehewillbewhenhewakesuptomorrowmorning.“willowtrees”and“Beneaththewaningmoonandinthemorningbreeze.”stimulatethereaders’imagination,andmakethereadersimaginethescenebythemselves.Forexample:howisthepoet’sconditionwhenheawake?Andwhatwillhebethink?Differentpeoplehavedifferentimages.Peoplecanimagethesceneofthepoetawakinginthemorningaccordingtotheirownunderstandingofthepoem.“Moored”givethereaderslargespaceofimaginationthatistheneedtotransmitartisticconceptiontoreaders.

Fromtheauthor’spointofview,stimulatingimaginationplaysaquiteimportantroleintransmissionofartisticconception.Manytranslatorsnoticethepointintheprocessoftranslation.Forinstance,therearetwoversesintherenownedpoem"SongofaPipaPlayer"(琵琶行)byBaiJuyi：“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。”ThetwoversesdescribethemusicbythePipa.“Itisdifficulttodescribeabstractmusicinwords,butBaiJuyicomparesitinturntoapatterningrain,topearlsdroppingonaplateofjade”[28]whichgreatlystimulatethereaders’imagination,“sothatyoucannotonlyhearitbutsometimesevenseeitbeforeyoureyes”.[29]HerearetwoversionsrespectivelytranslatedbyC.Gaunt(A)andXuYuanchong(B)

AThegreatstringswithacrashresound,

Aswhentherain-stormstrikestheground;

Thesmallstringswhispermanifold,

Likesecretconfidencestold;

Andthenthevibrantchordsoutfling

Amingledcrashandwhispering,

Likeshowerofpearls,somelargesomesmall,thatonajade-dishpatteringfall.

BThethickstringsloudlythrummedlikethepatteringrain;

Thefinestringssoftlytinkledinamurmuringstrain

Whenminglingloudandsoftnotesweretogetherplayed

‘Twaslikelargeandsmallpearlsdroppingonplateofjade

C.Gaunt’s‘therain-stormstrikestheground’;‘whisper’‘likeshowerofpearls,somelargesomesmall,’andXuYuanchong’s‘patteringrain’‘murmuringstrain’‘murmuringstrain’allstimulatethereaders’imaginationandconveyartisticconceptionofthepoeminsourcelanguageaswell.Theoriginalpoemdoeswellinstimulatingimagination,sodoesthetranslation.

Stimulatingimaginationisapartoftheconveyanceofartisticconception,wegetartistictreatthroughabundantassociationandfantasy,whichachievetheeffectofartisticconception.Asweanalyzeabove,thetranslationthatarousetheimaginationofreadersconveyartisticconceptioneffectively.Thereisapointwearesurethatevenifthetranslationscannotachievethecharmofthepoemperfectly,weshouldexertourgreateffortstoresembletheeffect.

4.Conclusion

Wecanfindthattheconveyanceofartisticconceptionisnoteasy.However,throughthethreemeans,westillcaneffectivelytransmitartisticconceptionbyexperiencingtheemotionandimagingtheimageoforiginalpoems.Theauthordiscussesthreestrategies:expressingfeelingsandideas;unearthingimages;stimulatingimagination.Theyarethreeeffectivewaysbutnottheabsolutemeans.Inaddition,thereisonepointthatweshouldnotice:whenweproposedrequesttothetranslators,weshouldpayattentiontothefactthatthereadersshouldbequalifiedtocomprehendthepoems’artisticconception.

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[7]同[4].P112

[8]同[4].P112

[9]同[4].P112

[10]同[4].P112

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[12]同[10].P98

[13]同[3].P17

[14]同[4].P112

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[16]同[4].P112

[17]同[4].P112

[18]同[4].P113

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[20]同[4].P113

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[24]同[18].P370

[25]同[18].P370

[26]同[18].P370

[27]同[4].P114

[28]同[18].P312

[29]同[18].P312