【摘要】 文章讨论了诗歌翻译中形式对等与动态对等的问题,首先,文章追述了两者各自的历史渊源,及翻译史上与之相关的观点、原则和理论,借以阐发形式对等与动态对等的意义与功能,特别是后者中所蕴涵的等效和读者反应论,给我们提供了赏析评价诗歌译作之新视野。其次,文章简单回顾了中国的诗歌理论,特别是近代王静安的“境界说”,一方面加深了我们对诗歌本质的理解,另一方面也为诗歌应当译什么提供了理论支持,即译神为主,形次之,不可因形害意。因此,中国传统诗论与动态对等之等效说可谓遥相呼应,盖惟有在宿文本中重现原作之境界,方可求神以使诗歌之效力直追原作达于宿文本读者。文末,不同译作之比较,或译形以求忠,或译神以达众。更多还原

【Abstract】 this paper deals with the issue of formal equivalence and dynamic equivalence in translating poetry.First,it clarifies the meanings and functions of both equivalences by reviewing their respective origins and analyzing views,principles,theories of each approach in translation history,especially the equivalent effects and readers’(receptors’) response theory provide us with a new angle in evaluating the translated works of poetry.Second,this article gets a glance at Chinese tradition of poetry,Wang Jing’an’s literary view of realm in particular,which sheds light on the nature of poetry,and on the other hand,plausibly informs us what needs to be translated indeed,that is,the soul of poetry rather than its shape(form).Therefore,the Chinese traditional comprehension of poetry is found resonant with the equivalent effects of dynamic equivalence since such kind of effects can solely be made possible by translating the soul of poetry via reproducing the original realm in target text.In the end,substantial comparisons,made amongst versions of poetry translated either for formal equivalence or for dynamic equivalence,are analyzed so as to deepen our comprehension of poetry translation.更多还原