对《尤利西斯》两版译文的对比鉴赏
Constract:
Before comparing the two translated versions of Ulysses, we should have a thorough understanding of this essay. The reason why people feel differently because they stand in different standpoints that comes from different cultural background and personal experience. So firstly we have to know exactly what reasons make this work readable and acceptable.
Facing the same essay, the translators may not have the same understanding of it. On the basis of understanding the authentic meaning of the original text the translators always have different thinking about the additional meaning shown by obscure expressions. As non-native speakers, without completely knowing the factors that have various influence on the author, such as social context and cultural background, translators will easily misunderstand the meaning expressed ambiguously.
Ulysses,a great work of stream-consciousness, was written by James Joyce in the early 20th century. This essay, in the beginning, mainly shows readers three independent stories that turn out to be one story in the end. The author showed readers the figures by describing their talks and inner thoughts. All these writing techniques make the translation more diversified.
Under a complex background and influenced by Greek mythology, the writer has experienced a lot during his miserable childhood. For instance, James Joyce worshiped the hero Odysseus, also called Ulysses in Latin, when he was a child. At the same time, James was suffered from the wars and Irish nationality. Maybe these experience had inspired James Joyce to create the figures who similarly lead a miserable life. Therefore, in this way, we have to take consideration the writer’s thinking into translating and think as the author did to make the translated version more accurate.
Undoubtedly, the translated version will not be same because of these reasons. However, the two versions we are about to compare are basically comfort to the meaning of the original text. I will compare this two from several perspectives in order to figure out what lead translators translate differently.
Comparison&analysis
Word-choosing
1.Grammatically, for the limit of the original text, the translated version have to largely comfort to the syntactic structure of the original one. However, translators are allowed to choose different words that shows their lexical diversity and writing styles.
Eg. It must be a movement then, an actuality of the possible as possible. Aristotle’s phrase formed itself within the gabbled verses and ......
(Jin’version)那么，一定是一种运动了，可能性因为有可能而成为现实。在急促而含糊的朗
诵中，亚里士多德的论断形成了...
(Xiao’s version) 说来那肯定是一种运动了，可能性由于有可能而变为现实。在急促而咬字不清的朗诵中，亚里士多德的名字浮现出来....
From the two versions, limited by the original text, the two translated version are similar in sentence structure and even in punctuation. But the Jin and Xiao choose the words differently for their writing habits and their understanding on the original language. There are two different translations: gabbled and phrase. Jin translated gabble as ‘急促而含糊的’ while Xiao translated as ‘急促而咬字不清’. For me, I prefer the Jin’s version for the balance of the sentence structure of translated version, namely the ‘急促’ and ‘含糊’. Actually there’s no fixed definition on that which words should be chosen for the same original text. But according to many translation principles that translators should give more priority to the readers we are supposed to comply with the language habits of Chinese in order to better deliver the meaning of the author. However, the translation of ‘phrase’ differs in the two versions. Jin translated it as ‘论断’ and Xiao regarded it as the ‘名字’. Unlike choosing different words, these two words have completely meanings for the their different understanding on the ‘phrase’. So which one is better? I think it should be translated as ‘名言’ according to the context.
Linguistic style
1.The translator’s own style will become a part of the target text. There is also a big difference between the two versions’ style. The Jin’s writing style is more oral while the Xiao’s more formal. That’s why readers may have different attitude and opinion toward the same essay. Which style is better largely depends on the readers’ appetite. At the same time, the style of the original text can’t be neglected. Through reading this narrative fiction, the authors described this story by depicting the talks and inner thoughts.
By comparing the two translated versions, the Jin’s version is undoubtedly more easy to understand by using conciseness, but Xiao’s version is more like a literary work and more readable for its formal expression that is closer to the style of the original text. The two versions both have their merits, we can’t merely give a judge through excerpts. The two translators are proficient in understanding the author then expressing in their own words.
In general, Jin’s version is more acceptable but somewhere he didn’t consistently follow his translation principles.
Eg. --First, our little financial settlement, he said.
(Jin’s version) “首先，咱们先来小小的财务结算”，他说。
(Xiao’s version) “头一桩，把咱们那一小笔账结了吧，”他说。
According to the context, this is a conversation between Stephen and Mr. Deasy who is a positive and talkative figure. Unlike the style mentioned above, Jin’s version is more formal this time. Instead, Xiao’s version is more oral and closer to the readers.
2. From the two translated versions, we can easily find out that the Jin’s version is more acceptable in many cases. But sometimes Xiao’s version is better than Jin’s in rearranging the sentences.
Eg. Sargent who alone had lingered came forward slowly, showing an open copybook. His thick hair and scraggy neck gave witness of unreadiness and through his misty glasses weak eyes looked up pleading. On his cheek, dull and bloodless, a soft stain of inky lay, date-shaped, recent and damp as a snail’s bed.
(Jin’s version) 只有萨金特没有走，他捧着一本打开的抄本，慢慢地走上前来。厚厚的头发，瘦骨嶙峋的脖子，都证明他的迟钝；模糊的镜片后面是两只无神的眼睛，仰望着，乞求着。他的脸灰暗而无血色，面颊上有一块新抹上去的墨水，枣子形，还湿漉漉的呢，象蜗牛的窝似的。
(Xiao’s version)萨金特独自留了下来。他慢慢腾腾地走过来，拿出一本摊开的练习本。他那浓密的头发和消瘦的脖颈都说明了他的笨拙。透过过含糊不清的镜片，他翻起一双迟钝的眼睛，央求着。他那灰暗而毫无血色的脸蛋儿上，沾了块淡淡的枣子形的墨水渍。刚刚摸上去，还湿润的像蜗牛窝似的。
This paragraph mainly describes what Sargent looks like. As a Chinese, the Jin’s version makes me more easily form up the Sargent’s looking in my mind. Jin separates the long sentence into several short ones. For example, ‘...两只无神的眼睛，仰望着，乞求着...’ and ‘...一块新抹上去的墨水，枣子形，还湿漉漉的呢...’ Such short sentences gives us a plain description which comforts to the reading habits of Chinese readers. Chinese is a language that parataxis can be found almost everywhere in Chinese literature. Therefore, the complicated combination of sentence structure is unnecessary in Chinese. Such a sentence structure arranged concisely gives readers a brief but not simple feeling of the figure.
However, it doesn’t mean that the second one is worse. Xiao’s version gives us more details and makes us think more. The long sentence Xiao uses is much more literary and readable than Jin’s translation. Xiao choose more appropriate words as the description of the figure, such as ‘他那浓密的头发和消瘦的脖颈’, ‘含糊不清的镜片’and ‘灰暗而毫无血色的脸蛋儿上’. Such an expression is more coherent and logical. Although the sentence is little bit longer than the first version, it gives readers a chance to repeat and rethink what meaning that the author wanted to show us behind the figure’s looking.
All in all, each of the two versions has its advantages and disadvantages, however, which can be combined together as a better one. Here’s my version that excerpted from these two versions.
(my version) 人都走光了，只剩下了萨金特一个人。他慢慢腾腾地走过来，拿出一本摊开的练习本。他那浓密的头发和消瘦的脖颈都显示了他动作的笨拙，模糊的镜片后面是两只无神的眼睛，仰望着，乞求着，他那灰暗而毫无血色的脸蛋儿上有一块新抹上去的墨水，枣子形，还湿漉漉的呢，象蜗牛的窝似的。
3.—I forgot the place，sir. 279 B.C.
—Asculum，Stephen said，glancing at the name and date in the gorescarred book.
(Jin’s version)“我忘了地点，老师。公元前279年。“阿斯库伦，”斯蒂汾说着，朝血污斑驳的书上的名字和年代瞥了一眼。
(Xiao’s version)“地点我忘记啦，老师。公元前二七九年。”“阿斯库拉姆，”斯蒂芬朝着沾满血迹的书上那地名和年代望了一眼，说。
Obviously, Jin focus more on the equivalence of linguistic style of the two languages. He directly translated gorescarred into ‘血污斑驳’. ‘Gorescarred’originally refers to the fierceness of the battle but Jin didn’t take the background knowledge into consideration. In addition, Jin didn’t change the sentence order while Xiao rearrange the order in a way that is more acceptable by target readers. Xiao’s version seems more understandable. Besides, Xiao add ‘沾满’ in the end of the sentence, which makes the readers impressive.
4.A hasty step over the stone porch and in the corridor. Blowing out his rare moustache Mr Deasy halted at the table.
(Jin’s version) 门外传来一阵急促的脚步声，走过门廊的石板地，进了走廊。戴汐先生吹着稀疏的八字胡子，走到大桌子边才站住。
(Xiao’s version) 沿着门廊的石板地走廊传来一阵急促的脚步声。迪希先生吹着他那稀疏的口髭，在桌前站住了。
Under the different translation strategies, the two translators differs in their versions. There’s no verbs in the first sentence of the original text. The act of Mr. Deasy is shown by the preposition over and in. Therefore,The translators have to verbalize the prepositions. Jin translated over into ’走过’and in into ‘进了’, which vividly described the acts of Mr. Deasy ‘s walking. On the other side, it is can be seen that Xiao wants to combine the acts but he failed to express it in a clear way.
Conclusion
Whatever the lexical features or syntax structures, they are all influenced by the translation strategy and personal habits of the translators. The factors that affect translators are complicated and need further discussion. By comparing the two translated version, we can know that the Jin holds a translation strategy that try to close to the original text and retain the features of the original text. On the contrary, Xiao insist on that translator should comfort to the target readers’appetite. This divergence makes the translated version similar but not same.
To better translate a work, especially a work renowned by the world, the preparation seems more necessary and indispensable. Before starting to translate, we must find out the details as much as we can, because one subtle difference of the original text may lead to a entirely different meaning.
丁尼生和尤利西斯
诗人简介 阿尔弗雷德·丁尼生是英国维多利亚时代最受欢迎及最具特色的诗人。他的诗歌准确地反映了他那个时代占主导地位的看法及兴趣，这是任何时代的英国诗人都无法比拟的。代表作品为组诗《悼念》。 早期生涯 丁尼生出生于林肯郡的索姆斯比，在12个兄弟姐妹中排行第4。他的父亲是村庄教区牧师。年轻的丁尼生曾在父亲的图书馆里阅读大量书籍，并在8岁时开始写诗。1827年，阿尔弗雷德和他的兄弟弗雷德里克及查尔斯出版了《两兄弟诗集》，其实这部著作包括了三兄弟的作品。阿尔弗雷德的诗歌趋于平淡，只是单纯模仿偶像拜伦的作品。 1828年丁尼生进入了著名的剑桥大学。1829年他的诗歌《廷巴克图》赢得了校长金牌。他成为一个学生团体“使徒（the Apostles）”中的一员，并在这些同伴的鼓舞下于1830年出版了《抒情诗集》。一些评论家喜爱这本书中的《马里亚纳》和其它几首诗歌，但总的说来是持负面评价较多。 1831年丁尼生的父亲去世，丁尼生未取得学位就离开了剑桥大学。第二年他出版了一本小册子，名为《诗歌》，但并未被广泛接受。随笔作家亚瑟·亨利·哈兰姆是丁尼生最亲密的朋友，也是他姐姐的未婚夫于1833年去逝。在痛失密友及作品受到恶评的双重打击之下，丁尼生近10年未再出版作品。 《诗歌》（两卷本，1842年），赢得了评论家及公众的热烈欢迎。最好的诗歌包括《拍岸曲》（受贺莱姆之死启发而创作）、《亚瑟王之死》及《洛克斯利大厅》。丁尼生的长诗《公主》（1847年）与妇女权益有关，并试图证明女人最大的成就就是幸福的婚姻。（吉尔伯托和利文将诗歌改编为滑稽剧《艾达公主》。）丁尼生一些最好的抒情无韵诗篇就来自于以“泪水，空虚的泪水”开篇的那首诗《公主》。后来的版本又加入《轻轻地，柔和地》以及其它几首歌。 晚期生涯 1850年丁尼生的生活发生了三件大事。《悼念》终于付梓，自哈兰姆去世以来，丁尼生一直在创作这部作品。它包括131首短诗，外加一篇序言及后记，是英国文学中最伟大的挽歌之一，也是丁尼生最能经受时间考验的作品。 6月丁尼生娶了艾米莉·塞尔武德（Emily Sellwood），同年11月丁尼生继威廉·华兹华斯之后，成为桂冠诗人。 丁尼生作为桂冠诗人的首部正式作品，是庄严重但有点拘谨的《悼惠灵顿公爵之死》（1852年）。1854年创作了《轻骑兵进击》，以纪念英国骑兵在克里米亚战争巴拉克拉瓦战役（Balaklava）中体现出来的英雄气概。《莫德》，是1855年出版的一部长篇独白诗剧，评论家对此颇有微辞。 1853年以后，丁尼生多数时间生活在自己位于怀特岛法令福德（Farringford）的庄园中，有时会住在自己1868年建在萨里郡阿尔沃的一所房子里。《莫德》遭到冷遇之后，丁尼生把自己封闭在法令福德，着手创作组诗《国王叙事诗》。1859年这一系列的第一部分出版，讲述亚瑟王和他的骑士的第一部分，立即获得成功。 《伊诺克·阿登及其它诗歌》（1864年）中的《伊诺克·阿登》是丁尼生最著名的诗歌之一。其它几部稍为逊色的历史戏剧作品包括《玛丽女王》（1875年）、《哈罗德》（1877
丁尼生 尤利西斯 Ulysses 中文翻译
丁尼生尤利西斯诗歌中文翻译2007-12-01 16:52 这太无谓——当一个闲散的君主，安居家中，在这嶙峋的岛国， 我与年老的妻子相匹，颁布着 不公的法律，治理野蛮的种族，——他们吃、睡、收藏，而不理解我。我不能停歇我的跋涉；我决心 饮尽生命之杯。我一生都在 体验巨大的痛苦、巨大的欢乐， 有时与爱我的伙伴一起，有时却 独自一个；不论在岸上或海上， 当带来雨季的毕宿星团催动 激流滚滚，扬起灰暗的海波。 我已经变成这样一个名字，—— 由于我如饥似渴地漂泊不止， 我已见识了许多民族的城 及其风气、习俗、枢密院、政府，而我在他们之中最负盛名； 在遥远而多风的特洛亚战场， 我曾陶醉于与敌手作战的欢欣。 我自己是我全部经历的一部分； 而全部经验，也只是一座拱门， 尚未游历的世界在门外闪光， 而随着我一步一步的前进， 它的边界也不断向后退让。 最单调最沉闷的是停留，是终止，是蒙尘生锈而不在使用中发亮！ 难道说呼吸就能算是生活？ 几次生命堆起来尚嫌太少， 何况我唯一的生命已馀年无多。 唯有从永恒的沉寂之中抢救 每个小时，让每个小时带来 一点新的收获。最可厌的是 把自己长期封存、贮藏起来， 让我灰色的灵魂徒然渴望 在人类思想最远的边界之外 追求知识，像追求沉没的星星。 这是我的儿子忒勒玛科斯， 我给他留下我的岛国和王杖， 他是我所爱的，他有胆有识， 能胜任这一工作；谨慎耐心地 教化粗野的民族，用温和的步骤
驯化他们，使他们善良而有用。 他是无可指责的，他虽年少， 在我离去后他会担起重任， 并对我家的佑护神表示崇敬。 他和我，将各做各的工作。 海港就在那边，船儿已经扬帆， 大海黑暗一片。我的水手们—— 与我同辛劳、同工作、同思想的人，对雷电和阳光永远同等欢迎， 并用自由的心与头颅来抗争，——你们和我都已老了，但老年 仍有老年的荣誉、老年的辛劳； 死亡终结一切，但在终点前 我们还能做一番崇高的事业， 使我们配称为与神斗争的人。 礁石上的灯标开始闪光了， 长昼将尽，月亮缓缓攀登， 大海用无数音响在周围呻唤。 来呀，朋友们，探寻更新的世界 现在尚不是为时过晚。开船吧！ 坐成排，划破这喧哗的海浪， 我决心驶向太阳沉没的彼方， 超越西方星斗的浴场，至死 方止。也许深渊会把我们吞噬， 也许我们将到达琼岛乐土， 与老朋友阿喀琉斯会唔。 尽管已达到的多，未知的也多啊；虽然我们的力量已不如当初， 已远非昔日移天动地的雄姿， 但我们仍是我们，英雄的心 尽管被时间消磨，被命运削弱， 我们的意志坚强如故，坚持着 奋斗、探索、寻求，而不屈服。
从“尤利西斯”形象的变异看西方人文观的形塑与嬗变
World Literature Studies 世界文学研究, 2016, 4(1), 1-6 Published Online March 2016 in Hans. https://www.360docs.net/doc/2615942794.html,/journal/wls https://www.360docs.net/doc/2615942794.html,/10.12677/wls.2016.41001 The Formation and Variation of Western Humanism as Seen in the Transformation of Ulysses’ Images Jie Lu1,2 1The College of Foreign Languages, Chengdu University of Information and Technology, Chengdu Sichuan 2Literature and Journalism College, Sichuan University, Chengdu Sichuan Received: Mar. 1st 2016; accepted: Mar. 14th, 2016; published: Mar. 21st, 2016 Copyright ? 2016 by author and Hans Publishers Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). https://www.360docs.net/doc/2615942794.html,/licenses/by/4.0/ Abstract Though many western writers have shaped the legendry character of “Ulysses”, the images of “Ulysses” vary in different western works in different times. In Homer’s Odyssey “Ulysses” is the initial establisher of secular humanism; in Virgil’s Aeneid he is the awakened one with rational sense; in Dante’s The Divine Comedy he is the defender of individualism against theocracy; in Ten-nyson’s poem Ulysses, he is a pioneer of capitalist civilization; while in James Joyce’s Ulysses, under the guise of Bloom, this modern Ulysses is a lonely spiritual tramp in the faith-lost western capi-talist civilization. By studying the molding and transformation of Ulysses’ image chronically, which is meaningful and unavoidable for study on western literature and culture, the essay casts light on the succession and revolution of western humanism in several significant cultural transitions and turns. Keywords Ulysses, Image Transformation, Humanism 从“尤利西斯”形象的变异看西方人文观的形塑与嬗变 卢婕1,2
丁尼生英文简介和尤利西斯扥翻译Ulysses
Alfred Tennyson, (6 August 1809 – 6 October 1892), much better known as "Alfred, Lord Tennyson," was Poet Laureate of the United Kingdom during much of Queen Victoria's reign and remains one of the most popular poets in the English language. Tennyson, Brow ning and Arnold are generally called “The Big Three” of Victorian poets. Among them, Tennyson was the most popular and gained the title of “poet of the people”. His reputation remained high until his death, declined in the early 20th century, and its rightly very high today. Tennyson was born in Somersby, Lincolnshire, a rector's son and fourth of 12 children. He derived from a middle-class line of Tennyson, but also had a noble and royal ancestry. Tennyson and two of his elder brothers were writing poetry in their teens, and a collection of poems by all three were published locally when Alfred was only 17. He entered Trinity College, Cambridge, in 1827, where he joined a secret society called the Cambridge Apostles. At Cambridge Tennyson met Arthur Henry Hallam, who became his closest friend. His first publication was a collection of "his boyish rhymes and those of his elder brother Charles" entitled Poems by Two Brothers published in 1827. In 1829 he was awarded the Chancellor's Gold Medal at Cambridge for one of his first pieces, "Timbuctoo". He published his first solo collection of poems, Poems Chiefly Lyrical in 1830. Although decried by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day Return to Lincolnshire and second publication In the spring of 1831, Tennyson's father died, requiring him to leave Cambridge before taking his degree. He returned to the rectory, where he was permitted to live for another six years, and shared responsibility for his widowed mother and the family. Arthur Hallam came to stay with his family during the summer and became engaged to Tennyson's sister. In 1833 Tennyson published his second book of poetry, which included his well-known poem, "The Lady of Shalott". The volume met heavy criticism, which so discouraged Tennyson that he did not publish again for ten years, although he did continue to write. That same year, Hallam died suddenly and unexpectedly after suffering a cerebral haemorrhage while on vacation in Vienna. Hallam's sudden and unexpected death in 1833 had a profound impact on Tennyson, and inspired several masterpieces. After an unwise investment in business ,Tennyson then moved to London. Third publication In 1842 while living modestly in London, Tennyson published two volumes of Poems, of which the first included works already published and the second was made up almost entirely of new poems. They met with immediate success. It was in 1850 that Tennyson reached the pinnacle of
丁尼生和尤利西斯
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诗人简介阿尔弗雷德·丁尼生是英国时代最受欢迎及最具特色的诗人。他的诗歌准确地反映了他那个时代占主导地位的看法及兴趣，这是任何时代的英国诗人都无法比拟的。代表作品为组诗《悼念》。 早期生涯 丁尼生出生于的索姆斯比，在12个兄弟姐妹中排行第4。他的父亲是村庄教区牧师。年轻的丁尼生曾在父亲的图书馆里阅读大量书籍，并在8岁时开始写诗。1827年，和他的兄弟及出版了《两兄弟诗集》，其实这部着作包括了三兄弟的作品。阿尔弗雷德的诗歌趋于平淡，只是单纯模仿偶像拜伦的作品。 1828年丁尼生进入了着名的。1829年他的诗歌《廷巴克图》赢得了校长金牌。他成为一个学生团体“使徒（theApostles）”中的一员，并在这些同伴的鼓舞下于1830年出版了《抒情诗集》。一些评论家喜爱这本书中的《马里亚纳》和其它几首诗歌，但总的说来是持负面评价较多。 1831年丁尼生的父亲去世，丁尼生未取得学位就离开了剑桥大学。第二年他出版了一本小册子，名为《诗歌》，但并未被广泛接受。随笔作家亚瑟·亨利·哈兰姆是丁尼生最亲密的朋友，也是他姐姐的未婚夫于1833年去逝。在痛失密友及作品受到恶评的双重打击之下，丁尼生近10年内未再出版作品。
《诗歌》（两卷本，1842年），赢得了评论家及公众的热烈欢迎。最好的诗歌包括《拍岸曲》（受贺莱姆之死启发而创作）、《亚瑟王之死》及《洛克斯利大厅》。丁尼生的长诗《公主》（1847年）与妇女权益有关，并试图证明女人最大的成就就是幸福的婚姻。（吉尔伯托和苏利文将诗歌改编为滑稽剧《艾达公主》。）丁尼生一些最好的抒情无韵诗篇就来自于以“泪水，空虚的泪水”开篇的那首诗《公主》。后来的版本又加入《轻轻地，柔和地》以及其它几首歌。 晚期生涯 1850年丁尼生的生活发生了三件大事。《悼念》终于付梓，自哈兰姆去世以来，丁尼生一直在创作这部作品。它包括131首短诗，外加一篇序言及后记，是英国文学中最伟大的挽歌之一，也是丁尼生最能经受时间考验的作品。 6月丁尼生娶了艾米莉·塞尔武德（EmilySellwood），同年11月丁尼生继威廉·华兹华斯之后，成为。 丁尼生作为的首部正式作品，是庄严郑重但有点拘谨的《悼惠灵顿公爵之死》（1852年）。1854年创作了《轻骑兵进击》，以纪念英国骑兵在克里米亚战争巴拉克拉瓦战役（Balaklava）中体现出来的英雄气概。《莫德》，是1855年出版的一部长篇独白诗剧，评论家对此颇有微辞。 1853年以后，丁尼生多数时间生活在自己位于法令福德（Farringford）的庄园中，有时会住在自己1868年建在阿尔沃的一所房子里。《莫德》遭到冷遇之后，丁尼生把自己封闭在法令福德，着手
第一讲英美诗歌音步
英美诗歌的音步 第一节音步的定义与种类 音步（foot，也被称为韵步），是由音节(syllable)组成的，因此，首先要了解什么是音节。 音节由音素（phone）构成，它是语音中最小的不可再分解的单位，是字母组合后的读音标记。音素靠听觉辨认，字母靠视觉辨认，音素属于读音系统，字母属于拼写系统。例如，scansion [′sk?n∫зn]由8个字母拼写而成，只有7个音素。英语音素分为元音（vowel）和辅音(consonant)，共有48个。 音节是英语的发音单位，由一个元音或者由一个元音同一个或若干个辅音构成。音节可分为单音节、双音节、多音节三类。 单音节：you，day，me，big，make，bar等。 双音节：begin，open，foolish，summer，mountain等。 多音节：wonderful，revolution，satisfactory等。 辅音也可构成音节，如people，rhythm中的ple和thm都属于一个音节。 每个英语单词都有一个重读音节，其重读音节是固定的。如husband，共两个音节，第一个音节重读；express有两个音节，第二个音节重读；beautiful有三个音节，第一个音节重读；religion有三个音节，第二个音节重读；subterranean有四个音节，第三个音节重读。 在短语或句子中，冠词和介词一般不重读。如在in the morning，on a desk中，in、the、on、a都不重读。 弄清楚什么是音节，就可以理解什么是韵步了。 韵步是一个或两个重读音节和一个或两个非重读音节的排列组合。其类型如下： 韵步类型表
丁尼生和尤利西斯
丁尼生和尤利西斯 SANY GROUP system office room 【SANYUA16H-
诗人简介阿尔弗雷德·丁尼生是英国维多利亚时代最受欢迎及最具特色的诗人。他的诗歌准确地反映了他那个时代占主导地位的看法及兴趣，这是任何时代的英国诗人都无法比拟的。代表作品为组诗《悼念》。 早期生涯 丁尼生出生于林肯郡的索姆斯比，在12个兄弟姐妹中排行第4。他的父亲是村庄教区牧师。年轻的丁尼生曾在父亲的图书馆里阅读大量书籍，并在8岁时开始写诗。1827年，阿尔弗雷德和他的兄弟弗雷德里克及查尔斯出版了《两兄弟诗集》，其实这部着作包括了三兄弟的作品。阿尔弗雷德的诗歌趋于平淡，只是单纯模仿偶像拜伦的作品。 1828年丁尼生进入了着名的剑桥大学。1829年他的诗歌《廷巴克图》赢得了校长金牌。他成为一个学生团体“使徒（theApostles）”中的一员，并在这些同伴的鼓舞下于1830年出版了《抒情诗集》。一些评论家喜爱这本书中的《马里亚纳》和其它几首诗歌，但总的说来是持负面评价较多。 1831年丁尼生的父亲去世，丁尼生未取得学位就离开了剑桥大学。第二年他出版了一本小册子，名为《诗歌》，但并未被广泛接受。随笔作家亚瑟·亨利·哈兰姆是丁尼生最亲密的朋友，也是他姐姐的未婚夫于1833年去逝。在痛失密友及作品受到恶评的双重打击之下，丁尼生近10年内未再出版作品。 《诗歌》（两卷本，1842年），赢得了评论家及公众的热烈欢迎。最好的诗歌包括《拍岸曲》（受贺莱姆之死启发而创作）、《亚瑟王之死》及《洛克斯利大厅》。丁尼生的长诗《公主》（1847年）与妇女权益有关，并试图证明
女人最大的成就就是幸福的婚姻。（吉尔伯托和苏利文将诗歌改编为滑稽剧《艾达公主》。）丁尼生一些最好的抒情无韵诗篇就来自于以“泪水，空虚的泪水”开篇的那首诗《公主》。后来的版本又加入《轻轻地，柔和地》以及其它几首歌。 晚期生涯 1850年丁尼生的生活发生了三件大事。《悼念》终于付梓，自哈兰姆去世以来，丁尼生一直在创作这部作品。它包括131首短诗，外加一篇序言及后记，是英国文学中最伟大的挽歌之一，也是丁尼生最能经受时间考验的作品。 6月丁尼生娶了艾米莉·塞尔武德（EmilySellwood），同年11月丁尼生继威廉·华兹华斯之后，成为桂冠诗人。 丁尼生作为桂冠诗人的首部正式作品，是庄严郑重但有点拘谨的《悼惠灵顿公爵之死》（1852年）。1854年创作了《轻骑兵进击》，以纪念英国骑兵在克里米亚战争巴拉克拉瓦战役（Balaklava）中体现出来的英雄气概。《莫德》，是1855年出版的一部长篇独白诗剧，评论家对此颇有微辞。 1853年以后，丁尼生多数时间生活在自己位于怀特岛法令福德（Farringford）的庄园中，有时会住在自己1868年建在萨里郡阿尔沃的一所房子里。《莫德》遭到冷遇之后，丁尼生把自己封闭在法令福德，着手创作组诗《国王叙事诗》。1859年这一系列的第一部分出版，讲述亚瑟王和他的骑士的第一部分，立即获得成功。 《伊诺克·阿登及其它诗歌》（1864年）中的《伊诺克·阿登》是丁尼生最着名的诗歌之一。其它几部稍为逊色的历史戏剧作品包括《玛丽女王》（1875年）、《哈罗德》（1877年），以及《贝克特》（1879年）。完整版
Alfred Tennyson Ulysses
Alfred Tennyson: Ulysses 丁尼生：《尤利西斯》 译文：何功杰/飞白（根据两者译文，略作调整） It little profits that an idle king, | 这太无谓——当一个闲散的君主 By this still hearth, among these barren crags, | 安居家中，在这个嶙峋的岛国． Match'd with an aged wife, I mete and dole | 我与年老的妻子相匹，颁布着 Unequal laws unto a savage race, | 不公的法律，治理野蛮的种族， That hoard, and sleep, and feed, and know not me. | 他们吃、睡、收藏，而不理解我。 I cannot rest from travel: I will drink | 我不能停歇我的跋涉：我决心 Life to the lees; all times I have enjoy'd | 饮尽生命之杯。我一生都在 Greatly, have suffer'd greatly, both with those | 体验巨大的痛苦、巨大的欢乐， That loved me, and alone; on shore, and when | 有时与爱我的狄伴一起，有时却 Thro' scudding drifts the rainy Hyades | 独自一个；不论在岸上或海上， Vext the dim sea: I am become a name; | 当带来雨季的毕宿星团催动，我已经变成这样一个名字 For always roaming with a hungry heart | 由于我如饥似渴地漂泊不止， Much have I seen and known; cities of men | 我已见识了许多民族的城 And manners, climates, councils, governments, | 及其风气、习俗、枢密院、政府， Myself not least, but honour'd of them all; | 而我在他们之中最负盛名； And drunk delight of battle with my peers, | 我和同僚们共饮战斗的欢欣， Far on the ringing plains of windy Troy, | 在遥远而多风的特洛亚战场， I am a part of all that I have met; | 我自己是我全部经历的一部分； Yet all experience is an arch wherethro' | 而全部经验，也只是一座拱门， Gleams that untravell'd world, whose margin fades | 尚未游历的世界在门外闪光， For ever and for ever when I move. | 而随着我一步一步的前进，它的边界也不断向后退让。How dull it is to pause, to make an end, | 最单调最沉闷的是停留，是终止， To rust unburnish'd, not to shine in use! | 是蒙尘生锈而不在使用中发亮！ As tho' to breathe were life. Life piled on life | 难道说呼吸就能算是生活？ Were all too little, and of one to me | 几次生命堆起来尚嫌太少， Little remains: but every hour is saved | 何况我唯一的生命已余年无多。 From that eternal silence, something more, | 唯有从永恒的沉寂之中抢救 A bringer of new things; and vile it were | 每个小时，让每个小时带来一些新东西，带来一些新事物； For some three suns to store and hoard myself, | 三年来我可耻地把自己封存和储藏起来，And this gray spirit yearning in desire | 可这班白的心灵却迫切地向往 To follow knowledge like a sinking star, | 去追随知识，像那西沉的星星， Beyond the utmost bound of human thought. | 到那人类思想极限以外的地方。 This is my son, mine own Telemachus, | 这是我的儿子忒勒玛科斯， To whom I leave the scepter and the isle—| 我给他留下我的岛国和王杖， Well-loved of me, discerning to fulfil | 他是我所爱的，他有胆有识，
_明显含义_两首短诗对文学教师的_省略_示_孤独的割麦女_与_尤利西斯_丁宏为
国外文学(季刊)2001年第2期(总第82期) /明显含义0 )))两首短诗对文学教师的启示:5孤独的割麦女6与5尤利西斯6 丁宏为 内容提要对文学文本之明显含义(有时是字面含义)的较直接的、感性的和细致的把握有助于我们更好地了解文学思想。此外,较有效的文学教育、解读和批评须顾及作品的意义框架,对整部作品的/不细读0和只重局部的/更细读0都可能是危险的。本文试图通过对两首小诗显见内容的梳理,来温习这一常识性的认识。 关键词文学解读与教育明显含义意义框架 很多时候,某篇诗文之难解,不是因为我们看不见深藏的含义,而是由于不大具备专注于表面内容的能力。后者的确是一种能力,而这样简单的能力往往需要慢慢发展而来。国内大学讲授外国文学的教师时常表现两种倾向:一是过多解释语法含义,并以为这是/细读0;二是急于/深挖0/思想含义0,有时讲授的思想背景和历史背景也算在思想含义之内。然而,这两个重点之间显然还有其他的东西,至少可以说,诗歌作品一般都会有其基本的含义框架,它既不属于语法范畴,又不完全属于思想背景,而是由一些表面的诗语信息或相互牵制、相互对照、相互重复的文本成分组构而成,读者对文本的解读或解构都应该在这个/工作面0上多下功夫。一旦缺乏对这一中间领域的充分把握,文学教师就可能迅速地从语法的一端跨越到背景或/思想0的一端,尤其在近年来新锐批评理论接踵而来的学术环境内,我们更倾向于做这样的跃动。于是,我们常会由于注重语法而显得死板,由于过多的理论发挥而显得任意。当一首诗明明表现出基本的含义倾向时,我们却偏偏看不清最显而易见的东西,而是在演绎过程中用成见削弱它独有的生命力,或在/深挖0中作出肤浅的、俗套的、滥情的论述。 本文所列举的华兹华斯(Willia m Word-sworth)的5孤独的割麦女6(/The Solitary Reap-e r0)和丁尼生(Alfred Lord Tennyson)的5尤利西斯6(/Ulysses0)都属于流行小诗,但它们都要求讲解者更直接地对待其文本,也诱导我们在此基础上做顺理成章的引申,不是仅因为一两行诗句而停留在某种朦胧的感觉上。当然,它们并不能代表所有的诗歌,比如文艺复兴时期的诗歌多用文学常规(convention),有时会排斥我们过多的外在专注力;蒲柏(Alexander Pope)的一些诗多似诗体论文,1要求我们尽快注意讽刺与夸张下面的思想内容;即使华兹华斯的诗歌,那些属于哲理类的也忌讳读者过多地在表面因素上做文章。o但是,与上述两首诗类似的情况也不胜枚举。国内大学常选用的英国诗歌中,小的像济慈的颂歌(如5希腊古瓮颂6)、雪莱 37
丁尼生短诗的44种译本及解析
Of the 43 Chinese versions translated from Tennyson’s poem on pp. 222-226 (old book), which is the most faithful? Which is the most humorous? Which is the most archaic? And which is the most lyrical? What specific translation methods are used in each version? Man for the field and woman for the hearth; Man for the sword and for the needle she. Man with the head and woman with the heart: Man to command and woman to obey - Alfred Tennyson The short and simple poem is highly balanced and symmetrical in both form and effect. Through comparisons between men and women in their works and characters reflect the gender differences. The 44 versions realize the same effect as the original in form., no matter what concrete poetic forms they are, 4-character poems, 6-character poems, 7-character poems, or even 8 character poems. However, as to the conveying of the sense of the poem, the good and bad versions are intermingled. Some are totally random translations while some are relatively better. What’s more, diverse language styles can be found from the 44 versions in addition to diverse forms, some faithful like versions 2 and 17, some humorous like versions 40 and 42, some archaic like versions 8, 15-20 and 36 and some lyrical like versions 8 and 36. And our group has selected four most representative poems of each kind. Most Faithful: 2. 男人耕作女持家， 男人出征女缝衣。 男人用脑女用心， 男人命令女从依。 其中将具体的“f ield”（田地），“hearth”（炉灶），“sword”（剑），“needle”（针）抽象为“耕作”、“持家”、“出征”、“缝衣”，运用了抽象译法。并且采用了转性译法，将“for the field”、“for the hearth”、“for the sword”、“for the needle”、“with the head”和“with the heart”，这些介词短语转换成动词，分别译为“耕作”、“持家”、“出征”、“缝衣”、“用脑”和“用心”。同时“脑”和“心”遵循了对等译法的原则。 最后一句将“command”和“obey”忠实地译为“命令”和“从依”，运用了对等译法。 最幽默：