荷塘月色 三个英译版本之比较
关于《荷塘月色》三个英译本的赏析
杨冬
常熟理工学院外国语学院
朱自清以及《荷塘月色》的介绍
1921年4月12日，蒋介石为了反共产党，在上海制造了四一二惨案，白色恐怖笼罩着中国大地。鲁迅，钱玄同，胡适等知识分子陷入了苦闷彷徨中。朱自清也是其中之一。作为一名知识分子，他对现实非常不满但又无可奈何，不免陷入了无限的哀愁，彷徨中。一个仲夏之夜，他闲步荷塘，为美景所吸引，暂时忘记了现实。在这样的情况下，作者写下了寓情于景，情景交融的《荷塘月色》，记下了那时的超然于挣扎的矛盾心理。文章读起来能感觉到一种非常怡然自得的心境，当时就觉得是一种享受。朱自清先生一直认为，散文就应该是画，是“以文字作画”，而《荷塘月色》就是“用文字作画”的范本，朱自清先生写的语言充满韵律美和画面美，令人心旷神怡。因此，想要很好地诠释这篇散文，译文需要能再现原文的艺术美感，这是个巨大的挑战。
三个英译本的介绍
第一个译本由朱纯生先生翻译，他十分传神地传达了原文的美感，并在译本中选用了贴切的词语。第二个译本由杨宪益与戴乃迭完成。他们的翻译主要有以下的特征：首先是翻译的语言较为忠实于原文，。其次，由于中西文化相结合，译文语言洋味，他们的审美思想在《荷
塘月色》中很好的体现出来了。第三个译本是李明先生翻译的，也是最新版本，但相较前两位译者，实力相去甚远。
文章美在何处？
一、文中叠词的大量运用
在原文中，叠词的使用使得原文在声音，夜景等方面展现了多重艺术美感，这也是本文“美”之处。对于叠词我们并不陌生，因为我们时常能在现代文学作品中看到叠词的使用，它能使语言更加生动形象，更具音律之美等。因此，《荷塘月色》之所以成为美文，大量叠音词的使用起到了推波助澜的作用，这也是该文的一大语言特色。但是在英语作品中，叠词的使用却是极为罕见的，也难以翻译。这使得中文中的叠词翻译成为英文，挑战倍增。在本文的英译本中，朱纯生使用形容词或副词而不用叠词，效果有目共睹，相较其杨宪益与李明效果更好。
比如：
1 曲曲折折的荷塘上面
All over the winding stretch of water
The pool with it’s winding margin
All over the pond with its winding margin
2 送来缕缕清香
Sending over breaths of fragrance
Waft breaths of fragrance
Carry past gusts of fragrance
3 脉脉的流水，
Exquisite water
Softly running water
Rippling water
4 峭楞楞如鬼一般
Like an army of ghosts
Dark forms loomed like devils
Look gloomy and ghost-like
头韵法如：树色一例是阴阴的，树梢上隐隐约约的是一带远山，只有些大意罢了The shadowy shapes of the leafage，Over the trees appear some distant mountains，but merely in sketchy silhouette.
在翻译时朱先生采取了多种方法翻译这些叠音词，尽量保留了这些叠音词带给读者的美感。杨宪益和李明没有这么写。
类韵法如：层层的叶子中间，零星地点缀着些白花
朱纯生：Here and there layers of leaves are dotted with white lotus blossoms.
用押韵的方式活灵活现的译出了原文的叠词，很好的表达出原文的情感色彩。这样也使译文更具可读性。杨宪益和李明没有这么写。
二，修辞手法的运用
修辞手法，如比喻（明喻与暗喻），通感的手法能够为文章亮色，达到深化文章内涵的效果。在这里我选择把描写夜色最为撩人的第4段作为例子进行分析。
明喻及通感
“微风过去送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。”
朱纯生：“A breeze stirs，sending over breaths of fragrance，like faint singing drifting from a distant building。
杨、戴：“The breeze carried past gusts of fragrance，like the strains of a song faintly heard from a far-off tower．”
李明：“When a breeze passes，it wafts breaths of fragrance，which are like faint singing drifting from a far-away building．’’
此处用了通感的手法，缕缕清香比喻渺茫的歌声以此使得人们觉得到池塘的美。三个英译文均采用了明喻以取代通感。他们通过嗅觉和听觉来表达基本的效果。
选择不同结构的句子和不同的词语都会使翻译效果不同，朱纯生运用了大量富有美感的比喻、拟人的手法，十分具有表现力并恰当选用了一些符和国人表达习惯的方式，再现了原文的鲜活意象。
新颖的通感修辞手法为《荷塘月色》的语言之美，朱先生的译文也调动了读者的“通感”心理，引人入胜，在想象中感受文中景色音乐般
的美，取得了与原文类似的效果，让译文读者能够领悟到原文作者笔下的美景，达到了化境。其他两位或多或少都有借鉴朱纯生的翻译，但译文依旧没有朱先生的潇洒与美妙。
三，文中平行结构的运用
《荷塘月色》的第三大语言特色就是频频使用平行结构。使用平行结构，可以让读者读到抑扬顿挫，顺口悦耳，具有节奏的美感。
朱纯深先生的译文中也很好的采用了类似的平行结构，表现出了原文的对称美和均衡美。
比如这一句：我爱热闹，也爱冷静；爱群居，也爱独处。
朱先生将其译为I like a serene and peaceful life，as much as a busy and active one；I like being solitude，as much as in company．
杨、戴：I like both excitement and stillness.
李明：I enjoy a tranquil life as well as a bustling one;
I enjoy being in solitude as well as being in company.
原文是典型的平行结构，在朱纯生和李明的译文中也得到了很好体现，译文用的是地道的英语平行结构，将原文中作者追求安宁、幸福、美好生活的强烈愿望很好的再现了出来。杨、戴的明显简化了这一概念。
再比如：层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，又如碧天里的星星，
又如刚出浴的美人。
朱纯生译为：Here and there，layers of leaves are dotted with white lotus blossoms，some in demure bloom，others in shy bud，like scattering pearls，or twinkling stars，or beauties just out of the bath.
杨、戴：And starring these tiers of leaves were white lotus flowers, alluringly open or bashfully in bud, like glimmering pearls, stars in an azure sky, or beauties fresh from the bath.
李明：Upon layers of leaves are dotted with white lotus flowers, some blooming gracefully while others budding bashfully. They are just like pearls shining bright, or stars twinkling high in an azure sky. They are also like fair ladies coming fresh out of a bath.
朱纯生先生的译文保留了原文的句式，生动、形象地向我们展现了荷花不同的风姿，把荷花的种种美感淋漓尽致的展现在读者面前，而且读起来有力，均衡美十足，给人一种回味无穷的美感，李明先生的译文在借鉴的多，自己写的they are 小短句效果也不是很好。
四个人小结
通过对三人的译文的比较，我觉得朱纯深先生翻译的译本是最忠实原文。选词恰到好处并使用了多种高超的翻译技巧，句子结构和修辞。
很好的把握了作者细腻的感情，使译文同时具有很强的艺术美感和可读性，我想朱纯生这篇译文几乎符合了“三美说”之音美，形美，意美的特点，值得我们多多深入研究学习，提升自己的翻译水平。
杨宪益夫妇翻译的第二个译本融合了中西方文化，基本再现了散文的神和美，尤其是容易被散文忽略的细节。这表现了译者对原文恰到好处的理解力。由李明翻译的第四个译本中是最新的。因此，
在这个译本中借鉴方面比较多，使得其中的一些词语用方式的与其他两个译本一样。但我感觉由此也使得自己的译文风格不是特别明显。
而朱纯深先生的译文则使原文内容和形式方面达到了“化境”，既保留了散文的形式，又很好的把握了作者了细腻的感情，从而使译文同时具有很强的艺术美感。钱钟书先生给这篇译文的评价是：没有因“不同语言习惯的差异而露出生硬牵强的痕迹，感觉读起来在读原汁原味的写景状物的英语散文”。由此可知朱纯生先生译本的可读性和艺术美感。译文的语言使用适当、得体。词汇运用具有灵活性并能充分表达出原文的韵味。译文中的遣词造句力求传达原文的形象美和音乐美,力图从整体效果上追求原文所传达的意境.赏析片段,见微知著,从原文的部分段落及其译文的对比中我们可以看出译者字斟句酌,遣词造句，选择了常见且富于表现力的难度性较大的词语，
运了各种翻译技巧、句子结构及修辞手法,再现了原文的神韵。
荷塘月色-朱自清-(中英文-译文)
荷塘月色 朱自清 这几天心里颇不宁静。今晚在院子里坐着乘凉，忽然想起日日走过的荷塘，在这满月的光里，总该另有一番样子吧。月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻子在屋里拍着润儿，迷迷糊糊地哼着眠歌。我悄悄地披了大衫，带上门出去。 Moonlight over the Lotus Pond It has been rather disquieting these days. Tonight , when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by every day, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the room, my wife was patting the son, Run-er, sleepily humming a cradle song. Shrugging on an overcoat, quietly, I made my way out, closing the door behind me. The Moonlit Lotus Pond These past few days I have been exceedingly restless. This evening, as I sat in my courtyard enjoying the cool night air, I suddenly thought of the lotus pong along which I was used to taking daily walks, and I imagined that it must look quite different under the light of this full moon. Slowly the moon climbed in the sky, and beyond the wall the laughter of children playing on the road could no longer be heard. My wife was inside patting Runer (The name of one of the author’s children) as she hummed a faint lullaby. I gently threw a wrap over my shoulders and walked out, closing the gate behind me. 沿着荷塘，是一条曲折的小煤霄路。这是一条幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，长着许多树，蓊蓊郁郁的。路的一旁，是些柳，和一些不知道名字的树。没有月光的晚上，这路上阴森森的，有些怕人。今晚却很好，虽然月光也还是淡淡的。 Alongside the Lotus Pond runs a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks more solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some others whose names I do not know the foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, greyish veil. Bordering the pond is a meandering little cinder path. It is a secluded path; during the day few people use it, and at night it is even lonelier. There are great numbers of trees growing on all sides of the lotus pond,
《荷塘月色》英译文赏析
《荷塘月色》两译文赏析 散文翻译原则 ●1、文气贯通,气韵生动 ●英国散文翻译家 Hilaire Belloc(希莱尔·贝洛克)为文学散文翻译制定了6 条原 则，认为翻译的本质是异地之魂假借本地之躯的复活 (The essence of translating is the resurrection of an alien thing in a native body) ,强调散文的翻译不能拘泥于原文之字句,要视段落或部分为整体。翻译要“以意译意( translate intention by intention) ” ●2、传神写照———“意,气,文”三位一体 ●在散文翻译中,我们要想译得曲尽其妙,须得传神地摹写作者的气质神韵。每一个 作者有每一个的个性特点、气质精神,着手翻译之前,要先对作者进行深入的研究,把握其时代背景、人生经历、创作风格等,这样的翻译方能做到传神达意,否则,难免貌合神离。 ●PS：文学翻译非文字翻译 ●文学翻译，讲求整体效果，即“神韵”。有些表面忠实的译文，失去了散文的文采、 文雅，这样便失去了自身的价值，终究是失败的译文。 “美”是散文翻译的重点。 美感层面 ●Alongside the Lotus Pond runs a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks more solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some others whose names I do not know. The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, greyish veil. （朱纯深译文） ●动感美：run、frequent、interlace、loom ●韵味美：peaceful、secluded、solitary、lush、shady ●比喻手法：…a thin, greyish veil . 美感层面 ●All over this winding stretch of water, what meets the eye is a silken field of leaves, reaching rather high above the surface, like the skirts of dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud, like scattering pearls, or twinkling stars, or beauties just out of the bath. A breeze stirs, sending over breaths of fragrance, like faint singing drifting from a distant building. At this moment, a tiny thrill shoots through the leaves and flowers, like a streak of lightning, straight across the forest of lotuses. The leaves, which have been standing shoulder to shoulder, are caught trembling in an emerald heave of the pond. Underneath, the exquisite water is covered from view, and none can tell its colour; yet the leaves on top project themselves all the more attractively.（朱纯深译文） ●音韵效果 (节奏美）： ● stirs---sending---singing； ● breeze---breaths---building；
《荷塘月色》的两个英译版本的比较研究
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《荷塘月色》三个英译本的对比赏析
《荷塘月色》三个英译本的对比赏析 摘要：翻译的历史十分悠久，许多学者也提出了不少翻译的原则与标准，如奈 达的功能对等理论等。纽马克也曾说过: “翻译批评是将翻译理论和翻译实践连接 在一起的一个重要环节”。而针对不同译本的对比研究正是翻译批评的一种。朱自清的《荷塘月色》是中文散文作品中不可多得的佳作之一，许多译者对此文章喜 爱有加，并进行了翻译，如朱纯深、王椒升、杨宪益和戴乃迭夫妇等。本文就以 奈达的功能对等理论为指导，以朱纯深翻译的译本、杨宪益和戴乃迭夫妇翻译的 译本和李明翻译的译本为研究对象，对比分析三个译本的翻译技巧和表达效果， 从而对各自译本的精妙和不足之处进行批评式鉴赏。 关键词：《荷塘月色》；散文翻译；功能对等；对比赏析 一、功能对等理论 功能对等理论是由美国著名的语言学家、翻译家、翻译理论家尤金·奈达提出的。奈达认为，翻译即是交际，对于翻译的评价不能仅仅停留在词汇、语法或修 辞的对应上面，重要的是接受者准确理解和欣赏译文的程度。 二、散文的特色及其翻译 散文的三大特色为“真” “情” “美”。散文的翻译如何做到“真、情、美”的再现呢? 朱纯深，杨宪益戴乃迭，李明的的译作再现了《荷塘月色》的神美、形美、 意境美，堪称经典译作。文章依据原文的特色，以功能对等理论对三个译本当中 的具有代表性的例句进行赏析，看着三个译本是如何将原文的美展现出来的。 例1. 原文：没有月光的晚上，这路上阴森森的，有些怕人。今晚却很好，虽 然月光也还是淡淡的。 朱译：The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, grayish veil. 杨、戴译： On nights when there is no moon the track is almost terrifyingly dark, but tonight it was quite clear, though the moonlight was pale. 李译：On a moonless night, it is somewhat somber here, looking rather forbidding. But it has a cheerful outlook tonight, though the moonlight is in a thin, whitish veil. 英语造句离不开连词，而在英汉互译过程中，汉语则很少或不用这类词。这 三个译文文本中都译出了表示转折关系的连接词“虽然”，原文风格得以完美体现。 例2. 原文: 妻在屋里拍着润儿，迷迷糊糊地哼着眠歌。 朱译：...in the room, my wife was patting our son, Run’er, slee pily humming a cradle song. 杨、戴译：...and my wife was in the house patting Run’er and humming a lullaby to him. 李译：Inside our home, my wife was patting our son - Run’er, sleepily humming a cradle song. 通过对比分析，这三个译本在用词和结构上大致相同，而李的和朱译本中humming前有sleepily，这一词恰恰生动的传递出妻子睡意正浓，迷迷糊糊、半 睡半醒的状态，而杨戴的译本漏掉了迷迷糊糊。 例3. 原文：荷塘的四面，远远近近，高高低低都是树，而杨柳最多。 朱译：Around the pond, far and near, high and low, are trees. Most of them are willows.
荷塘月色 三个英译版本之比较
关于《荷塘月色》三个英译本的赏析 杨冬 常熟理工学院外国语学院 朱自清以及《荷塘月色》的介绍 1921年4月12日，蒋介石为了反共产党，在上海制造了四一二惨案，白色恐怖笼罩着中国大地。鲁迅，钱玄同，胡适等知识分子陷入了苦闷彷徨中。朱自清也是其中之一。作为一名知识分子，他对现实非常不满但又无可奈何，不免陷入了无限的哀愁，彷徨中。一个仲夏之夜，他闲步荷塘，为美景所吸引，暂时忘记了现实。在这样的情况下，作者写下了寓情于景，情景交融的《荷塘月色》，记下了那时的超然于挣扎的矛盾心理。文章读起来能感觉到一种非常怡然自得的心境，当时就觉得是一种享受。朱自清先生一直认为，散文就应该是画，是“以文字作画”，而《荷塘月色》就是“用文字作画”的范本，朱自清先生写的语言充满韵律美和画面美，令人心旷神怡。因此，想要很好地诠释这篇散文，译文需要能再现原文的艺术美感，这是个巨大的挑战。 三个英译本的介绍 第一个译本由朱纯生先生翻译，他十分传神地传达了原文的美感，并在译本中选用了贴切的词语。第二个译本由杨宪益与戴乃迭完成。他们的翻译主要有以下的特征：首先是翻译的语言较为忠实于原文，。其次，由于中西文化相结合，译文语言洋味，他们的审美思想在《荷
塘月色》中很好的体现出来了。第三个译本是李明先生翻译的，也是最新版本，但相较前两位译者，实力相去甚远。 文章美在何处？ 一、文中叠词的大量运用 在原文中，叠词的使用使得原文在声音，夜景等方面展现了多重艺术美感，这也是本文“美”之处。对于叠词我们并不陌生，因为我们时常能在现代文学作品中看到叠词的使用，它能使语言更加生动形象，更具音律之美等。因此，《荷塘月色》之所以成为美文，大量叠音词的使用起到了推波助澜的作用，这也是该文的一大语言特色。但是在英语作品中，叠词的使用却是极为罕见的，也难以翻译。这使得中文中的叠词翻译成为英文，挑战倍增。在本文的英译本中，朱纯生使用形容词或副词而不用叠词，效果有目共睹，相较其杨宪益与李明效果更好。 比如： 1 曲曲折折的荷塘上面 All over the winding stretch of water The pool with it’s winding margin All over the pond with its winding margin 2 送来缕缕清香 Sending over breaths of fragrance Waft breaths of fragrance Carry past gusts of fragrance
5. 《荷塘月色》片段(翻译)
《荷塘月色》片段 朱自清 曲曲折折的荷塘上面，弥望的是田田的叶子。叶子出水很高，像亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，又如碧天里的星星，又如刚出浴的美人。微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。这时候叶子与花也有一丝的颤动，像闪电般，霎时传过荷塘的那边去了。叶子本是肩并肩密密地挨着，这便宛然有了一道凝碧的波痕。叶子底下是脉脉的流水，遮住了，不能见一些颜色；而叶子却更见风致了。 月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。虽然是满月，天上却有一层淡淡的云，所以不能朗照；但我以为这恰是到了好处——酣眠固不可少，小睡也别有风味的。月光是隔了树照过来的，高处丛生的灌木，落下参差的斑驳的黑影；弯弯的杨柳的稀疏的倩影，像是画在荷叶上。塘中的月色并不均匀；但光与影有着和谐的旋律，如梵婀玲上奏着的名曲。 荷塘的四面，远远近近，高高低低，都是树，而杨柳最多。这些树将一片荷塘重重围住；只在小路一旁，漏着几段空隙，像是特为月光留下的。树色一例是阴阴的，乍看像一团烟雾；但杨柳的丰姿，便在烟雾里也得出。树梢上隐隐约约的是一带远山，只有些大意罢了。树缝里也漏着一两点路灯光，没精打彩的，是瞌睡人的眼。这时候最热闹的，要数树上的蝉声与水里的蛙声；但热闹是他们的，我什么也没有。 Upon the winding lotus pond, continuous and countless leaves come into sight. The leaves are high above water like gracious dancing girl’s dress. On the different layers of leaves scatter white flowers as ornament, some in bloom, some in shy bud, like some beads of blinking pearls, or twinkling stars in blue sky or beauties just out of bath. A breeze blowing, sends continuous fresh fragrance as vague singing from distant tall building. Just then, leaves and flowers get a quiver, like a streak of lightning, across to the other side of lotus pond. It causes a long green trace among the leaves which have been standing shoulder to shoulder. Beneath the leaves are murmuring water which is covered and unable to tell its color. However, leaves on op reveal more charm. As flowing water, moonlight spreads on this piece of leaves and flowers. Green mist rises from the lotus pond. The leaves and flowers seem just been washed in milk, or resemble veiled dreams. In spite of a full moon, light clouds flout in the sky, which refuse to give bright light. However, it is right for me—a sound sleep is indispensable, yet a nap has its own favor. The moon is beaming through clustered bush in the high position, casting uneven and motley shadow; while hooked willow leaves sparse beautiful shape as it is drawn on the lotus leaves. The moonlight is not well-distributed, however, it possesses harmonious melody with shade, like a famous song played on a violin. Four sides of the lotus pond, far to near, high to low, are all trees. Most of them are willows. These trees surround the lotus pond row by row, only beside the road leaving a few sections of gaps which is specially reserved for the moon. The trees seem a cloud of fog at first sight, as their color is dim with no exception. However,
荷塘月色-三个译文
荷塘月色---译文对比(三种英译文） 朱自清 这几天心里颇不宁静。今晚在院子里坐着乘凉，忽然想起日日走过的荷塘，在这满月的光里，总该另有一番样子吧。月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻在屋里拍着闰儿，迷迷糊糊地哼着眠歌。我悄悄地披了大衫，带上门出去。 沿着荷塘，是一条曲折的小煤屑路。这是一条幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，长着许多树，蓊蓊郁郁的。路的一旁，是些杨柳，和一些不知道名字的树。没有月亮的晚上，这路上阴森森的，有些怕人。今晚却很好。虽然月光也还是淡淡的。 曲曲折折的荷塘上面，弥望的是田田的叶子。叶子出水很高，像亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，又如碧天里的星星，又如刚出浴的美人。微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。这时候叶子与花也有一丝的颤动，像闪电般，霎时传过荷塘的那边去了。叶子本是肩并肩密密地挨着，这便宛然有了一道凝碧的波痕。叶子底下是脉脉的流水，遮住了，不能见一些颜色；而叶子却更见风致了。 月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。虽然是满月，天上却有一层淡淡的云，所以不能朗照；但我以为这恰是到了好处——酣眠固不可少，小睡也别有风味的。月光是隔了树照过来的，高处丛生的灌木，落上参差的斑驳的黑影，峭楞楞如鬼一般；弯弯的杨柳的稀疏的倩影，像是画在荷叶上。塘中的月色并不均匀；但光与影有着和谐的旋律，如梵婀玲上奏着的名曲。荷塘的四面，远远近近，高高低低都是树,而杨柳最多。这些树将一片荷塘重重围住;只在小路一旁,漏着几段空隙,像是特为月光留下的,树色一例是阴阴的,乍看像一团烟雾;但杨柳的丰姿，便在烟雾里也辨得出。树梢上隐隐约约的是一带远山，只有些大意罢了。树缝里也漏着一两点路灯光，没精打采的，是瞌睡人的眼。这时候最热闹的，要数树上的蝉声与水里的蛙声，但热闹是他们的，我什么也没有。 忽然想起采莲的事情来了。采莲是江南的旧俗，似乎很早就有，而六朝时为盛；从诗歌里可以约略知道。于是又记起《西洲曲》里的句子： 采莲南塘秋， 莲花过人头； 低头弄莲子， 莲子青如水。 今晚若有采莲人，这儿的莲花也算得“过人头”了；只不见一些流水的影子，是不行的。这令我到底惦着江南了。——这样想着，猛一抬头，不觉已是自己的门前；轻轻地推门进去，什么声息也没有，妻已睡熟好久了。 朱纯深译文 I have felt quite upset recently. Tonight, when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by everyday, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the room, my wife was patting the son, Run-er, sleepily humming a
荷塘月色 翻译
Moonlight over the Lotus Pond 这几天心里颇不宁睁。今晚在院子里坐着乘凉，忽然想起日日走过的荷塘，在这满月的光里，总该另有一番样子吧。月亮渐渐地升高了，墙外马路上孩子们的欢笑，已经听不见了；妻在屋里拍着闰儿，迷迷糊糊地哼着眠歌。我悄悄地披了大衫，带上门出去。 It has been rather disquieting these days. Tonight, when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by every day, must assume quite a different look in such moonlight. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the morn, my wife was patting the son, Run-er, sleepily humming a cradle song. Shrugging on an overcoat, quietly, I made my way out, closing the door behind me. 沿着荷塘是一条曲折的小煤屑路。这是一条幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，长着许多树，翁翁郁郁的。路的一旁，是些杨柳，和一些不知道名字的树。没有月光的晚上，这路上阴森森的，有些怕人。今晚却很好，虽然月光也还是淡淡的。 Alongside the Lotus Pond runs a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks mare solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some other whose names I do not know. The foliage, which, in a moonless night, would loom somewhat frighteningly dark, looks very nice tonight, although the moonlight is not more than a thin, grayish veil. 路上只我一个人，背着手踱着。这一片天地好像是我的；我也像超出了平常的自己，到了另一世界里。我爱热闹，也爱冷静；爱群居，也爱独处。像今晚上，一个人在这苍茫的月下，什么都可以想，什么都可以不想，便觉是个自由的人。白天里一定要做的事，一定要说的话，现在都可不理。这是独处的妙处；我且受用这无边的荷香月色好了。 I am on my own, strolling, hands behind my back. This bit of the universe seems in my possession now; and I myself seem to have been uplifted from my ordinary self into another world. I like a serene and peaceful life, as much as a busy and active one; I like being in solitude, as much as in company. As it is tonight, basking in a misty moonshine all by myself, I feel I am a free man, free to think of anything, or of nothing. All that one is obliged to do, or to say, in the daytime, can be very well cast aside now. That is the beauty of being alone. For the moment, just let me indulge in this profusion of moonlight and lotus fragrance. 曲曲折折的荷塘上面，弥望的是田田的叶子。叶子出水很高，像亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的；正如一粒粒的明珠，又如碧天里的星星，又如刚出浴的美人。微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。这时候叶子与花也有一丝的颇动，像闪电般。霎时传过荷塘的那边去了。
荷塘月色英译本对比
学期论文 论文题目：对比《荷塘月色》两个英文译本作者所在系部：外语系 作者所在专业：英语 作者所在班级：班 作者姓名： 作者学号： 指导教师姓名： 完成时间：2013年5月
A Comparative Study of Two English Versions of Moonlight Over the Lotus Pond b y Thesis Advisor: Submitted to the https://www.360docs.net/doc/769764462.html,mittee in partial fulfillment of The requirements of the Degree of Bachelor of Arts in the Foreign Languages Department of North China Institute of Aerospace and Engineering. 摘要 这篇论文的主要目的是研究关于《荷塘月色》两个经典英译本的异同对比,
分别是朱纯深先生及王淑升先生的佳作。我们可以从修辞手法、叠词等不同角度进行对比。通过这些方面去分析，此论文旨在通过指出一些细节来谈论两位词汇使用的优劣与翻译技巧的运用。并且，简述王淑升翻译版本的忠实原文却略显机械化，而朱纯深翻译版本翻译灵活却不甚忠于原文的这一观点。 关键词：对比叠音词修辞手法
Abstract The overall objective of this paper is to study the two classical English versions of Moonlight over the Lotus Pond,which comes from Wang Shusheng and Zhu Chunshen,we should compare them from different angles,such as the translation of rhetorical devices,reduplicated words,ancient poems,etc.By analyzing these aspects, this paper aims to discuss the advantages and disadvantages of the usage of words through some details will be pointed out,as well as the translation techniques applied in each work.And state briefly what Wang did well in being loyal to the original,but with stiffness.While Zhu translated flexible but not truly obey the original. Key words:contrast reduplicated words rhetorical devices
荷塘月色(译文赏析)-个人赏析标记版
1.不经意间的回忆想起，也可谓心血来潮，经由occur，表现出来；荷塘另一幅景象的表现方式由assume生动阐述 —---呈现，这只是作者的猜测，且具有客观性； 2.“披上”这一动作，作者使用shrug-----耸耸肩将大衣披挂在肩上这一慵懒随意的细枝末节生动地表现了出来； 沿着荷塘是一条曲折的小煤屑路。这是一条幽僻的路；白天也少人走，夜晚更加寂寞。荷塘四面，长着许多树，翁翁郁郁的。路的一旁，是些杨柳，和一些不知道名字的树。没有月光的晚上，这路上阴森森的，有些怕人。今晚却很好，虽然月光也还是淡淡的。
5.该段经典描写，译者出神入化地使用多样化的修饰限定方式（多种介词，多种句式-定语，倒置等）生动传神准确 的描述了原文所传达的情景，可谓信达雅的精美结合；
6.本段有较多的动态化静物描写，疑问准确地使用相应关键动词如shed, bath, wrap, shine, stream, cast, jag, checker, droop, lank等，在动词之中已经含有拟物拟人化的涵义，静中有动，动中育静； 荷塘的四面，远远近近，高高低低都是树，7几而杨柳最多。这些树将一片荷塘重重围住；只在小路一旁，漏着几段空隙，像是特为月光留下的。树色一例是阴阴的，乍看像一团烟雾;但杨柳的丰姿，便在烟雾里也辨得出。树梢上隐隐约约的是一带远山，只有些大意罢了。树缝里也漏着一两点路灯光，没精打采的，是渴睡人的眼。这时候最热闹的，要数树上的蝉声与水里的蛙声；但热闹是它们的，我什么也没有。 Around the pond, far anti near, high and low, are trees.7 Most of them are willows. Only on the path side, can taro or three gap; he seen through the heavy fringe, as if specially reserved for the moon. The shadowy shapes of the leafage at first sight seem diffused into a mass of mist, against which, however, the charm of those willow trees is still discernible. Over the trees appear some distant mountains, but merely in sketchy silhouette. Through the branches are also a couple of lamps, as listless as sleepy eyes. The most lively creatures here, for the moment, must he the cicadas in the trees and the frogs in the pond. But the liveliness is theirs, I have nothing.
荷塘月色英文翻译
《荷塘月色》英文翻译 译文一（朱纯深译）（原载1927年7月10日《小说月报》第18卷第7期）Moonlight over the Lotus Pond I have felt quite upset recently, Tonight, when I was sitting in the yard enjoying the cool, it occurred to me that the Lotus Pond, which I pass by everyday, must assume quite a different look in such moonlit night. A full moon was rising high in the sky; the laughter of children playing outside had died away; in the room, my wife was patting the son, Run-er, sleepily hum ming a cradle song. Shrugging on an overcoat, quietly, I made my way out, closing the door behind me. Alongside the Lotus Pond runs a small cinder footpath. It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks more solitary, in a lush, shady ambience of trees all around the pond. On the side where the path is, there are willows, interlaced with some oth ers whose names I do not know. The foliage, which, in a moon- less night, would loom somewhat frighteningly dark, looks very nice tonight,although the moonlight is not more than a thin, greyish veil. I am on my own. strolling. hands behind my back. This bit of the universe seems in my possession now; and I myself seem to have been uplifted from my ordinary self into another world, I like a serene and peaceful life, as much as a busy and active one; I like being in solitude, as much as in company. As it is tonight, basking in a misty moonshine all by myself. I feel I am a free man, free to think of anything, or of nothing. All that one is obliged to do. or to say, in the daytime, can be very well cast a side now. That is the beauty of being alone. For the moment, just let me indulge in this profusion of moonlight and lotus fra- grance. All over this winding stretch of water, what meets the eye is a silken field of leaves, reaching rather high above the surface. like the skirts ef dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud, like scattering pearls, or twinlking stars, our beauties just out of the bath. A breeze stirs, sending over breaths of fragrance, like faint singing drift- ing from a distant building. At this moment, a tiny thrill shoots through the leaves and flowers, like a streak of lightning, straight across thc forest of lotuses. The leaves, which have been standing shoulder to shoulder, are caught trembling in an e merald heave of the pond. Underneath, the exquisite water is covered from view. and none can tell its colour; yet the leaves on top project themselves all the more attractively. The moon sheds her liquid light silently over the leaves and flowers, which, in the floating transparency of a bluish haze from the pond, look as if they had just been bathed in milk, or like a dream wrapped in a gauzy hood. Although it is a full moon, shining through a film of clouds, the light is not at its brightest; it