論《天路歷程》三個漢譯本的譯詩策略與風格

The Strategies and Style of Translating Poetry in Three Chinese Translations of The Pilgrim's Progress

詩歌在《天路歷程》中具有畫龍點睛的警喻作用。在《天路歷程》的漢譯過程中，不同譯者對其詩歌的翻譯採取了多元化的翻譯策略。本文選取具有典型代表性的《天路歷程》三個漢譯本，主要通過分析對比其譯詩的形式特點和翻譯手法，以探討《天路歷程》詩歌獨特的翻譯現象。現代西方翻譯理論家霍姆斯James Holmes）認為詩歌翻譯主要有四種形式：「摹擬式」（mimetic form）、「類比式」（analogical form）、「有機式」（organic form）和「新異式」（deviant 或 extraneous form）。根據霍姆斯的理論， 本文認為賓為霖的文言譯本充分考慮譯入語境，偏重「類比式」翻譯；謝頌羔譯本主要整合運用「類比式」和「有機式」翻譯法，以回應當時中國詩界新舊過渡的多元形式格局；西海譯本緊貼原文內涵和風格，主要採用了「摹擬式」的翻譯策略。《天路歷程》前後三個譯本中詩歌漢譯的流變現象，從側面反映了近百年來中國詩體演變的大致脈絡，也為中國近代詩歌翻譯史研究提供了一個具有文獻參考價值的特殊個案。

By performing important artistic and moral functions, the poems in The Pilgrim's Progress add the touch that brings the allegorical novel to life. In the long history of its Chinese translation dated back to the mid-nineteenth century, different translators attempt many and varied strategies and style of translating thepoems in the literary classic. Through a critical examination of three representativetranslations, this article analyzes the special phenomena of poetry translation, especially the choice of poetic forms, rhyming patterns and so forth. According to James Holmes, a leading translation theorist, there are four majorforms of poetry translation: mimetic form, analogical form, organic form, and deviant or extraneous form. Based on Holmes' theory, I propose that William C. Burns' translation in the 1850s mainly adopts the analogical form by taking into full consideration of the poetic traditions of the target culture. Meanwhile,Xie Songgao's translation in the 1930s integrates the analogical and organicforms, which reflects the pluralistic landscape during the transition period of the Chinese poetic circles in the early twentieth century. Principally employing the mimetic form, Xi Hai's translation in the 1980s makes efforts to reproduce the forms and poetics of the original texts. By investigating the evolution of thestrategies and style as shown in these three translations, the current case study displays the major trends of development of poetic forms, and more importantly, substantiates our understanding of the history of poetry translation in modern China.