宋詞英譯中江南文化翻譯策略

尚曉進 顧怡燕

[摘 要] 江南是風景美麗，繁華的地方，是人間的天堂。它有那么多的美麗醉人的神話、傳說和故事。文章主要應用許淵沖先生的三美策略，從花草樹木、水、山、歌伎舞女和酒五個不同方面展示宋詞中江南文化的翻譯策略。

[關鍵詞] 宋詞;文化;翻譯

[中圖分類號]H315.9 [文獻標志碼]A

古代，江南包括江浙在內(nèi)的較大的地區(qū)，不一定指長江之南，它可以在長江東南，長江下游。只要離長江不遠，美麗繁華的地區(qū)，都可稱為江南。這與現(xiàn)在的長三角大致相似。比如揚州，位置在江北，但是很像江南，在宋詞當中均稱為江南。柳永的《望海潮》：“東南形勝，三吳都會，錢塘自古豪華”，此杭州之繁華也。杜牧的“春風十里揚州路”，此揚州之美麗和繁華也。宋詞用曲調(diào)吟唱，其中有九個與江南有關的曲調(diào)：《夢江南》《望江南》《憶江南》《望江東》《江南春》《揚州慢》《醉桃園》《桃園憶故人》《惜瓊花》。宋詞在當時，特別在江南的傳唱是空前的。無論在城市還是鄉(xiāng)村，“凡有井水飲處皆能歌柳詞”。

展示古詩詞曲中江南文化的策略是嚴復的信、達、雅。信是忠實，達是通順，雅是給人美觀。嚴復提出的信、達、雅已有百年;信與達廣為接受，雅有分歧。有的認為應取消雅，有的認為應對雅作不同的解釋。對于古詩詞曲的翻譯來說，雅既不能取消，也不能作其他解釋。它是必須有的。因為與現(xiàn)代語言相比，古詩詞曲在意義方面，句子結(jié)構(gòu)方面，音韻方面都是雅的，甚至是很雅的。當然，是美的，甚至是很美的[1]33。

許淵沖先生提出了三美策略。他說：“盡量要保存原文的意美、音美、形美。所謂意美，就是不但要譯原文的表層形式，還更要譯文深層內(nèi)容，甚至言外之意。如果原文的內(nèi)容和形式統(tǒng)一，那翻譯比較容易;如果內(nèi)容和形式有矛盾，那只好舍形式而取內(nèi)容;如果原文的形式可以包括幾種不同的內(nèi)容。那就要選擇最美的一種，所以說是意美。其次，所謂音美，是要盡可能傳達原文的音韻節(jié)奏，雙聲疊韻。原文押韻，譯文要盡可能押韻;原文有平仄，譯文可以改為輕重音;原文多用雙聲詞，譯文也可以用雙聲詞。最后，所謂形美，包括句行的長短，句間的對仗，詞句的重復等?！比乐v得完整，具體?？勺鳛榉g的一面鏡子，時時照看。

江南可譯為south of the Yangtze River，或south of the Yangtze，或southern lands，或south of the low reaches of the Yangtze，或southeast of the Yangtze。筆者從五個方面分析翻譯的策略。

一、花草樹木

（一）擬人

擬人分為六種：對話、動作、陳述、自述、心理和綜合。將花草樹木視為人是最常用的方法。擬人辭格可以使一切沒有生命的東西活起來，而且賦與它們似人的思想感情。如蔣捷的《梅花引》：“白鷗問我泊孤舟，是身留，是心留？心若留時，何事鎖眉頭？是對話?！?/p>

例1：寇準《江南春》

波渺渺，柳依依。孤村芳草遠，斜日杏花飛。江南春盡離腸斷，滿汀洲人未歸。

譯文：

Tune：Spring in the South of the Yangtze River

Without end the clear green waves flow and flow，

With affection sway and sway the tender willows.

By the lone village the grass with the scent of our love extends to the horizon，

In the setting sunlight the apricot blossoms fading like my face here and there fly.

I'm heartbroken in the south of the Yangtze River in the spring late，

Clover fern fills the shoal，but my dear has not been back to my bed.

“波渺渺”，意為綠波向著遠方流呀流，沒有感情。柳依依，意為柳枝不斷搖曳，招手。此句沒有明顯顯示感情。我們應采用擬人方法，顯露情感，讓譯語讀者了解柳樹的深情。譯者將“柳依依”譯為“With affection sway and sway the tender willows”，增加了with affection（帶著愛情）意為柳枝帶著柔情不斷地搖曳，招手。這與上句的“波渺渺”——綠波不斷地向著遠方流呀流形成對照，柔情依依不斷招手的是女子，無情地越走越遠的是他的愛人，王孫兮不歸。

（二）比喻

古詩詞曲中，比喻可謂是“俯拾皆是”。它使語言生動，它為詩詞添美增色。它可分為明喻和暗喻。明喻就是清除地表明用A比方B，其格式為：本體加比喻詞加喻體。比喻詞通常為like，seem等。暗喻不明確表示比方，比喻詞通常為是，或省略[2]236。

例2：謝逸《江城子》

杏花村館酒旗風。水溶溶，飏殘紅。野渡舟橫，楊柳綠陰濃。望斷江南山色遠，人不見，草連空。

夕陽樓外晚煙籠。粉香融，淡眉峰。記得年時，相見畫屏中。只有關山今夜月，千里外，素光同。

譯文：

Tune：A Riverside Town

By the water over shops the streamers flutter in a breeze.

The rippling waves murmur in the clear winding stream，

The remaining red flowers fly high and low.

The quiet boat lies empty at the ferry alone，

The luxuriant weeping willows shed thick green shade.

I try to see all the mountains in the southern land in vain，

And I fail to see my intoxicating beauty anywhere，

I can only see the green like her skirt here and there.

Last year beyond the pavilion the sun set and dusk spread.

From her snow-like skin came the warm refreshing scent，

Her brows，the distant hills，were drawn lightly.

I recollect in those hours in last spring so clearly

We shared the fragrant pillow behind the screen colorful.

Tonight the moon shines on all the passes and mountains，

Even a thousand miles away it appears

As bright and pure like our love as here.

我們可用比喻描寫這種幻覺。譯者應用明喻，將“草連空”譯為“the green like her skirt here and there.”我看到遠遠近近的綠草都像她的裙子，他聞到了醉人的清香。他不由自主奔了過去，擁抱裙子，狂吻裙子，他喃喃自語：你好香、好甜、好暖和。隨后他躺在她身上，酣睡到太陽高升。譯語讀著會跑得更快，吻得更狂，睡得更香。

（三）增譯花卉樹木的特性

在翻譯時，有時應譯出花卉樹木的香味、色彩。

例3：柳永《望海潮》

東南形勝，三吳都會，錢塘自古繁華。煙柳畫橋，風簾翠幕，參差十萬人家。云樹繞堤沙。怒濤卷霜雪，天塹無涯。市列珠璣，戶盈羅綺，競豪奢。

重湖疊巘清嘉。有三秋桂子，十里荷花。羌管弄晴，菱歌泛夜，嬉嬉釣叟蓮娃。千騎擁高牙。乘醉聽簫鼓，吟賞煙霞。異日圖將好景，歸去鳳池夸。

譯文：

Tune：Watching the Tidal Bore

In the southeast，with the beauty of the scene，the most famous，

And as one of the largest cities in the Kingdom of Wu ancient，

Hangzhou since olden days has been the most flourishing.

The misty willows and painted bridges seem in paintings，

The bamboo curtains hang at the doors and windows，

There are more than hundred thousands of households.

Lining up on the banks of the Qiantang River trees are lost in the sky.

In the broad river the huge waves surge eastward snow-white，

The clear river appears to be endlessly long and vast.

In the shops pearls of different sizes and shapes sparkle，

Before the doors shown are pretty colored silk and satin，

The shop owners vie with pride in their riches and luxury.

With inner and outer lakes，hill upon hill，clear and pretty is the West Lake.

In autumn here and there floats the intoxicating scent of flowers of bays，

In summer ten miles of lotuses with fragrance are in bloom.

The Qiang pipes play melodious music under the sky blue，

Under the bright moon anywhere the songs of water chestnut are heard，

Loudly laugh and sing the fishermen and lotus-seedpods-gathering girls.

The guards on horses with colorful flags pass by one by one.

With interest you listen to the drums and pipes when drunk，

Appreciating far and near the green leaves and red flowers.

You recite the poems about the beautiful scenery on fine hours.

Before going back，you'd better paint the pictures of them

Which you should to the emperor and high officials present.

在翻譯“有三秋桂子，十里荷花”時應譯出桂花和荷花的特性。譯者將“有三秋桂子，十里荷花”譯為“In autumn here and there floats the intoxicating scent of flowers of bays，In summer ten miles of lotuses with fragrance are in bloom.”意為秋天到處漂浮著桂花醉人的芬芳，夏天荷花十里盛開，清香彌漫。譯出了花的特征，香氣和美麗，花的迷人之處。

二、水文化

（一）同義反復

同義反復是用兩個同義字來強化。

例4：潘閬《酒泉子》

長憶觀潮，滿郭人爭江上望，來疑滄海盡成空，萬面鼓聲中。

弄潮兒向濤頭立，手把紅旗旗不濕。別來幾向夢中看，夢覺尚心寒。

譯文：

Tune：Song of Wine Fountain

I often recollect watching the grand tide in Hangzhou on the scenic spot，

All the people crowded out of the city madly to watch it on the seashore.

The whole sea seemed to be all of a sudden empty，

With sound as a ten thousand drums beating loudly.

The tide players stood on the wave crests，

Holding red flags in their hands not wet.

Since leaving there，many times I dream of the sight，

Awake at midnight，I still shiver and shake with fright.

我們可用同義反復法，譯出詞人對弄潮兒的心驚膽寒的感受。 譯者將“夢覺尚心寒"譯為“Awake at midnight I still shiver and shake with fright.”發(fā)抖用了兩個同義字：shake and shiver，達到了強化效果。詞人表示夢中醒來也被驚險的弄潮情景嚇得膽顫心驚。烘托弄潮兒的精采表演。源語讀者，包括李白都想看弄潮。譯語讀者更想去看弄潮，甚至自己去弄潮了。

（二）不譯地名，譯當?shù)氐奈幕?/p>

有時候我們不譯有關的地名，而譯當?shù)氐奈幕?。因為譯語讀者不能從地名聯(lián)想到有關的文化。

例5：嚴蕊《如夢令》

道是梨花不是。道是杏花不是。白白與紅紅，別是東風情味。曾記，曾記，人在武陵微醉。

譯文：

Tune： Like a Dream

Pear blossoms，they look like，

But they are not.

Peach blossoms，they look like，

But they are not.

The trees boast of two colored blossoms，the white and red ones，

From their sweet soft hearts east breeze blows out special pure love.

Oh，I remember，

Oh，I remember，

Once in fairyland I loved the trees

Along the Peach Blossom Stream.

詞人說此花像桃花，但不是桃花，像杏花，但又不是杏花。它超越春天百花。它屬于桃源之花，花名就是桃花。她還說她在武陵看到過它。桃花源在武陵桃花溪深處桃花林盡頭。桃花源也稱世外桃源，指不受外界影響的地方，或幻想中的美好世界。翻譯時，不必譯武陵，只須譯出其文化。譯者將“人在武陵微醉”譯為“once in fairyland I loved the trees/Along the Peach Blossoms Stream.”意為：我曾在桃花溪邊的桃花仙境中的為桃花陶醉。源語讀者一定會十分激動，他們會成群結(jié)對，日以繼夜來到桃花源。因為那是一個悠閑、平安、長生不老的地方。如只譯武陵，譯語讀者聯(lián)想不到桃源仙境。

（三）對不同的背景說法進行選擇

在翻譯時，要注意詩詞的背景。如果背景有多種說法，應該盡力找到最為正確適當?shù)陌姹尽?/p>

例6：姜夔《揚州慢》

淮左名都，竹西佳處，解鞍少駐初程。過春風十里，盡薺麥青青。自胡馬窺江去后;廢池喬木，猶厭言兵。漸黃昏，清角吹寒，都在空城。

杜郎俊賞，算而今、重到須驚?？v豆蔻詞工，青樓夢好，難賦深情。二十四橋仍在，波心蕩、冷月無聲。念橋邊紅藥，年年知為誰生！

譯文：

Tune：Slow Song of Yangzhou City

In Yangzhou whose fame spreading the world round，

In the long and broad well-known Huai River's south，

And on a road quite near

West Bamboo Pavilion，

I dismount from a horse for a short time.

I pass the flourishing street of ten miles，

Now it is covered with thick wild green wheat.

Since the city was trampled by enemy horse heels，

The desolate broad ponds and trees tall

Fear to talk of battle fires and swords.

The eve is gradually approaching with sorrow，

The horn from the city gate moans and groans

Through the whole empty city.

Poet Du appreciated it greatly，

If he came back here one day，

He would be greatly amazed.

Even he was good at writing girls' beauty，so charming，

And sweet spring dreams in the green singing buildings，

He could not describe his feelings so chilly and miserable.

The Twenty- fourth Bridge recollects the merry hours in silence，

And under it the waves with grief gurgles，

The moon shivers on them without a word.

The herbaceous peonies red

By the old bridge depressed

Year after year bloom

Oh，after all，for whom？

在翻譯時，我們應該對二十四橋進行注解，二十四橋的典故出自于杜牧的《寄揚州韓綽判官》：青山隱隱水迢迢，秋盡江南草未凋。二十四橋明月夜，玉人何處教吹簫。二十四橋有兩種說法：一為揚州有二十四座橋，另一為揚州瘦西湖上的一座橋——名為二十四橋。第一種說法并不恰當，歌女不可能輪番去二十四座橋唱歌;而第二種說法是對的，時至今日，作為揚州重要的旅游景點，二十四橋上仍有人歌唱，吹簫。

通過注解，讀者，特別是譯語讀者將了解到，二十四橋是美麗而熱鬧的景點，每晚有歌伎舞女在上面吹簫起舞，這會給予他們一些美妙的幻想，期待去揚州欣賞一番。

三、山文化

江南的山不高，但很秀麗。騷人墨客常把它們比作姑娘彎彎的眉頭，或者清香的羅裙，或者調(diào)情的發(fā)針。

例7：張先：《醉垂鞭》

雙蝶繡羅裙，東池宴，初相見。朱粉不深勻，閑花淡淡春。

細看諸處好，人人道，柳腰身。昨日亂山昏，來時衣上云。

譯文：

Tune：Drunk with a Whip Hanging

Your skirt is embroidered with a pair of butterflies colorful，

At a happy feast table by the East Pool，

I will never forget I'm so lucky to make your acquaintance.

You are lightly powdered and roughed，

As leisure flowers display simple and elegant spring scene.

And any part of you is so delicate and fine，

Your waist is as slender as a branch of a weeping willow tree，

People observing you carefully are surprised.

You're the goddess with showers from the hills last night coming here，

Look，now still wet your pink silk skirt with sweet love dew appears.

歌女是實，神女是幻。我們應增強兩者的相似性，使讀者產(chǎn)生似真似幻的感覺。譯者將“昨日亂山昏，來時衣上云”譯為“You're the goddess with showers from the hills last night coming here，Look，now still wet your pink silk skirt with sweet love dew appears.”譯文的意思是，你是仙女，昨夜你帶著雨水從亂山中飛來，瞧，你粉紅的絲裙上被愛情的露水濕了一大塊。愛情之露增強了神的相似度。源語讀者會不由自主地自言自語：是歌女呀，是神女呀？他們眼前出現(xiàn)了似真似幻的感覺，一種朦朧美。朦朧美是最美的。

四、歌伎舞女文化

（一）增詞展示妙齡歌妓初次向才子示愛的矛盾心情

例8：張先《更漏之》

錦筵紅，羅幕翠。伺宴美人姝麗。十五六，解憐才。勸人深酒杯。

黛眉長，檀口小。耳畔向人輕道。柳陰曲，是兒家。門前紅杏花。

譯文：

The red silk cloth covers the table of the feast，

And the curtain is green.

The maiden singer is so beautiful.

She is fifteen or sixteen only，

She know to love a talented scholar

Urging me to empty cups of wine one after another.

Long are her willow-leave-like dark green brows，

And small is her red mouth.

She whispers to me in a voice shy and low：

"In the deep shade of a willow，

Before my house in pale blue

The red apricots are in bloom."

我們應增詞，顯示少女矛盾心情。譯者將“耳畔向人輕道”譯為“She whispers to me in a voice shy and low”（她羞答答地悄悄對我說），增譯shy（含羞）。她是十五六歲的歌女，一個妙齡的姑娘。她為這個詞人的才華所傾倒，她要向他表示對他的愛慕，馬上說，不好意思呀。不斷給他斟酒和勸酒吧。但終得說。不說就失去機會了，要后悔一輩子。輕聲對他說吧，好難為情。就這樣，他帶著含羞輕聲地請他到她家約會，臉上泛起紅暈。勇氣中帶著羞怯，反映了一種略帶矛盾的心態(tài)。展示了她的心靈美。含羞產(chǎn)生的紅暈又增添了她的外表美。譯語讀者得到了與原語讀者相同的審美享受。

（二）還原借代中的本體

借體為文字中的直述之物，本體為借體的對象，藏于借體之后的內(nèi)容。借體之所以能代替本體，是因為其或為本體的一個特征或標志，或為本體之所屬。借體在古詩詞曲中顯得很含蓄，很深奧。當然，它為古詩詞曲平添了幾分美色。但譯語讀者常在曲折的路上迷路，我們不得不譯出本體。

例9：辛棄疾《水龍吟》下闕

休說鱸魚堪膾，盡西風、季鷹歸未？求田問舍，怕應羞見，劉郎才氣。可惜流年，憂愁風雨，樹猶如此！倩何人喚取，紅巾翠袖，揾英雄淚！

譯文：

Now colder and colder the north west wind blows，

In my hometown cooked perches are well-known，

I won't return home in mounts and fields without care，

Nor will I buy any house and piece of land over there，

For I'd be ashamed if I can't become a hero to recover the lost lands.

Just like water precious time flows away and will never come back.

The lands of our country beautiful and vast

Are in the wind and rain so cruel and hard.

Whom can I ask with unbearable grief

To call a beauty in a singing hall green，

With pink kerchiefs and green sleeves here，

To sweep away tenderly a hero's warm tears？

譯語讀者，聯(lián)想不到歌伎舞女。我們只能譯出本體。譯者將“倩何人喚取，紅巾翠袖，揾英雄淚”譯為“Whom can I ask with unbearable grief/To call a beauty in a singing hall green，/With pink kerchiefs and green sleeves，To sweep away tenderly a hero's warm tears？”譯文的意思是，我悲痛難忍，誰替我請一位綠色妓院里的歌女來擦一位英雄的熱淚呢？譯者將本體和借體都譯出，既譯歌女，又譯紅巾翠袖，美上加美。譯語讀者看到了美麗的歌女，感受到了詞人憂愁。

五、酒文化

（一）使對比雙方差異明顯

何為對比，兩種事物比較高低，異同。為了使強者突出，鮮明，我們不妨添美增色。

例10：蘇軾《江城子》

墨云拖雨過西樓，水東流，晚煙收，柳外殘陽，回照動簾鉤。今夜巫山真?zhèn)€好，花未落，酒新篘。

美人微笑轉(zhuǎn)星眸，月花羞。捧金甌。歌扇縈風，吹散一春愁。試問江南諸伴侶，誰似我，醉揚州。

譯文：

Tune：A Riverside Town

The dark clouds pull the rain past the west chamber.

The clear and green water murmurs cheerful eastward，

The thin mist disappears in the eve.

The setting sun beyond willow trees

Sheds light on the silver hook on the scented curtains shining.

Tonight my beauty like a fairy maiden looks so intoxicating，

The flowers are in full bloom，

The newly made wine is good

While smiling， she turns her right and left enchanting eyes，

Before her feel ashamed the beautiful flowers and moon bright.

She raises the cup filled with wine to me with cheer again and again，

Singing，she waves her scented fan blowing my spring sorrow away.

My friends in the southern land，

From my deep heart now I ask：

"Who is as happy as I getting drunk in

Beautiful and flourishing Yangzhou city？"

我們可對揚州進行修釋，美化，讓他更覺優(yōu)越，更覺快樂。譯者將“試問江南諸伴侶，誰似我，醉楊州”譯為“My friends in the southern land，F(xiàn)rom my deep heart now I ask：‘Who is as happy as I getting drunk in Beautiful and flourishing Yangzhou city？’”譯文的意思是，江南的知音們，我醉在美麗，繁華的揚州，你們誰能與我相比。譯者將“揚州”譯為美麗，繁華的揚州。譯者為揚州添美，這是還原其美。揚州曾是全國最美麗，最繁華的城市，特別在隋朝，唐朝和宋朝。他應該感到優(yōu)勢，感到愉快。不添美，譯語讀者可能認為揚州是一個小城。

（二）夸張

出于表達的需要，故意言過其實，對客觀事物作夸大或縮小的描述。以引起讀者的共鳴，獲得美的感受[3]217。

例11：歐陽修《采桑子》

清明上巳西湖好，滿目繁華。爭道誰家？綠柳朱輪走鈿車。

游人日暮相將去，醒醉喧嘩。路轉(zhuǎn)堤斜。直到城頭總是花。

譯文：

Tune：Gathering Mulberry Leaves

The West Lake is pretty near Clear and Bright，

The scenery is so flourishing before my eyes.

Oh， the traveler trying to get there earlier fight even，

Under willows run decorated carriages with red wheels.

At dusk tourists group by group return excited，

Those who get drunk talk and laugh like crazy.

The dyke winds its way to the city wall

Filled with the flowers in full bloom all.

極目遠望，前方的道路曲曲彎彎，前方的湖堤也彎彎斜斜。堤旁全是花。對醉者可進行夸張。譯者將“醒醉喧嘩”譯為“At dusk tourists group by group return excited，those who get drunk talk and laugh like mad.”譯文的意思是，傍晚，游客成群結(jié)隊回家。喝醉者高聲叫喊，像瘋了一樣。進行夸張，引起讀者，特別是譯語讀者強烈興趣，他們一定要到西湖去看一看。

（三）縮小夸張

翻譯有時候要將夸張進行一定程度的縮減，以吸引讀者的興趣。

例12：歐陽修《朝中措》

平山闌檻倚晴空，山色有無中。手種堂前垂柳，別來幾度春風。

文章太守，揮毫萬字，一飲千鐘。行樂直須年少，尊前看取衰翁。

譯文：

Tune：Way in the Royal Court

On the blue sky the Pingshan Hall seems to lean，

The distant hills were now seen and now unseen.

With my own hands I planted the willow trees，

Since I left，they have bathed in spring breeze for years already.

I feel quite happy you become a prefect of wonderful poetry，

In a very short time，you can write a hundred lines，

Without stop you can empty a hundred cups of wine.

To make merry you must be young，

See how I enjoy myself at feasts just.

詞人寫當年登臨所見。譯者將“一飲千鐘”譯為一飲百杯，縮小的夸張，游移于可能與不可能之間。譯語讀者很受鼓舞，樂于一試。

（四）改變感覺

人的味覺通常由心情的變化而改變，所以在翻譯時，應根據(jù)需要進行改變，譯出不同的“味覺”。

例13：柳永《雨霖鈴》

寒蟬凄切。對長亭晚，驟雨初歇。都門帳飲無緒，留戀處、蘭舟催發(fā)。執(zhí)手相看淚眼，竟無語凝噎。念去去、千里煙波，暮靄沉沉楚天闊。

多情自古傷離別，更那堪冷落清秋節(jié)！今宵酒醒何處？楊柳岸、曉風殘月。此去經(jīng)年，應是良辰好景虛設。便縱有千種風情，更與何人說？

譯文：

Tune：Bell Ringing in the Rain

At dusk in the cool autumn the cicadas in the trees sadly cry.

We stand close facing the Farewell Pavilion on the riverside，

Just after shedding tears，a heavy shower.

At the farewell table I feel wine so sour，

Today here we can hardly endure to long part，

The boatman urges me again and again to start.

Holding our hands，we look at each other's teardrops，

Words frozen in our tender hearts，we break into sobs.

With grief I'm leaving her farther and farther away，

The eve haze knits brows over a thousand Li's waves，

The gloom drowns the south shore of the Yangtze River.

Since old days to leave lover has always been heartbroken，

How can I in the clear cold fall stand the sadness？

Where shall I sober up tonight from drunkenness？

On the bank sway the sparse weeping willows

When the moon sets and the morn breeze blows.

I'll be away for years day and night missing my dear.

In the south of the Yangtze on my long journey drear，

I will not bear giving even

A glance at the pretty scenes.

Even a thousand thoughts and feelings in my mind I get，

To whom can I with a sweet tender heart convey them？

在翻譯“都門帳飲無緒”時，應該知道詞人此時的心情低沉，所飲之酒自然也就寡然無味。譯者將“都門帳飲無緒”譯為“At the farewell table I feel wine so sour”（我的酒為何這般酸楚），清晰地展現(xiàn)出詞人內(nèi)心的痛苦。

六、結(jié)語

文章展示了宋詞中的江南文化一角，以許淵沖先生的意美、聲美和形美為指導方針展現(xiàn)出的宋詞中美麗的中華文化，定會讓無數(shù)的譯語讀者陶醉其中，并前往中國，親自去江南體驗一番。讓我們，于宋詞中，與譯語讀者相逢、相知，結(jié)千年的深情。

[參考文獻]

[1]許淵沖.漢英對照宋詞三百首[M].長沙：湖南出本社，1996（5）：33.

[2]顧正陽.古詩詞曲英譯論稿[M].上海：百家出版社，2003：236.

[3]顧正陽.古詩詞曲英譯理論探索[M].上海：上海交通大學出版社，2004：217.

[4]王鴻雁.游刃有余行云流水——翻譯之“換譯”技巧應用芻議[J].牡丹江師范學院學報：社會科學版，2021（04）：62-70.

[5]婁琦，韓竹林，位春華.翻譯中文化“他者”的解構(gòu)[J].牡丹江師范學院學報（社會科學版），2020（03）：75-83.

[責任編輯]甄 欣

Translation Strategy of Culture of South of the Yangtze River in Song Ci Poems in English

SHANG Xiaojin，GU Yiyan

（School of Foreign Languages，Shanghai University，Shanghai，200444，China）

Abstract：The south of the Yangtze is very beautiful and flourishing，heaven in the world.It boasts of many intoxicating myths，legends and stories.The author basically applies Mr.Xu Yuanchong's Three Beauties Theory to demonstrate the translation strategy of Jiangnan culture in Song Ci from five different aspects：flowers and trees，water，mountains，songstresses and dancers，wine.

Keywords：Song Ci;culture;translation