张智中教授从事汉英诗歌翻译和研究长达20余年，已出版译诗100余部，这部《宋诗绝句150首：今译及英译》是他多年孜孜矻矻的探索，也标志着一个新的高度。作为最先的阅读者，我非常乐意跟读者分享阅读的喜悦。

诗歌翻译是所有翻译中最难的一类，特别是古诗英译。汉语古诗有着严格的形式和韵律，读者在看到英语译文之后常常大失所望：怎么译文既没有押韵，又没有严格的对仗？七言或五言也无迹可寻？到底怎样评判诗歌翻译？

（一）

我们先从庞德(Ezra Pound)译李白的《长干行》说起。它被列入The 100 Best Love Poems All the Time（Pockell，2003），早已是世界文学经典的一部分。

……

十四为君妇，羞颜未尝开。

低头向暗壁，千唤不一回。

十五始展眉，愿同尘与灰。

常存抱柱信，岂上望夫台。

十六君远行，瞿塘滟滪堆。

五月不可触，猿声天上哀。

……

庞德译文是：

At fourteen I married My Lord you.

I never laughed, being bashful.

Lowering my head, I looked at the wall.

Called to, a thousand times, I never looked back.

At fifteen I stopped scowling,

I desired my dust to be mingled with yours.

Forever and forever, and forever.

Why should I climb the lookout?

At sixteen you departed,

You went into far Ku-to-Yen, by the river of swirling eddies,

And you have been gone five months.

The monkeys make sorrowful noise overhead.

在一次由西方人组织的诗歌朗诵大会中，一位美国姑娘诵读此诗，潸然泪下，下面的评委和观众深深沉浸并感染于诗歌。这首诗最大的成就，在于思念之情的成功传达，而这种感情是由纯洁、孤独的少妇形象，和内在徐疾变化的节奏，以及缠绵悱恻的思念之情综合得来的。

同时诗歌还保留了汉语的“赋比兴”的诗学手法，增加了英译中的“异国风味”，让西方读者对1000多年前中国古人的爱情神往不已。在英汉两种形式差异极大的诗歌转述中，庞德抛弃了原文的五言、平仄和尾韵，不追求一字一词的对应，而是通过创造性变革(creative license)，运用意象、情感、内节奏，重现了经典的主题。

这正如诗歌翻译领域中“经典中的经典”——Poems of the Late T'ang——的作者A.C. Graham(1965:30-31)所言：每一个翻译都会有丢失和变形，而一首诗在翻译过程中牺牲的那一小部分，可能会变为它在译文中成就为诗的那一小部分。(Every translation involves both loss and distortion, and the little which is sacrificed in a simple poem may be the little which makes it a poem.)

我们非常高兴地看到，这一理念在张智中教授的译诗得到承续，并发扬光大。

张智中教授这本译诗集的成就表现于语言的张力、意象的塑造、情感的再制、灵活的韵律、意境的营造、诗形的创意。

（二）

我们首先看语言的张力。

在《约客》中，诗人赵师秀写道：

黄梅时节家家雨，

青草池塘处处蛙。

有约不来过夜半，

闲敲棋子落灯花。

译文是：

Waiting for My Playmate

The rainy season sees it raining from roof to roof;

grassy ponds, here and there, are alive

with croaking frogs. Midnight finds me waiting,

in simple idleness, for my playmate who

fails to come; I toy with the chessman

by rapping it on the table, to beat out

wasted time, with a lamp flicker-

ing through the

solitude of the

night.

译者惯用无灵主语，用see, find等感官动词作为谓语动词，改变了原文的“及物性”(transitivity) (Halliday 2000:106)，将原诗的物质过程改为心理过程，增加了语言的生动。beat out wasted time, a lamp flickering through the solitude都是陌生化，读者产生的是新奇，和延迟的审美。

再看《春暮》。诗人曹豳写道：

门外无人问落花，

绿阴冉冉遍天涯。

林莺啼到无声处，

青草池塘独听蛙。

译文是：

A Late Spring

Without the door nobody asks about the falling flowers;

the boundless green shade extends to invade the

horizon. The twitters of orioles are drifting

into silence, when solitarily I stroll

to a grassy pond to listen

to the croaking

of frogs.

译文中green shade extends to invade the horizon, twitters of orioles are drifting into silence都是反常搭配，让读者感到新奇，形成陌生化的效果。

再如《题林安邸》。诗人林升写道：

山外青山楼外楼，

西湖歌舞几时休？

暖风熏得游人醉，

直把杭州作汴州。

译文是：

Written in an Inn of the New Capital

Hills beyond blue hills, mansions upon mansions; in the warm wind

there is a faint vibration of occasional noises of trumpeting, twanging,

strumming, singing, dancing, and snatches of laughter,

resounding through the West Lake, when to rest?

In such a charming air, the travelers are fairly

sodden and drunken with all this exhilaration;

an immoderate share of the pleasures of

Hangzhou deprives them of the fond

memory of their old capital.

林升在诗中讽刺南宋的官员沉迷于歌舞酒色，忘记国耻。译者将“西湖歌舞几时休”译为noises of trumpeting, twanging, strumming, singing, dancing, and snatches of laughter, resounding through the West Lake, 通过五个-ing结构重复，形成变异(deviation) (Leech & Short 2007:39)，超过常量的重复结构让读者产生疲倦，产生心理上的突出(prominence) (ibid.)，从而对南宋官员的歌舞升平厌倦，进而形成独特的文体效果。

我们然后看意象的塑造。诗歌的灵魂在于意象，而忠实于意象就必须改变原文的诗体形式 (Graham,1965:30-31)。张智中教授译文在忠实意象的前提下，将形式表现得灵活自如。如《夜发分宁寄杜涧叟》。诗人黄庭坚写道：

阳关一曲水东流，

灯火旌阳一钓舟。

我自只如常日醉，

满川风月替人愁。

译文是：

Night Journey to Fenning

The parting tune of Sunny Pass Melody finished,

the river is still on the eastward running; beneath

Jingyang Mountain, a blaze of lights, and a leaf

of boat. Tonight, I'll drink myself drunk,

as always; a riverful of crisp wind

and bright moon seems to be

sharing my departing

sorrow.

诗人在江船上夜饮送别故人，“东流水”“灯火”“钓舟”“满川风月”都是美丽而又伤感的意象。译文the eastward running, a blaze of lights, a leaf of boat, a riverful of crisp wind, 将意象如梦般再现，最后的bright moon seems to be /sharing my departing /sorrow，是在意象的烘托下点明主题。

再看《禾熟》。诗人孔平仲写道：

百里西风禾黍香，

鸣泉落窦谷登场。

老牛粗了耕耘债，

啮草坡头卧夕阳。

译文是：

Crops Ripening

Autumn wind blows hundreds of miles, wafting with

the scent of all crops; spring water is jingling

and trickling, when the threshing ground

is alive with various activities. The labor

of tilling and plowing finished, the old

cow, bathed in the setting sun, is lying

on the grassy slope, munching

and chewing grass.

这首诗描写农人辛勤劳作之后，禾黍成熟飘香，老牛卧在夕阳下，构建一幅恬静、安详、幸福的田园画。译文中有嗅觉意象wafting with the scent of all crops，听觉意象spring water is jingling and trickling，视觉意象the old cow, bathed in the setting sun, is lying on the grassy slope，动觉意象munching and chewing grass，将这幅中国古代的田园画生动地呈现给了西方读者。

我们然后看情感的再制。

诗歌多通过写景抒情，而这种情往往是以含蓄、低沉的方式体现。在英语古典诗歌、散文写作中，有着“即使是最高尚的情感也要克制表达”(Clutton-Brock,1925:1028)的原则。在中国，我们的先祖也有同样的诗学理念。

宋人魏泰在《临汉隐居诗话》中说：“诗者述事以寄情，事贵详，情贵隐，及乎感会于心，则情见于词，此所以入人深也。如将盛气直述，更无余味，则感人也浅，乌能使其不知手舞足蹈；又况厚人伦，美教化，动天地，感鬼神乎？”这段话，被Graham(1965)作为座右铭，翻译在扉页上：

Poetry presents the thing in order to convey the feeling. It should be precise about the thing and reticent about the feeling, for as soon as the mind responds and connects with the thing the feeling shows in the words; this is how poetry enters deeply into us. If the poet presents directly feelings which overwhelm him, and keeps nothing back to linger as an aftertaste, he stirs us superficially; he cannot start the hands and feet involuntarily waving and tapping in time, far less strengthen morality and refine culture, set heaven and earth in motion and call up the spirits!

张智中教授译诗情感的表达，也正是这种“隐”“余味”，从而“厚人伦，美教化”。我们看《中秋月》。诗人苏轼写道：

暮云收尽溢清寒，

银汉无声转玉盘。

此生此夜不长好，

明月明年何处看？

译文是：

The Mid-autumn Moon

Dusk approaching, the clouds are dispersed gradually,

crisp air is overflowing; in the still sky a jade disc

is wheeling. Such a mid-autumn moon,

in my lifetime, is not a well-wisher;

this bright moon of the next year,

where will be the watcher?

这首诗通过写美好明月，慨叹好景不长久，抒发人生无常、无奈。译者首先呈现意象the clouds, crisp air, jade disc，以此为铺垫，然后逐渐入情，将原文“此生此夜不长好”改译为Such a mid-autumn moon, /in my lifetime, is not a well-wisher（回译过来是：如此美好中秋明月，却不能寄托我人生愿望），将“明月明年何处看” 改译为this bright moon of the next year,/ where will be the watcher? （回译过来是：明年的明月啊，谁是赏月人？）虽然对语义做了局部微调，但是整体上完美地传达了诗人的感伤、无奈之情，而且这种感情的呈现是真挚、低调、克制的。

我们再看《塞上》。诗人柳开写道：

鸣骹直上一千尺，

天静无风声更干。

碧眼胡儿三百骑，

尽提金勒向云看。

译文是：

On the Frontier

The arrow is swishing heavenward into the clouds

of clouds; the grassland is windless, silence

reigns heaven and earth, and the voice

is louder. Hundreds of the Hun soldiers,

green-eyed, look skyward

with stiff-bits in

their hands.

这首诗描写的是塞上胡将射箭直入云，数百胡兵仰天瞩目。译者首先用夸张的手法into the clouds/of clouds，然后将箭的声音(swish)和人的声音(silence)做对比，两次使用方向词heavenward, skyward，最后呈现stiff-bits in/their hands，胡将英勇、胡兵呆萌互为印衬，充满了情趣，读者忍俊不禁。

古诗英译一个绕不过去的话题是，译文是不是要押韵。首先，现代英语诗歌的创作，不求押韵已经是主流；第二，在译诗中，如果一味求韵，便会导致很多问题，最主要的是会损害意义、形象，押韵不好甚至会给读者“打油诗”的感觉。Lefevere（2006:71）曾说过：如果译者以尾韵和音步作为翻译的首要因素，那么他会丢失原文的很多东西。

杨宪益（2009: 97）也说过：用外国的格律诗翻译中国诗歌是件吃力不讨好的事。放弃尾韵，不等于不要音韵。现代诗歌英译更注重内部韵律的传达，译者更多采用头韵、腹韵、弹跳韵、半韵、内韵等形式（Balaban et al., 1999: 75）。在这一点上，张智中教授放弃尾韵，采用其他多样的音韵手法，同样达到了译诗的音乐性。

我们看《四时田园杂兴（其二十五）》。诗人范成大写道：

梅子金黄杏子肥，

麦花雪白菜花稀。

日长篱落无人过，

惟有蜻蜓蛱蝶飞。

译文是：

Miscellanies of the Four Seasons (25)

Plums golden and apricots plump; buckwheat

flowers snow-white and rape flowers sparse.

Hedges in the village see lengthening

days without any passer-by; only

dragonflies and butterflies

are flitting & flying

freely.

译文多处使用头韵、腹韵，如snow-white, sparse, dragonflies, butterflies, flitting, flying, freely，将夏日的田园风景表现得轻松、亲切、可爱。

我们然后看意境的营造。

意境是诗歌的最高层次，它是诸多意象叠加形成的整体氛围，特点是“深文隐蔚，余味曲包”。古代诗家特别重视意境的效果。王昌龄在《诗格》中说道：“诗有三境：一曰物境，二曰情境，三曰意境。”司空图《与王驾论诗书》中也说：“思与境偕，乃诗家之所尚者。”古诗英译最难的部分也在于意境的营造，而张智中教授的译文会让读者沉浸于原诗的言外味旨之中。

我们看《清明》。诗人王禹偁写道：

无花无酒过清明，

兴味萧然似野僧。

昨日邻家乞新火，

晓窗分与读书灯。

译文是：

The Pure Brightness Day

Without flowers and without wine I while away

the Pure Brightness Day, without interest and

without taste, I‘m like a restless and helpless

old monk. Yesterday I get my kitchen fire

from my neighbor after the fireless day,

and the dawn finds my window bright

with a lamp, and it beams at my

pleasure of nightlong

reading.

诗人清明节时候无花无酒，冷冷清清，向灯苦读，直至天明。虽然生活清苦，但他自有自己内心的追求。译者在开头部分用两个头韵(without interest, without taste)，两个尾韵(restless, helpless)，强化冷清、孤单的心理感觉。之后依次呈现dawn, window, lamp, pleasure, reading，逐步进入诗人的内心世界，将诗人对真知渴求的拳拳之心充分表达。弥漫于读者心中的是，诗人寡欲清心、追求真理的坚定决心，它激励着后世华人和异国的读者。

我们再看诗形的创意。

全本诗集译者都用“漏斗体”，这在古诗翻译中并不多见。猜测译者的目的，一是为了诗歌形式的创新，二是为了传递自己的情感，三是为了表达诗歌的情趣。这种尝试和创新很有意义。我们看《海棠》。苏轼写道：

东风袅袅泛崇光，

香雾空蒙月转廊。

只恐夜深花睡去，

故烧高烛照红妆。

译文是：

Crabapple Flowers

The east wind gently blows in spring,

as fair as crabapple flowers. Flowery

fragrance in the fog, the moon is

slowly moving past the corridor.

Lest the flowers fall asleep

deep into the night, I

hold a candle

to admire

them.

苏轼通过写日常生活中的一些微小细节，表达对生活的热爱，即使在历次经磨难，也不沉沦、自暴自弃。译者的漏斗体先用长句写east wind, flowery fragrance, the moon, 然后每行字数缩小，用lest the flowers fall asleep, hold a candle to, admire them表达细腻的情感，趣味盎然。我们可以比较一下汉学家王红公(Kenneth Rexroth)的译文：

Begonias

The east wind blows gently.

The rising rays float

On the thick perfumed mist.

The moon appears, right there,

At the corner of the balcony.

I only fear in the depth of night

The flowers will fall asleep.

I hold up a gilded candle,

To shine on their scarlet beauty.

有趣的是，王红公也没有遵从原文的四行结构，而是用了九行诗句。他选词注意与感官体验结合，每行7至9个音节（张保红 2018:332; 345）。王红公也是首先呈现一系列意象——the east wind, rays float, the moon，然后道出主旨——hold up a gilded candle, / to shine on their scarlet beauty。最后一句的感官描写，更是一种情趣。

然而，全书采用漏斗体，也会产生一些缺陷。一是会引起读者单调的感觉；二是由于强调漏斗形，在少数诗歌译文中，不该分行的地方，强制分行，导致语义的中断，或者情感的断裂。如《江上渔者》。范仲淹写道：

江上往来人，

但爱鲈鱼美。

君看一叶舟，

出没风波里。

译文是：

A Riverside Fisherman

All river-side fishermen love delicious

perch, and they are busy fishing.

Lo, a fisherman on a leaf of

boat: appearing and dis-

appearing, in and out

of perilous

waves.

译文中的delicious perch, appearing and disappearing，似乎还是不分行为好。

（三）

最后我们再来将张智中教授的译诗和三位汉学家的译诗做一个比较。

饮湖上初晴后雨

苏轼

水光潋滟晴方好，

山色空蒙雨亦奇。

欲把西湖比西子，

淡妆浓抹总相宜。

张智中译文：

The West Lake: Sunny or Rainy

Sunny, the West Lake is rippling and dimpling;rainy, surrounding hills are hazy and misty:

a constantly wonderful scene. The West

Lake can be compared to an ancient

beauty, whose beauty is in

the eye of the beholder:

made-up light or

heavy.

Burton Watson译文：

Drinking at the Lake;

It was clear at first, but later it rained.

The gleam of this bright expanse of water, fine while the weather‘s clear;

the color of the hills under a drizzly sky——rain too is superb!

Shall I compare the West Lake to the lovely His-tze,

In light make-up or heavy, equally fine?

四时田园杂兴（其三十一）

范成大

昼出耘田夜绩麻，

村庄儿女各当家。

童孙未解供耕织，

也傍桑阴学种瓜。

张智中译文：

Miscellanies of the Four Seasons (31)

In daytime, weeding the field; in night time,

twisting the twine; village sons and

daughters are all engaged. Small

children know no tilling or

weaving:in a pocket of

shade under mulberry

trees they are plant-

ing melons for

fun.

J.C. Schmidt 译文：

Some hoe in the morning, some plait hemp at night:

Each youth in the village has his own line of work.

Though the toddlers haven‘t learned how to plow or weave yet,

They study melon planting in the mulberries’ thick shade!

江上

王安石

江北秋阴一半开，

晚云含雨却低徊。

青山缭绕疑无路，

忽见千帆隐映来。

张智中译文：

On the River

Autumn clouds in the sky north of the river: half blotting

out the sky and the sun, and half scattering; the murky

clouds at dusk hang and hover low, threatening rain.

A distant view: a cluster after another cluster of

blue mountains are steaming with mist and

clouds, seemingly no thoroughfare,

when thousands of sails loom

all of a sudden, from

nowhere.

David Hinton译文：

Above the Yangtze

North of the Yangtze, autumn darkness spreads halfway open,

and evening clouds heavy with rain hang low across the land.

Wandering amid green-azure mountains, all roads lost, I see a thousand sails suddenly come shimmering through shadow.

细心的读者通过分析语义张力、意象、情感、节奏、意境，可以感受到，张智中译文和汉学家译文不同的特色，和不同的翻译理念。

我们盼望着，张智中教授的译文在不久的将来能走出中国，中国翻译家诠释的古诗之美能走向世界。

王树槐：华中科技大学外国语学院教授，博士生导师。研究方向：中国文学经典英译，翻译批评，翻译教学。

注：本文为王树槐教授为《宋诗绝句150首：今译与英译》所作序，标题和小标题为编者所加。