Abstract
The combination of translation theory and aesthetics has a unique position in the translation theories with Chinese characteristics. It is better to learn poetry or to translate poetry from the perspective of beauty. Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” is one of the latest poetry translation theories in China, which provides a more comprehensive and effective perspective for poetry translation. This paper, taking several English versions of Li Bai’s “Hard Is the Journey (Ⅰ)” as the object, explores how the "Eight Beauties Criteria" in Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” can be applied in translation practice. It proves the practical value of "Eight Beauties Criteria" in the translation practice of classical Chinese poetry in better carrying forward its aesthetic thoughts and aesthetic charm, and better helping Chinese culture to go out.
Highlights
Aesthetics, the philosophy of art of beauty, is a subject that focuses on the study of the essence and significance of beauty
Classical Chinese poetry is a treasure of Chinese culture and world culture, and Tang poetry is undoubtedly one of the most important parts of them
In order to deal with these six disharmonies, Dr Wang Feng put forward the “Harmony-Guided Three-Level Poetry Translation Criteria”: at the macro level, "Harmony" is regarded as the criterion; at the middle level, "resemblance in style, sense and poetic conception"; the “Eight Beauties Criteria” at the micro level provides specific guidelines and solutions for poetry translation
Summary
Aesthetics, the philosophy of art of beauty, is a subject that focuses on the study of the essence and significance of beauty. It embodies all the aesthetic phenomena of the aesthetic relationship between man and the world. The research and practice of Tang poetry translation are helpful to the development of Tang poetry itself and plays a significant role in the study of Chinese culture. Many famous translators at home and abroad have carried out research and translation practice in his poems. Due to the different orientations of Chinese and Western translation theories and aesthetics, as well as the differences in language and culture, each translation has its characteristics. Arthur (Cooper, 1973; Jenyns, 1940; Martin, 1894), Witter Bynner & Kiang Kang-hu, Innes (Herdan, 1973), etc
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