古诗英译中对偶的翻译.pdf

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1、古诗英译中对偶的处理【摘要】将中国古诗翻译成英文，既要尽可能地传达原意，又要保留原作的形式。这里译者面临的最大问题之一是对偶的处理。保留还是不保留，如何保留，就构成了译者斟酌内容和形式的一大课题。【关键词】古诗；对偶；翻译；保留中国的古诗有一个与众不同的显著特色，就是对偶的运用。所谓对偶，就是把字数相等，结构相近，而意思相关或相对的两组词句对称地排列在一起的一种修辞方式。“对偶从它的形式方面看来，原来也可说是一种句调上的反复；而从它的内容看来，又贵用相反的两件事物互相映衬，如刘勰所谓,反对为优，正对为劣?”。从功能来看，它无可否认地为中国古典诗歌增添了美感和艺术感染力，无论是视觉上，还是听觉上

2、。但是，若想把这种中国读者喜闻乐见的艺术形式完整且毫无遗漏地翻译成英文，使目标读者在大致了解诗歌内容背景的情况下，经历相同的艺术体验，几乎是不可能的。闻一多认为好诗是“禁不起翻译的”，就像是一朵美丽的鲜花，“采它就是毁它，,美?是碰不得的，一粘手它就毁了”。但是，既然要完成这个任务，“只好在不可能的范围里找出个可能来”，必须以诗译诗，即翻译出来的对应物也必须是诗。“能够不增减原诗的字数，便不增减，能够不移动原诗字句的次序，便不移动。”对偶的处理，也正是这个艰巨任务中极其重要而且体现译者功力的所在。基本上，译者可以采用两种方式，即第一种，译出对偶形式；第二种，不译出对偶形式。由于中英语言和文化的

3、巨大差异，要想毫无缺漏，原汁原味地完成翻译任务，几乎是不可能的。采用前者，是为了让目标读者体会一下中国古诗的独特韵味和意趣，尽量保留它的独特形式，即对偶。而采用后者则是因为保留对偶形式着实困难重重，为了展示内容而不得不舍弃形式，即对偶。两种方法的优劣长短，将在下文的赏析中进行。例一：山居秋暝王维空山新雨后，天气晚来秋。明月松间照，清泉石上流。竹喧归浣女，莲动下渔舟。随意春芳歇，王孙自可留。译文一：The blank hills pure as a recent rain refines,As dusk is falling autumn is felt in the bones.A silve

4、r moon is shining through the pines,The limpid brooks are gurgling o?er the stones.Bamboos laugh out as girls from washing whirl,The lotus stirs where boats out fishing curl.The scents of spring may go;that?s Nature?s will,This season here attracts the noble-man still.译文二：Fresh rain has fallen on th

5、e vacant mountains;Autumn?s evening approaches.The bright moon is shining through the pines,The clear stream flowing over the stones.Bamboos rustle,as washing maids return.Lotuses stir:a fishing boat descends.Let spring?s fragrance vanish,as it will;May the wanderer tarry,as he pleases.这首诗描绘的是幽静的山林里

6、，雨后的一切都格外清新。突然响起一阵喧闹声，原来是洗衣服的姑娘们回来了，顿时给寂静的山林增添了无限生趣。中间的两联是对偶格式。第二联“明月松间照，清泉石上流。”字字句句都对得极为工整。意境上也达到了浑然天成不着痕迹的水准。极清幽静谧，是诗作者向往的梦境之地。只要将字面意思完整翻译出来，即便目标读者不能体会到中国人独特的禅意，至少他们也会对诗中展现出来的清冽之意感同身受。两位译者都采用了译出对偶格式的手法，字字句句都基本对仗，既保留了内容也体现了结构之美，是译文的成功之处。而第三联的翻译，两位译者都没有采用译出对偶形式的方法。首先是因为这联在意境上已大不如第二联，其次是因为这一联有四个用作动词的

7、字，若把它们都毫无保留地译出，势必不能保证句式的工整。为了保留诗句内容，只有牺牲形式上的工整了。而上一联只有两个字用作动词，比较好处理。两联对偶，译者采取一保留一放弃的方式，让目标读者既领略了原诗的意境之美，又部分呈现了原诗的形式之美。例二：锦瑟李商隐锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，望帝春心托杜鹃。沧海月明珠有泪，蓝田日暖玉生烟。此情可待成追忆，只是当时已惘然。译文一：Why should the zither sad have fifty strings?Each string,each strain evokes but vanished springs.Dim morni

8、ng dream to be a butterfly;Amorous heart poured out in cuckoo?s cry.In moonlit pearls see tears in mermaid?s eyes;From sunburnt jade in Blue Field let smoke rise!Such feeling cannot be recalled again,It seemed long-lost e?en when it was felt then.译文二：The richly painted zither somehow has fifty strin

9、gs.Each of which recalls a vanished year.Dawn dreaming Zhuang Zi got mixed up with a butterfly;King Wang lent tender feelings to the cuckoo?s call.In bright moonlit seas of blue,tears change to pearls;The air above Lantian shimmers from the jade hidden within its hills.These thoughts are not the stu

10、ff of recollection,But what eludes our grasp as life itself unfolds.这首诗是李商隐的代表作，名气最大而含义最隐秘晦涩。此诗也是中间两联对偶，且第二联引用了典故，给翻译造成了不小的难度。庄生蝴蝶如梦如幻，望帝春心文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9

11、E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS

12、10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S

13、10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:

14、CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2

15、M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 Z

16、Q4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9

17、M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10如泣如诉，明月珍珠泪光闪闪，蓝田美玉气蕴冉冉，所谓“石韫玉而山辉，水怀珠而川媚”。这首诗在理解上从古至今就是众说纷纭，没有一个定论，至多达成的共识，即这是作者对自己不幸人生坎坷经历的感慨唏嘘。因此在译本的处理上，译者的理解原诗和翻译只要能把握住原作的基调即可。在第二联的翻译上，译本一采取了基本对偶

18、的形式，保留了原作的形式之美。为了保留这种对偶的形式，译者甚至放弃了对原作典故的翻译。从译本二可以看出，译者为了保留典故，即文化要素，舍弃了对偶形式。在第三联的翻译上，两个译本都舍弃了对偶的形式，而只是忠实地译出原作的内容。因为要想在译作中完成两联的对偶翻译实在是太过困难。这两种译本各有千秋，因为侧重点各有不同。但效果却有异曲同工之妙。例三：月夜杜甫今夜郛州月，闺中只独看。遥怜小儿女，未解忆长安。香雾云鬟湿，清辉玉臂寒。何时依虚幌，双照泪痕干！译文一：The moon illumining the night in Fuzhou sky,Alone in chamber you will wa

19、tch it sailing by.Though Far away,I?m sorry for our children dear,Who do not know to yearn for me in changan here.Your balmy,cloudy curls the misty air bedews;Your fair,smooth arms are chilled in the silver hues.When can we both stand leaning by the gauzy veils/Our faces?ll shine with tears that hav

20、e become dry trails!译文二：Tonight when the moon is over Fuzhou She will be watching all alone in her roo.I pity my small children far away,Who don?t even know what to miss of Chang-an.Her cloudlike hair is dampened by the fragrant mists;In radiant light,her jade-white arms grow chill.When shall we sid

21、e by side lean from the window,All traces of these tears in moonlight vanished?这首诗是杜甫被叛军抓住，困在沦陷后的长安时，望月思家写下的千古名作。诗人不写自己的独看，而写妻子的独看，以妻子的思念反衬自己的思念，角度不可谓不新颖。同时，字里行间流露的不仅仅是对家人的思念，更是对国家忧患命运的深切眷念。诗人的博大胸怀，体现在他片刻未曾释怀的家国之思中。如何在译作中把握住原作的精神，是译者的任务。而是否保留原作的对偶形式，倒不是那么重要的了。对于原作中极其工整的第三联，两个译本不约而同地放弃了原作的对偶形式，而只是忠实地

22、翻译出原作，向目标读者传递出一位古代女子的美好形象，吐露了诗人思念的源头，所谓“所思在远道，同心而离居”，让人不胜唏嘘之情。文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10

23、 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7

24、O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档

25、编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U

26、7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E

27、4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS1

28、0Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S1

29、0M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10例四：积雨辋川庄作王维积雨空林烟火迟，蒸藜炊黍饷东蓠。漠漠水田飞白鹭，阴阴夏木啭黄鹂。山中习静观朝槿，松下清斋折露葵。野老与人争席罢，海鸥何事更相疑。译文：Smoke is curling in the rain-soaked forest,meals being delayed;Cooked vegetable and millet to the reclaimed land is conveyed.Over the broad watery f

30、ields the white-feathered egrets fly;In the shadowy summer woods yellow orioles warble high.I oft watch the shrubby althaea blow on hillside quiet,And dine under a pine tree with dew-freshed mallow as diet.A rustle old man I?ve now merged myself with the folks around;Why should birds be suspicious o

31、f me and not come to the ground?这首诗是诗人在其隐居之地所描绘的风光之作，创造了一个物我相惬，情景交融的意境。全诗淡雅幽寂，备受推崇，被视为王维田园诗的代表作，甚至被士大夫推为全唐七律的压卷之作。白鹭飞，黄鹂鸣。水田广布，视野苍茫，是为漠漠；夏木茂密，境界幽深，是为阴阴。所谓“诗中有画”，这首诗就是最恰当的例子。译者在对第二联对偶句式的处理上，基本上保留了原句的形式，传达了原句内容的同时，令目标读者也能产生画面上的联想。译者还采用了一种特别的押韵方式，使阅读产生了特别的流畅之感，是为译者的成功之处。例五：曲江杜甫一片飞花减却春，风飘万点正愁人。且看欲尽花经眼，莫

32、厌伤多酒入唇。江上小堂巢翡翠，苑边高冢卧麒麟。细推物理须行乐，何用浮荣绊此身？译文：Every bit of fallen blossom means so much less of spring;I grieve to see petals flying away in the wind,yet happy to let eyes rest on what still remains;Though I know it is bad for me;King fishers flit around a little pavilion on the river bank;By a tall gra

33、ve-mound out on open ground stands a unicorn in stone;Nature ever calls people to live along with her;Why should I be lured by transient rank and honors?这首诗描绘了春逝的景色，抒发了诗人无限惆怅却又无可奈何的情绪。译者舍弃了对偶的形式，直接翻译原作，将诗人伤春惜时的感情传达给目标读者。总之，在对偶问题的处理上，译者应尽量保留原作的形式之美，同时保证内容的完整。如果实在无法兼顾，则不得已将对偶形式舍弃。【参考文献】1萧涤非,程千帆等主编.唐诗鉴

34、赏辞典 M.上海：上海辞书出版社,1983.2张廷琛,魏博思主编.唐诗一百首 M.北京：中国对外翻译出版公司,2002.文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 H

35、S10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2

36、S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码

37、:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z

38、2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4

39、ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z

40、9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M

41、10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M103陈福康.中国译学理论史稿 M.上海：上海外语教育出版社,2002.4顾正阳.古诗词曲英译理论探索M.上海：上海交通大学出版社,2004.5陈望道.修辞学发凡 M.上海：上海教育出版社,1997.文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M

42、10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ

43、4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M

44、1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10

45、 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7

46、O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档

47、编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10文档编码:CR8I7O2S10M10 HS10Z9M1G9E4 ZQ4G9U7Z2M10