A Comparative Study on the Abstractness Presented in Chun Xiao and its Four Translated Versions

Xiao-mei ZHANG

Abstract


This paper sets out to discuss the abstractness created by Meng Haoran in Chun Xiao and its reproduction in four translated versions by four different translators. Through the analysis in three functions of abstractness, namely, to reach accuracy, create ideorealms and to induce association, it is found that the four versions tend to two ways of translation: one is to reproduce abstractness; the other is to make abstractness concrete. The two ways are both adequate in its adaptation to different readers.
Key words: abstractness, Chun Xiao, accuracy, ideorealms, association
Résumé: L’article présent analyse l’expression de la beauté suggestive dans le poème L’Aube du printemps et sa représentation dans ses quatre traductions. L’article examine les traductions dans les perpectives des trois fonctions de la beauté suggestive : précision de l’expression, création de l’ambiance et suggestion. Il en résulte qu’il y a deux tendance de traduction quant à la beauté suggestive, à savoir la traduction équivalente et la traduction diminutive. Chacune de ces deux techniques de traitement a ses qualités face aux différents lecteurs, ainsi ne peut-on pas juger aveuglement les mérites et les défauts des traductions.
Mots-clés: beauté suggestive, L’Aube du printemps, précision, ambiance, suggestion
摘要:本文討論和分析了朦朧美在唐詩《春曉》中的表現及其四個不同譯文中的再現。通過朦朧美的作用在三個方面的表現,即表達精確、營造意境和引發聯想對譯文進行考察,得出兩種翻譯趨向,即對原文朦朧美的等化處理和淺化處理。這兩種不同的處理方法,針對不同的讀者群,各有千秋,因此不能盲目片面比較譯文的優劣。
關鍵詞:朦朧美;《春曉》;精確;意境;聯想

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DOI: http://dx.doi.org/10.3968%2Fj.ccc.1923670020070301.011

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