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Print This Article European Journal of Applied Linguistics Studies ISSN: 2602 - 0254 ISSN-L: 2602 - 0254 Available on-line at: http://www.oapub.org/lit DOI: 10.46827/ejals.v3i1.196 Volume 3 │ Issue 1 │ 2020 A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” - A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING” Gao, Ning, Wang, Fengi School of Foreign Studies, Yangtze University, Hubei Province, 434023, P. R. China Abstract: Tang poetry is the precious cultural heritages of the Chinese. Li Bai is one of the most outstanding poets in the Tang Dynasty and his poems have had a far-reaching impact on following generations. This paper attempts to use the “Harmony-Guided Three-Level Poetry Translation Criteria” put forward by Dr. Wang Feng, from the macro, middle and micro levels to analyze and compare four English versions of Li Bai’s “Climbing the Phoenix Terrace in Jinling”. Then, the authors retranslate the original poem and encourage researchers to pay more attention to the field of Tang poetry translation and promote the dissemination of Chinese classical poetry. Keywords: Li Bai; harmony-guided three-level poetry translation criteria; Tang poetry translation 1. Introduction During the Tang Dynasty, the development of Chinese classical poetry is at the height. Li Bai’s poetry is not only the symbol of the prosperity of Tang poetry, but also the pinnacle of Chinese classical poetry. Li Bai’s poems sparkle with the light of human nature everywhere, which clearly shows his urgent pursuit of personal independence and personal dignity. Li Bai is deeply concerned about the current situation of the country, the future of the nation and the livelihood of the people, and holds a strong sense of social responsibility. Li Bai’s poetry has an important position and far-reaching influence in the history of the development of poetry in China and even in the world. Joseph Edkins is the first western scholar to publish a research paper on Li Bai’s poetry and makes an i Correspondence: email [email protected] Copyright © The Author(s). All Rights Reserved 30 Gao, Ning; Wang, Feng A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” – A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING” important breakthrough, although some of his research results are not accurate (Zhou, 2012). After that, Pound and Waley introduced Li Bai’s poems to the West with free-style poems. H.A. Giles and W.J.B. Fletcher insist that Li Bai’s poems should be translated into rhymed poems. In the second half of the 20th century, many Chinese scholars participated in the English translation of Li Bai’s poems, among which Xu Zhongjie and Sun Dayu were the representatives. As for the translations and researches of “Climbing the Phoenix Terrace in Jinling”, American scholar Ernest Fenollosa and American poet Ezra Pound once translated it. Fenollosa’s translated version is based on the explanation of Japanese sinologist Mori Kainan, while Pound’s translation is based on Fenollosa’s notes and translation; Pound is better than Fenollosa in terms of understanding the original poem (Wu, 2012). Zhang and Yu (2015) applied the Foregrounding Theory to interpret Pound’s translation, realizing the organic combination of meaning, form and embodiment and achieving the unity of theme, vocabulary, syntax and prosody in the analysis and interpretation of poetry. Moreover, a Chinese scholar made a comprehensive appreciation and comparison of Sun Dayu’s translation and Pound’s translation and concludes that only through an in-depth analysis of the aesthetic components of the original poem can the translator fully reproduce the charm of the original poem and make the reader get the same aesthetic feeling (He, 2016). 2. Harmony-Guided Three-Level Poetry Translation Criteria 2.1 Macro Level: Harmony “Harmony” inherits the concept of “neutralism” in ancient Chinese philosophy. In the poetry translation activities full of contradictions and opposites, “Harmony” puts more emphasis on the beauty of internal harmony covering various aesthetic forms and turning disagreements into harmony and balance (Wang, 2015) . 2.2 Middle Level: Similarity in Style, Sense, and Poetic Conception Similarity in Style: when translating a poem, it means that the style of the translated poem is similar to that of the original poem. The translator chooses the original work which is similar to his own translation style, and it is easier for the translator to reproduce the style of the original poem. The translation style should be restricted by the original style, and the translator should not deviate from the original style when giving full play to the translator’s subjectivity. Similarity in Sense: the translation of poems needs to take into account the cultural differences between Chinese culture with high contexts and English culture with low contexts so as to ensure that the meaning of the translated poems coincides with that of the original poems. Similarity in poetic conception: the comprehensive effect produced by the translated poem in the mind of the target reader is similar to that of the original poem in the mind of the source language reader. European Journal of Applied Linguistics Studies - Volume 3 │ Issue 1 │ 2020 31 Gao, Ning; Wang, Feng A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” – A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING” 2.3 Micro level: Eight Beauties Criteria The Eight Beauties Criteria at the micro level contains eight kinds of beauty: beauty in form, beauty in musicality, beauty in image, beauty in emotion, beauty in connotation, beauty in diction, beauty in allusion, and beauty in gestalt. First, beauty in form refers to the unity of the external forms of poetry, including the number of lines, arrangement, length, indentation, structure and so on. From the viewer’s point of view, the beauty in form of poetry is the first element to arouse aesthetic response, with a pleasant visual effect; Second, beauty in musicality refers to the aesthetic sound expressed through rhythm and meter in poetry. Beauty of music is an indispensable part of most Tang poems and should be reproduced as far as possible in English translation; Third, the beauty in image refers to the organic combination of subjective emotion and external images; Fourth, the beauty in emotion refers to what poets express through scenery and objects; Fifth, the beauty of suggestiveness is one of the unique aesthetic characteristics of Chinese poetry, full of implication and great charm; Sixth, the beauty in diction refers to the best application of words and phrases; Seventh, the beauty of allusions refers to the aesthetic feeling of allusions produced in the reader’s mind; Eighth, the beauty of gestalt refers to the beauties in all aspects except the seven beauties as mentioned above, pursuing the comprehensive sense that the whole is greater than the sum of the parts (Wang and Ma, 2011). 3. An Analysis of Li Bai’s “Climbing the Phoenix Terrace in Jinling” 3.1 Li Bai and “Climbing the Phoenix Terrace in Jinling” With regard to the writing background of “Climbing the Phoenix Terrace in Jinling”, someone believes that Li Bai wrote it for competing with the poet Cui Hao (Zhang, 2000). Cui Hao’s “Yellow Crane Tower” was highly praised by the ancients. In the spring of the 16th year of Tang, Li Bai was supposed to write a poem on the wall of the Yellow Crane Tower, but he stopped writing it because he saw the poem written by Cui Hao, saying, “I fail to write about the sight in my poem, because Cui Hao’s poem is on the wall.” (眼前有景道 不得，崔颢题诗在上头。) It was not until Li Bai traveled through Jinling and wanted to compete with Cui Hao that he wrote “Climbing the Phoenix Terrace in Jinling”. Another view is that the Tang Dynasty began to decline because of the An-Shi Rebellion. The expression of “floating clouds cover the sky”(浮云蔽日) in the last two lines were also implying that Emperor Xuanzong of Tang spoiled Yang Yuhuai and abandoned the imperial government, which led to the An-Shi Rebellion, and thus Chang’an was in the control of Hu people. Exiled for being slandered by villains, Li Bai wrote this poem purely out of nostalgia and his worries about Emperor Xuanzong. When he boarded the Phoenix Terrace, he could not see Chang’an. Therefore, he wrote this poem for the moment when he saw such a magnificent scene. The Chinese poem reads: European Journal of Applied Linguistics Studies - Volume 3 │ Issue 1 │ 2020 32 Gao, Ning; Wang, Feng A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” – A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING” 凤凰台上凤凰游，凤去台空江自流。 吴宫花草埋幽径，晋代衣冠成古丘。 三山半落青天外，一水中分白鹭洲。 总为浮云能蔽日，长安不见使人愁。 “Climbing the Phoenix Terrace in Jinling” is one of Li Bai’s seven-character rhyme poems. With eight lines and 56 words, it not only expresses the feeling of nostalgia for the past time, but also describes the spectacular natural scenery. Finally, it concludes with a chanting of political resentment. Historical, natural and social elements are all in the poem. The legend of the Phoenix Terrace was mentioned in the first two lines, three “Phoenix” characters are used in succession in the fourteen words, but it does not feel like being verbose. In feudal times, the phoenix was a kind of auspiciousness. At that time, the visit of the phoenix symbolized the prosperity of the dynasty.
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