There are a lot of comments about the plot. Talk about poetry in movies
David was reciting poetry on the terrace, and the screen cut to the subtitle of the scene when black water was thrown at the "engineer"——
"I am Ozymandis, the King of Kings, I am a world-class deed, dare to convince the Lord of Heaven!"
Immediately, the grand spirit of the poems was shocked, it was simply amazing! So I immediately googled Shelley's poem, and found that the version translated by Yang Jiang was more widely spread: "I am the king of kings, Ozymansdias is a cover of merit, and the strong are convinced." Personally, I feel that the momentum is more than an order of magnitude worse.
Finally, I found that the CMCT subtitle group quoted the version translated by Wang Zuoliang. Share with you here.
"Osmandis"
Shelley / Author
Wang Zuoliang / Translator
I met a traveller from an antique land
The guest returned from overseas and saw the ancient desert country
Who said: Two vast and trunkless legs of stone
There are stone statues half-destroyed, except for the giant legs
Stand in the desert. Near them, on the sand,
Squatting among the gravel. like head down,
Half sunk, a shattered visage lies, whose frown,
Half buried in sand, but still formidable,
And wrinkled lip, and sneer of cold command,
The sneer, the commanding pride,
Tell that its sculptor well those passions read
It shows that the carver can see through the master's heart,
Which yet survive, stamped on these lifeless things,
Only then did I carve that stone into a vexatous look,
The hand that mocked them and the heart that fed:
And the hand that carved the image and the heart of the Lord have long since become ashes.
And on the pedestal these words appear:
Like the big characters on the seat:
'My name is Ozymandias, king of kings:
"I am the king of kings, yes,
Look on my works, ye Mighty, and despair!'
Unparalleled achievement, dare to convince God of Heaven! "
Nothing beside remains. Round the decay
Nothing else, but around the ruins,
Of that colossal wreck, boundless and bare
Lonely, flat sand and empty space,
The lone and level sands stretch far away.
To the desolate four directions.
Attach an appreciation
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Shelley was a great English Romantic poet and reformer. Ozymandias (Ozymandias) is a lyric poem by Shelley, the poem has deep meaning and is worth pondering. From the perspective of a poet, Shelley analyzes the insignificance of historical figures compared to art; from the perspective of a reformer, it reflects his worries about the suffering of the people and hope for the future, as well as his understanding of destruction and creation. Wang Zuoliang once commented that Shelley's poems have profound meanings. When he translated "Osemandias", he pursued the realm of translating poetry with poetry, which reflected the beauty of poetry from the form of translation and emotional expression. This paper intends to select Wang Zuoliang's translation for research, so as to understand the poem more thoroughly.
Key words: hope; poetry translation; emotional expression
This article appreciates and analyzes the translated version of Osimanders from the two aspects of the translation form and emotional expression, appreciates the beauty of the poem and the translation, and explores the enlightenment for the translator at the same time. Wang Zuoliang has carefully crafted and presented an excellent translation that makes readers applaud. Here, we select representative key words, phrases and sentences for comparative analysis, in order to reveal the characteristics of the translation and reveal the metaphors and cultural connotations of the poems. Wang Zuoliang made appropriate changes in form, and kept improving in the extraction of meaning.
1. The form of translation
Generally speaking, as far as literary translation is concerned, maintaining the original form of a work is an important requirement to maintain its charm, which can be seen from the application field of interpretation theory, that is, interpretation and non-literary translation. Mandias broke through this shackle, boldly tried free translation, changed the form of poetry appropriately, and achieved remarkable results. Here are three examples, namely the change of the speaker, the fusion of words, and the change of sentence structure to analyze how Wang translated poetry with poetry.
The first sentence of the opening chapter "I met a traveller from an antique land",
Wang Zuoliang translated it as "A guest who has returned from overseas has seen an ancient desert country",
The translation changes the identity of the speaker, chooses the perspective of a bystander to witness all this happening, and conveys the story to us. Such a tone vaguely gives people a sense of longevity, and forms an invisible echo with the future hegemony in the following text that disappears with history. , to add some flavor to the poem. At the same time, this kind of narrative guides readers to witness together and form resonance, which is very good from the perspective of stimulating readers' interest and actively exploring the connotation of poetry. "antique land" actually refers to ancient Egypt, and the poet chose "antique" instead of "ancient" here, implying the power and splendor of ancient Egypt. Here, Wang translated it as an ancient desert country, which is to give readers a general background, so that readers can have a deeper understanding when they check relevant materials. When it comes to Egypt, people will first think of the representative things such as the Nile, the pyramids, the sphinx, the pharaohs, etc. Egypt is one of the four ancient civilizations. The strength of its civilization can be imagined, but at the end of the poem there is a desolate The scenery is in an ironic contrast to the mighty past, which has to be said to be a conscientious and shrewd approach. Here, Wang Zuoliang changed the identity of the narrator in the original text and the form of the original poem, but added later, which is considered from the perspective of the entire poem. This also provides a reference for translators. In the translation of poems, or the translation of literary works, considering the connotation and artistic techniques of literary works, many foreshadowing and comparisons need to consider the overall situation. Wang Zuoliang's overall view is It is worthwhile for translators to learn.
"frown", "wrinkled lip" and "sneer of cold command" describe the appearance of the statue of Osemandias, and the words here were merged into "but the face is still formidable, the sneer, the arrogance that gives orders. ", this sentence shows that Wang is more inclined to free translation, and the form is transformed. He did not describe expressions such as frowning, pursed lips, and sneering according to the structure of the original poem, but chose to directly show readers the invincibility contained in the expression of the statue through fusion. In fact, Osimandias was the Greek name of the ancient Egyptian pharaoh Ramses II, who according to historical records was a tyrannical and abusive emperor. The translation gives the reader a three-dimensional image as a whole, allowing the reader to compare his all-powerful posture with his broken face, which is more able to shape Osemandias's character as a whole than the word-for-word transformation that is split apart. image. Here Wang still chooses supplements to show the meaning of "sneer", that is, indomitable pride, to readers, so his translation is very flexible. It is unreasonable to limit the application of a translation method to a certain type of text. The criterion for measuring the excellence of a translation should be its overall expressiveness, grasping and conveying the meaning of the original text. Wang has done a great job in this regard. Well, try boldly and keep improving, this is the attitude that can be seen in the translation.
"Of that colossal wreck, boundless and bare" was translated by Wang as "loneliness, flat sand, empty and reckless",
Here he did not translate the two short sentences into two sentences according to the original structure, but paid attention to the charm of the poetic form,
"Lonely, Pingsha and Empty Mang" are just like "White Clouds for Thousands of Years Empty" and "Boundless Falling Trees Xiaoxiaoxia", which are not only catchy to read, but also the scene is vivid on the paper, allowing readers to indulge in the unique rhythm of this poem. This flexible translation method is Wang Zuoliang's pursuit of translating poetry. This treatment presents the poetic connotation in its entirety, rather than a simple formal equivalence, which leads to a lack of meaning and flavor. Because of the strong internalization of the language of poetry, people respect the hidden rather than the explicit; they respect the song rather than the straight, and the constituent elements of different languages are also very complex, so people usually think that it is difficult to translate poetry. However, Wang Zuoliang's handling of this poem is flexible and ingenious, eclectic, and he is extremely loyal to the original poem, presenting the beauty of the poem to readers in terms of art and form. It can be said that Wang is a poet The translator is also a poet.
2. The emotional expression of the translation
Wang has a relatively in-depth study of Shelley. In addition to being a romantic poet, Shelley is also a reformer and a philosopher. Because of such multiple identities, Shelley has a profound understanding of the change, development and elimination of things. His disdain and rebuke of tyrants, the anxiety of the people's suffering, the bright hope for the future, and the understanding of destruction and creation are all shown in "The Book". Ozymandias. In the emotional expression and metaphor of the translated text, Wang Zuoliang spent a lot of time in pursuit of achieving the same expressiveness as the original poem. Here, the processing of emotional expression in translation is analyzed from two different levels of meaning.
"The hand that mocked them and the heart that fed" has an implied meaning. The word "mock" is a pun. First, it vividly shows readers a scene where the grand plans of dominance will fade with history. Such a ruthless emperor could not escape a more cruel time, which makes readers think of "the Yellow Crane will never return, and the Yellow Crane Tower is vacant here", and the stark contrast emerges on the paper. Second, "mock" is in sharp contrast with "Sneer of cold command". The former sentence is still a tyrant who stands at the top of the pyramid and looks down on all living beings, but now it has become a ruined wall. Satire. That is to say, the "mock" here is specially designed by Shelley. This design is just like the "aggression" proposed by George Steiner in the four steps of hermeneutic translation. It has a certain personal tendency and is the result of the poet's spiritual will and values. reflect. endprint
Next, I will focus on analyzing the author's favorite sentence, "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" Wang Zuoliang's translation is "I am the king of kings. Dare to convince the Lord of Heaven!"
This sentence appears on the base of the statue, which is very imposing and depicts a mighty emperor. First of all, the translation adopts the sentence pattern of ancient Chinese, "My name is Ozymandias, king of kings" was translated by Wang as "I am the king of kings and also is also". "I am... Yes" is usually a arrogant statement. For example, "I am Changshan Zhao Zilong" is stronger than "I am...", which is in line with the identity characteristics of a generation of emperors. The arrogance on the page stands out on the paper, and it is very poetic, so this sentence is in line with the beauty of poetry in terms of charm and meaning. Secondly, his translation of "Dare to convince the Lord of Heaven!" is also a saying that is very in line with Chinese language habits. We have read "I advise the Lord of Heaven to be more vigorous and let down talents without sticking to one pattern", and we have also read "Sacrifice more for the sake of others". Ambition, dare to teach the sun and the moon to change the sky”, readers first know that Tiangong is the God we revere, and also understand that “dare to call” is a challenge and challenge to the “God”. In fact, "God" and "King" in English culture are different from Chinese culture. Wang Zuoliang adopts the method of naturalization here. What the reader needs to know here is whether this sentence expresses fearlessness or arrogance? In this poem, the tyrant's arrogant attitude is compared with the suffering brought to the people. This invisible irony makes the poem's artistic value even higher. Although this sentence is still engraved on the huge statue, he has been annihilated in the long river of history. The stronger and prouder the tone, the more dilapidated and vicissitudes the statue looks in Shelley's eyes. This sharp contrast has a strong expressive force, which makes the tension of the poem explode in front of the readers, forming the climax of this poem. Then arrange the "loneliness, flat sand, empty and reckless" at the end of the poem just mentioned, following this climax. This sudden drop to the bottom of the valley makes the climax of the poem come to an abrupt end. This unfinished regret makes the reader calm down. Start to speculate on the author's thoughts and feelings, and explore deeper meanings.
When it comes to a deeper meaning, we must look at the last sentence "The lone and level sands stretch far away", which the king translated as "stretching into the desolate four directions". The loneliness and desolation at the end presents the reader with a picture of all things returning to their original state, and beneath this surface tranquility hides a kind of vitality that is ready to go. That is to say, Shelley is full of hope for the possibility of the future. Creativity can change the scars of the past. Hope is a good medicine to heal people's pain. The so-called "creation must first be destroyed", as mentioned earlier, Shelley is a poet and a revolutionary, and his hope for the future can be felt by readers. Wang Zuoliang's translation reminds readers of the story of Pangu's creation of the world. His eyes turned into the sun and the moon, his limbs into the four poles, his breath into wind and clouds, his voice into thunder, and his blood into rivers. This is similar to the "everything starts here" that "reaching out to the desolate four directions" gives people, no matter how dark it is now, even if it is like the beginning of the separation of heaven and earth, when there is no civilization on earth, it also contains rebirth after destruction , that one day a new civilization will replace the old. In this poem and the historical era of poetry creation at that time, it is full of expectation and confidence in the dawn after darkness. Therefore, Shelley is highly accomplished in poetry and has a profound understanding of life and the world.
3. Implications for translators
The translation of Wang Zuoliang's "Osimandias" has three enlightenments for the translator: first, it is necessary to understand the poet or the author of the original text, including his life experience, character, style of work and his values, etc. , which is the basis of translation. Because the creation of art comes from life and is higher than life. Only good works can be presented on the basis of life experience, otherwise the works will give people a sense of emptiness. Then the translator's understanding of the poet's life experience is inaccessible, and only with this foundation can we talk about translation. Second, the cultivation of language proficiency must be strengthened. If you can't grasp the beauty of language, and you can't grasp the language of poetics, you don't have the ability to translate poetry. As mentioned in this article, poetry is a highly artistic form of work. Scholars generally think that using poetry to translate poetry is difficult, but not impossible. Chinese and English, reading more poems, and learning more about foreign cultures are good ways to cultivate translation quality. Here I would like to mention that many people ignore the improvement of Chinese proficiency and focus only on the cultivation of English proficiency. In this way, it is difficult to achieve the realm of "learning from Chinese and Western". That is to say, without excellent Chinese proficiency as a basis, translation is a difficult task. . Third, don't follow the rules, try boldly, and dare to break through. Poetry is a literary work, and the form is important. The combination of the beauty of the form and the beauty of the connotation can provide readers with a beautiful enjoyment. However, Wang Zuoliang's translation is flexible, relaxed, and the use of translation strategies and techniques is perfect, which can be seen in many places in the translation. The transformation of form and the addition and transformation of meaning are necessary for a confident translator. Therefore, the translator should have the courage and creativity to try, of course, this is based on the basic translation quality and grasp of poetry.
references:
[1] Huang Shuxia. Talking about the reproduction of artistic beauty in poetry translation [J]. History of Heilongjiang, 2009 (15): 114-116.
[2] Liu Juan. Interpretation of Humanism in Shelley's "Osemandias" [J]. Language Construction, 2016, 09: 67-68.
[3] Ni Xiaoshan. The freedom of goodness and beauty in Shelley's poetry [J]. Appreciation of Masterpieces, 2017 (06): 71-75.
[4] Chen Jia. A comparative study of Chinese translations of Shelley's lyric poems from the perspective of hermeneutics [D]. University of South China, 2014.endprint
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