A Skopostheorie Approach to the Translation of Artistic Conception in Chinese Cl

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摘 要： This paper is to examine the C-E translation of artistic conception of Chinese classic poems regarding feeling and setting from the angle of skopostheorie. Artistic conception is an indispensable factor in Chinese classic poems. The approach of Skopostheorie can be adopted as a guide because of its rules of purpose， textual coherence and culture aspect.

关键词： Chinese classic poems； translation； artistic conception； feeling and setting；Skopostheori

ⅠIntroduction

Artistic quality， the vital criterion of poetic creation， is an aesthetic activity. chinese classic poems， the treasure of all mankind， should be translated into equally charming English language. As a very important character in Chinese classic poems， artistic conception should be paid more attention to in translation， with Skopostheorie as a guideline.

ⅡArtistic conceptions of Chinese classic poems

Artistic conception， a poetic notion， which means the integration of poets’ subjective intention and objective matters， is an artistic state in which the poets’ feeling merge with the real setting. Generally speaking， artistic conception is embodied in the form of feeling blended with setting. Gu Zhengyang states that feeling is in the leading position， since feeling is the root and setting is sprout； feeling is the soul of setting and setting is the body of feeling； setting is the carrier of feeling while feeling becomes vivid via setting. （Gu “New Aesthetic Approach” 18）.

ⅢSkopostheorie in the translation of artistic conception of Chinese classic poems

A.A Brief Introduction to the Skopostheorie

Skopo， a Greek word for “purpose”， is a theory of purposeful action， and serves as an indispensable component within the framework of functionalist theories of translation， underlining the purpose of the target text. As Vermeer put it， the top ranking rule for Skopostheorie is the “Skopos rule”， which means a translation action is determined by its Skopos （Nord， 29）. Another two principles of the Skopostheorie are “coherence rule” and “concept of culture”. The former indicates that any translation should be coherent with the target text receiver’s situation， which is known as “intratextual coherence”； the latter deals with “cultural features”， which is “a social phenomenon of a culture X， when comparing with a corresponding social phenomenon in a culture Y， is found to be specific to culture X” （Nord 34）.

B. Difficulty in the translation of Chinese classic poetry

However， translators have to come across many difficulties such as some Chinese cultural codes in geography， seasons， climate， food， festivals， customs， religions， art， architecture and some other cultural images in translation process. The first one lies in the discrepancy between source language and text language and the difference of cultural background is also an important factor. For example， fox is seen as a clever and lovely animal in some countries， so the people there use “fox” to describe people who are clever and quick-witted. However， Chinese people use “fox” to describe people who are cunning and crafty. In addition， Western people’s writing style is direct， honest， and candid， which is related to their open-minded characteristics， while Chinese people tend to be indirect and beat around the bush.

C. Analysis of some examples of applying Skopostheorie to the translation of artistic conceptions in feeling and setting

1. Skopos rule

Skopostheorists hold the view that translating is a purposeful communicative human activity. Skopostheorie gives focus on the function of translated text in target situation and culture. It attempts to coordinate the function and influence of source and target culture.

Please read Li Shangyin’s 《锦瑟》：

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。

There are four allusions included in the poem. The first one is Zhuang Zi becoming a butterfly in his dream； the second is the King of Shu Kingdom， Du Yu， becoming a cuckoo， moaning in late spring； the third one is Jiao Ren crying below the moon and the tears turning into pearls； the fourth is Lantian Jade generating smoke in the warm sunshine. The poem has constructed an artistic state like dream， and described the vicissitudes of life from different aspects. What should be paid attention to is that in Chinese myth， Jiao Ren is a kind of creature like mermaid in western fairy tale. The purpose of translating this poem is to convey its dreamlike setting and sentimental feeling， thus translating Jiaoren into mermaid can help western readers comprehend the meaning of the poem by the link with the similar legend. The translation version is listed below：

Why should the zither sad have fifty strings？ Each string， each strain evokes but vanished springs； Dim morning 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 even when it was felt then. （Gu， New 5）

2. Coherence rule

Regarding Skopostherie， the viability of the translational demand depends on the circumstances of the target culture， not on the source culture. In Vermeer’s terms， the target text should conform to the standard of ‘intratextual coherence’ （Nord 32）. The “coherence rule’， specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation （Nord 32）. However， Chinese classic poems do not always follow the regular word order. Poetry is the most refined language， and Chinese language focuses on the coherence of thought while English emphasizes the pro forma logic. Therefore， changing syntax is necessary in the translation process.

Please read Wang Wei’s 《使至塞上》：

单车欲问边，属国过居延。征蓬出汉塞，归雁入胡天。大漠孤烟直，长河落日圆。萧关逢候骑，都护在燕然。

The couplet of “大漠孤烟直，长河落日圆” describes the magnificent landscape in northern China. At that time， the poet was experiencing his hard time politically and was transported far away from the court. The broadness of the desert and the wildness of the frontier region had deepened his frustration and depression. There was nothing special but the lonely line of smoke， which has strengthened the monotonousness. The original poem is characterized with the most common syntax in Chinese classic poems―“noun+noun+verb”. The translator had respectively used “above the desert vast” and “upon the long river” to represent “大漠” and “长河”.Below is the translation：

En route to the border， my long carriage passes through the vassal state of Juyan. A wisp of thatching is blown beyond the Han frontier， a wild goose returning through barbarian skies. Straight is the lonely line of smoke above the desert vast， and round， the sun that sets upon the long river. Meeting horsemen patrolling the Xiao Pass， I learn that the governor general is at Yanran. （Gu， New 306-07）

3. Concept of culture

It cannot be denied that every nation has its particular cultural features， which would form a culture barrier among nations. For the purpose of conveying the beauty of classic poems and realizing intercultural communication， free translation can help English readers appreciate the artistic conception in Chinese classic poems more easily.

Please read Liu Yuxi’s《乌衣巷》：

朱雀桥边野草花，乌衣巷口夕阳斜。 旧时王谢堂前燕，飞入寻常百姓家。

This is a poem meditating on the past. The poet visited and pondered on the past prosperity of the Red-Bird Bridge and the Black-Dress Lane along the Qinhuai River in Nanjing City. However， what Liu saw at that time was only weed and lonely setting sun. The swallows that used to fly into Wang and Xie Family were flying into the humble house of common people. Facing the desolate setting， the poet sighed and felt that time had brought great changes to the world. Wang Family and Xie Family used to be distinguished in Nanjing， but they are still unfamiliar to most English readers， so they can be translated into “mansions of the great”. Below is the translation.

By the Red-Bird wild flowers thickly grow， Along the Black-Dress Lane the sun is setting low. Where once the swallows knew the mansions of the great， they now would fly to humble home to nest and mate. （Wen 145）

In Chinese classic poems， one conception can be translated into two or more versions， which are determined by various situations and serves different purposes. For instance， “重阳节” falls on the ninth day in the ninth month in lunar calendar， and is usually translated to Double Ninth Festival. In this day， Chinese people are accustomed to visiting mountains with family members， appreciating chrysanthemums and drinking wine.

Take Wang Wei’s 《九月九日忆山东兄弟》as an example：

独在异乡为异客，每逢佳节倍思亲。遥知兄弟登高处，遍插茱萸少一人。

Basically， the title of the poem should be Thinking of My Brothers on Double-Ninth Festival. However， Double-Ninth Festival is a day for family to go hiking in mountains， and Wang Wei imagined that his brothers wore evodia and had fun in mountain together. Staying in strange place far away from home， Wang Wei missed his family very much in Double-Ninth Festival since it was a day for family to do outdoor activities. Therefore， it is suggested to translate it into Mountain-Hiking Day. Below is the proper translation of the title.

Thinking of My Brothers on Mountain-Hiking Day.

Please read Huang Chao’s 《不第后赋菊》：

待到秋来九月八，我花开后百花杀。冲天香阵透长安，满城尽带黄金甲。

In China， people like appreciating chrysanthemums in Double-Ninth Festival， thus this day can be regarded as Chrysanthemums Day. Huang Chao excluded other various flowers that symbolized the governing class， and valued chrysanthemums， calling it “my flowers”， which represented the oppressed. He was anxious to see the coming of Double-Ninth， because the whole world would be the kingdom of chrysanthemums on that day. By describing the chrysanthemums’ full blossom on Double-Ninth， Huang Chao expressed his calling on the oppressed to surge. Thus， it is better to change the Double-Ninth Festival to Chrysanthemums Day， which could properly reflect the poet’s ambition. The translation is listed below.

Wait till the eighth day of the ninth lunar month in late fall， the eve of the Chrysanthemums Day when my flowers boom last. Soaring fragrance is like battle arrays penetrates Chang’an， where chrysanthemums look just like golden suits of armor. （Gu， Approach 149）

VIConclusion

In conclusion， as cultural treasure owned by all mankind， Chinese classic poems has its special beauty and charm. Artistic conception is a very important cultural characteristic of Chinese classic poems， which should be paid more attention to during translation. In view of the difficulty in the translation of Chinese classic poetry， it is wise to apply Skopostheorie， which has achieved big success and shall be carried forward in the future.

Works Cited：

[1]Gu、 Zhengyang.New Aesthetic Approach to English Translation of Ancient Chinese Poetry.Shanghai： Shanghai UP， 2006.

[2]Nord、Christiane.Translating as a Purposeful Activity： Functionalist Approaches Explained.Shanghai： Shanghai Foreign Language Education Press，2006

[3]Bassnett、Susan. and André Lefevere.Constructing Cultures： Essays on Literary Translation.Shanghai： Shanghai Foreign Language Education Press，2002.

[4]Xu、Yuanchong.300 Song Lyrics.Beijing： China Translation & Publishing Corporation，2008.

[5]Wen、 Shu.Shici Yingyi Xuan.Beijing： Foreign Language Teaching and Research Press，1989.