陶淵明詩詞英文翻譯及

1、Tao YuanmingSujie LiSchool of English, BISU2016-11-2Historical background The cultural scene of the Eastern Jin （317-420） The territory of the Eastern Jin was much diminished, with the North fallen under the rule of rival states, and the southwest (modern Sichuan) dominated by the Cheng-Han kingdom

2、until 347; but territorial reduction is not necessarily proportionate to intellectual vigor and cultural splendor. The Eastern Jin and the ensuing four dynasties in the South Song, Qi, Liang, and Chen represent a richness of cultural accomplishment on a scale unparalleled in pre-Tang China. Jiankang

3、 （建康） was to grow into a thriving metropolis, the worlds most populated city in the early sixth century, with a population twice that of Constantinople, and, above all, a dazzling cultural and intellectual center that lasted until a northern dynasty, the Sui, united China in 589 and ordered the city

4、 razed to the ground. 六朝時期的建康城是世界上第一個人口超過百萬的城市，以建康為代表的南朝文化，與西方的古羅馬被稱為人類古典文明的兩大中心，在人類歷史上產(chǎn)生了極其深遠的影響。建康城規(guī)模極其龐大，以建康皇宮（建康臺城）為中心，無外郭城，東西各四十里，人口眾多。 The south, for the first time in Chinese history, ceased being a periphery to the heartland in the Yellow River valley. The wide use of paper: By the fourth ce

5、ntury, paper was becoming the most important writing medium. Lightweight and easy to use, it contributed to the proliferation of writing. （140 writers recorded in 隋書，almost twice that of Han writers） The convergence of diverse influences: arcane discourse on Laozi and Zhuangzi (Daoism), Buddhism, pr

6、acticality Relative peace and social stability: During these centuries, the south remained mostly free from large-scale war and destruction, offering an opportunity for literary and scholarly undertakings. Important literary development Poetry: a transition from four-character lines to five Prose: E

7、ven more than poetry, prose played a prominent role in the social world. Fu(賦），history (史） Zhiguai （志怪)， “strange tales” or “anomaly accounts” ，that gave account of supernatural phenomena, exotic locales, and fantastic flora and fauna（paradoxography）. This new genre came into maturity in the Eastern

8、 Jin, with Gan Baos In Search of the Supernatural (Soushen ji，干寶，搜神記) as its representative work. landscape representation in prose, poetry, and painting 山水詩，山水畫，（曹操）、陶淵明、謝靈運，王羲之 two main topics: “wandering like an immortal”, “becoming a recluse” The southern yuefu songs 南朝樂府民歌 木蘭詩 In the hands of t

9、he late Eastern Jin poet Tao Yuanming (365?427, also known as Tao Qian), the conventional vocabulary and images of poems on reclusion were transformed into a much more personalized poetry not only about the poets decision to withdraw from public service, but, more importantly, about how he lived and

10、 struggled with his decision from day to day. Tao Yuanmings writings were a testimony to discovering and justifying the values of private life as opposed to the demands of the public world; this aspect of his work was deeply embedded in the cultural and intellectual contexts of his age.Tao YuanmingA

11、 brief introduction陶淵明（352或365年427年），字元亮，又名潛，字淵明，自號“五柳先生”，去世后友人私謚“靖節(jié)” ，世稱“靖節(jié)先生”、“陶靖節(jié)”，潯陽柴桑（今江西省九江市）人。東晉末至南朝宋初期偉大的詩人、辭賦家。曾任江州祭酒、建威參軍、鎮(zhèn)軍參軍、彭澤縣令等職，最末一次出仕為彭澤縣令，八十多天便棄職而去，從此歸隱田園。他是中國第一位田園詩人，被稱為“古今隱逸詩人之宗”，著有陶淵明集。The career of Tao Yuanming or Tao Qian was divided between the Jin and Song dynasties. He was

12、born at Chaisang in Xunyang, now Jiujiang in Jiangxi, became a minor official at 29 and then resigned to till the land. Unable to support his family, he was persuaded to accept the magistracy of Pengze. When 80 days later it was suggested he spruce himself up for a visit from his superior he retorte

13、d, “ I will not bow down to a country boy for five pecks of rice,” and immediately left for home, abandoning his post. Even in seclusion he was hounded by misfortune. His house burned down when he was 44, and his last two decades were passed in destitution, though he refused official aid with contem

14、pt.飲酒其五結(jié)廬在人境，而無車馬喧。問君何能爾？心遠地自偏。采菊東籬下，悠然見南山。山氣日夕佳，飛鳥相與還。此中有真意，欲辨已忘言。Poems on Drinking Wine楊憲益 戴乃迭 譯I have built my cottage amongst the throng of men,And yet there is no noise of horse and of carriage.You ask me, how can it be? And I reply:When my heart is absent the lace itself is absent;For I pick c

15、hrysanthemums under the eastern hedge,And far away to the south I can see the mountains, And the mountains mists are lovely at morning and evening,While birds keep flying across and back again.In all these things there lies a profound meaning.I was going to explainbut now I forget what it was.Drinki

16、ng Wine (V)許淵沖 譯In peoples haunt I build my cot;Of wheels and hoofs noise I hear not.How can it leave on me no trace?Secluded heart makes secluded place.I pick fenceside asters at will;Carefree appears the Southern HillThe mountain airs fresh day and night;Together birds go home in flight.What revel

17、ation at this view?Words fail me if I try to tell you.桃花源記 Among Tao Yuanmings prose pieces, “The Record of Peach Blossom Spring” (Taohuayuan ji) is one of the most beloved texts in classical Chinese literature. It describes a utopian community where there are no usual social constraints such as tax

18、ation and hierarchy, and every one lives in contentment. Hidden away in the mountains, the community is accidentally discovered by a fisherman. Later, the fisherman tries to retrace his steps, but he can never find the community again. The story of the Peach Blossom Spring has inspired numerous writ

19、ings in later times and become a minor literary tradition in itself.桃花源記晉太元中，武陵人捕魚為業(yè)。緣溪行，忘路之遠近。忽逢桃花林，夾岸數(shù)百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復(fù)前行，欲窮其林。林盡水源，便得一山，山有小口，仿佛若有光。便舍船，從口入。初極狹，才通人。復(fù)行數(shù)十步，豁然開朗。土地平曠，屋舍儼然，有良田美池桑竹之屬。阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人。黃發(fā)垂髫，并怡然自樂。見漁人，乃大驚，問所從來。具答之。便要還家，設(shè)酒殺雞作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此

20、絕境，不復(fù)出焉，遂與外人間隔。問今是何世，乃不知有漢，無論魏晉。此人一一為具言所聞，皆嘆惋。余人各復(fù)延至其家，皆出酒食。停數(shù)日，辭去。此中人語云：“不足為外人道也?！奔瘸觯闷浯?，便扶向路，處處志之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所志，遂迷，不復(fù)得路。南陽劉子驥，高尚士也，聞之，欣然規(guī)往。未果，尋病終，后遂無問津者。A Tale of the Fountain of the Peach Blossom Spring In the year of Taiyuan of the Jin Dynasty, there lived a man in Wuling jun who ear

21、ned his living by fishing. One day, he rowed his boat along a stream, unaware of how far he had gone when all of a sudden, he found himself in the midst of a wood full of peach blossoms. The wood extended several hundred footsteps along both banks of the stream. There were no trees of other kinds. T

22、he lush grass was fresh and beautiful and peach petals fell in riotous profusion. The fisherman was so curious that he rowed on, in hopes of discovering where the trees ended. At the end of the wood was the fountainhead of the stream. The fisherman beheld a hill, with a small opening from which issu

23、ed a glimmer of light. He stepped ashore to explore the crevice. His first steps took him into a passage that accommodated only the width of one person. After he progressed about scores of paces, it suddenly widened into an open field. The land was flat and spacious. There were houses arranged in go

24、od order with fertile fields, beautiful ponds, bamboo groves, mulberry trees and paths crisscrossing the fields in all directions. The crowing of cocks and the barking of dogs were within everyones earshot. In the fields the villagers were busy with farm work. Men and women were dressed like people

25、outside. They all, old and young, appeared happy. They were surprised at seeing the fisherman, who, being asked where he came from, answered their every question. Then they invited him to visit their homes, killed chickens, and served wine to entertain him. As the words of his arrival spread, the en

26、tire village turned out to greet him. They told him that their ancestors had come to this isolated haven, bringing their families and the village people, to escape from the turmoil during the Qin Dynasty and that from then onwards, they had been cut off from the outside world. They were curious to k

27、now what dynasty it was now. They did not know the Han Dynasty, not to mention the Wei and the Jin dynasties. The fisherman told them all the things they wanted to know. They sighed. The villagers offered him one feast after another. They entertained him with wine and delicious food. After several d

28、ays, the fisherman took his leave. The village people entreated him not to let others know of their existence. Once out, the fisherman found his boat and rowed homeward, leaving marks all the way. When he came back to the jun, he reported his adventure to the prefect, who immediately sent people to

29、look for the place, with the fisherman as a guide. However, the marks he had left could no longer be found. They got lost and could not find the way. Liu Ziji of Nanyang jun, a learned scholar of high repute, was excited when he heard the fishermans story. He devised a plan to find the village, but

30、it was not carried out. Liu died soon afterwards, and after his death, no one else made any attempt to find it.桃花源的重要影響 1. 早期烏托邦?；诂F(xiàn)實運用想象勾勒出的一副理想社會的圖景。“直于污濁世界中另辟一天地”。在桃花源中，只有父子無君臣，人人勞動無剝削，大家平等無壓迫，和平幸福無戰(zhàn)亂，這些都是對當時社會的不滿和否定，“世外桃源”成為人們心目中理想社會的代稱，對后世影響深遠。An early form of the utopia. 2. 以漁夫和桃花源中的人進行對比，肯定了桃

31、花源中人的淳樸熱情，婉諷了世俗的背約寡信和邀名號利。 3. 文章還在虛構(gòu)的情節(jié)中雜以真人姓名，以增強其真實感，似早期的報告文學(xué)。 4. 敘述簡潔明暢，語言清新省凈，文風(fēng)真率自然，毫無雕飾，體現(xiàn)了陶淵明文章疏朗清淡的風(fēng)格。Significance of Tao YuanmingThe personalized voice of a poetTao Yuanming is certainly not the first Chinese poet to write poems on reclusion, but his uniqueness lies in the fact that he tran

32、sforms the conventional vocabulary and stock images of poetry on reclusion into a highly personalized poetry, and combines traditional themes and forms with a complex individual voice. More than anyone before him, his poetry alludes to the particular circumstances of the poet in the historical here

33、and now rather than to a generic gentleman-recluse. Such gestures of individuation can be seen as part of a larger discursive tendency from the third century on. Tao Yuanming, however, integrates the narrative element into his poetry itself, making it effectively a poetry of autobiography, even if t

34、his autobiography is a highly constructed self-image rather than an “objective” documentary.Simplicity in language and style:In contrast with the formal social verse written by his contemporaries, Tao Yuanming used a simple, unpretentious language to record the events of daily life as well as his thoughts and feelings. The simplicity of his style should not, however, obscure the poets self-consciousness and sophistication, which are rarely found in his contemporaries rhetorically more elaborate, but emotionally less compli