“神似論”角度下的《琵琶行》英譯本―對比分析許淵沖及楊憲益譯本的異同分析研究 英語學(xué)專業(yè)

“神似論”角度下的《琵琶行》英譯本―對比分析許淵沖及楊憲益譯本的異同摘要：“神似論”作為傅雷先生的一個重要的翻譯理論，其翻譯主張“重神似而不重形似”，認(rèn)為翻譯的核心思想為“傳神”且神形兼?zhèn)?，對?dāng)代中國的翻譯具有深遠的影響和指導(dǎo)作用?！杜眯小肥前拙右鬃饔谒H官到江州的第二年，作品借著敘述琵琶女的高超演技和她的凄涼身世，抒發(fā)了作者個人政治上受打擊、遭貶斥的抑郁悲凄之情。作為我國文學(xué)史上著名的長篇敘事詩，曾被許多著名的翻譯家翻譯成英文版本。本文以《琵琶行》為例，以傅雷先生的“神似論”為指導(dǎo)，選取了許淵沖譯本和楊憲益譯本。通過比較和分析許淵沖譯本和楊憲益譯本“神似”和“形似”方面的共性與異性，從而來探討詩歌翻譯中如何做到“神似”和“形似”的和諧統(tǒng)一。關(guān)鍵詞：“神似論”；《琵琶行》；許淵沖英譯本和楊憲益英譯本；對比分析

OntheEnglishVersionofPiPaPlayerfromthePerspectiveofSpiritualResemblanceTheory--ComparingandAnalyzingSimilaritiesandDifferencesofXuYuanchong'sandYangXianyi'sEnglishVersionAbstract"SpiritualResemblanceTheory"isoneofMrFulei'simportanttranslationtheory,whosetranslationinterprets"heavyemphasisshapeofthesolarsystem".Hethinksthatthecoreofthetranslationisthe"spiritualresemblance"andkeepsbothoriginal"form"and"spirit".HistheoryhasaprofoundeffectoncontemporaryChinesetranslationandplaysaroleofguiding.SongofaPipaPlayeriscreatedinthesecondyearwhenBaiJuyiwasrelegatedofficiallytoJiangzhou,whoseworksthroughnarratingsuperbactingofpipafemaleandhersadstoryandexpressingtheauthor'spoliticalblowandtheemotionofmournfulnessanddepressionthathewasdisgraced.Asafamouslongnarrativepoeminourliteraryhistory,manyfamoustranslatorshavebeentranslateditintoEnglish.AskingSongofaPiPaPlayerasanexample,thispaperselectedXuYuanchong'sversionandYangxianyi'sversionundertheguidanceofMr.Fulei's"SpiritualResemblanceTheory".Throughcomparingandanalyzingthesimilaritiesanddifferencesof"SpiritualResemblance"and"FormResemblance"fromXuYuanchong'stranslationversionandYanXianyi'stranslationversion,weexploreharmonyandunityof"SpiritualResemblance"and"FormResemblance"inthepoetrytranslation.Keywords:SpiritualResemblanceTheory;SongofaPiPaPlayer;XuYuanchong'stranslationversionandYanXianyi'stranslationversion;ContrastiveAnalysisSimilaritiesandDifferencesContentChapteroneIntroductionChaptertwoLiteratureReviewChapterthreeTranslationTheoriesandSubjectofStudy3.1FuLeiandHisTranslationPrinciple3.2BaiJuyiandSongofaPipaPlayerChapterFourTheContrastiveAnalysisofXuYuanchong'andYangXianyi'EnglishVersion4.1SimilaritiesofXuYuanchong'andYangXianyi'EnglishVersion4.1.1TheFormResemblanceBetweenTwoEnglishVersions4.1.2TheStyleResemblanceBetweenTwoEnglishVersions4.2DifferencesofXuYuanchong'andYangXianyi'EnglishVersion4.2.1TheFormResemblanceBetweenTwoEnglishVersions4.2.2TheStyleResemblanceBetweenTwoEnglishVersions4.3SummaryChapterFiveConclusionReferencesChapterOneIntroductionMrFulei's"SpiritualResemblanceTheory",whichcreatesaseparateschoolasanewtheoryofliterarytranslation,isamajorbreakthroughinChina'stranslationtheoryafterYanFuputtingforward"faithfulness,expressivenessandelegance",whichmarks"SpiritualResemblance".Hemakesthekeytoliterarytranslationandpromotesthetranslationfromthescrutinyofwordstothelevelofart.Moreimportantly,heputstheChinesetraditionalaestheticsideaof"Lifelike"intothetheoryoftranslationandtheunderstandingoftranslationtheoryhasbeenpromotedtothecategoryofaesthetics,thusbroadeningtheresearchfieldoftranslationtheory.Thetranslationtheoryof"SpiritualResemblanceTheory"markstheprogressofChinesetranslationinthepastdecades,andthetranslationtheorystartsfromabstractiontoconcretion.The"SpiritualResemblance"mainlyincludestwolevelsofmeaning,onereferstothepursuitofconveyingthemeaningandinterestbetweenthelines.Thesecondistopursuethecharmandstylethatpermeatestheoriginalwork."FormResemblance"meanstoretaintheoriginalformintheprocessoftranslation,suchasgenre,syntacticstructureandrhetoricaldevices.FuLeiputsforward"SpiritualResemblanceTheory"thatisbasedonhisliterarythoughtaharmoniousbeauty,mainlyembodiedintheharmonyofbeautyandkindness,balanceddevelopmentoftheinnerandouterandtheperfectcombinationofcontentandform.Then,heisalsostressedinSpiritualResemblanceofpainting,andthe"heavyemphasisshapeofthesolarsystem"inthepaintingfieldiswellversedinthefieldoftranslation,asheoncesaid,"Theeffectisconcerned,thetranslationshouldbelikeinthepicturetostressSpiritualResemblance,butnotinFormResemblance".However,MrFulei'stheoryof"SpiritualResemblance"isnottomeanthatonlyconsider"SpiritualResemblance"andputthe"FormResemblance"aside,heoncesaid"I'mnotsayingthatthesyntacticoforiginalthesisisignoredabsolutely,translatorsshouldbekeptwithinthemaximumlimitforthesyntaxoftheoriginalthesis".Therefore,intheprocessoftranslation,bothshouldbetakenintoconsideration,asbestaspossibletoachieveboth.ThisthesischosetheEnglishtranslationversionsofthefamousepicpoemSongofaPiPaPlayer,mainlyfromtheangleofthe"SpiritualResemblanceTheory"ofMrFuleitoanalyzeandcontrastsimilaritiesanddifferencesofXuYuanzhongtranslationversionandYangXianyitranslationversion.Thispaperisdividedintofiveparts.Thefirstpartbrieflyintroducestheimportance,definitionandbackgroundofMr.Fulei's"SpiritualResemblanceTheory".Thesecondpartsumsuptheapplication,understandingandresearchofthe"SpiritualResemblanceTheory"inpoetrytranslation.ThethirdpartintroducesMr.Fuleiandhistranslationtheory,aswellasabriefintroductiontothetextinterpretationofpoetBaiJuyiandhisSongofaPiPaPlayer.ThefourthpartmainlycomparesandanalyzesthesimilaritiesanddifferencesbetweenXuYuanchong'stranslationversionandYangXianyi'stranslationversion.Thelastpartisthesummaryofthefulltext,throughcomparativeanalysistodiscussthe"SpiritualResemblance"and"FormResemblance"ofharmoniousunity.ChapterTwoLiteratureReviewMr.FuLei's"SpiritualResemblanceTheory"hadaprofoundinfluenceandguidanceinthefieldoftranslation,anditisoneoftheimportantcriteriatomeasurethequalityoftranslation.MaoDunputtheearliestconceptof"spiritresemblance"and"formresemblance"ofpaintingandliterarycreationintothefieldoftranslation,Fuleiwillcontrast"spiritresemblance"with"formresemblance"inthefieldoftranslation,whichmakesextensiveinfluence.(ZhengQingzhu,2011)ChenYingziandWangYinxiasaid:"tounderstandFuLei's"SpiritualResemblanceTheory",weshouldfirstknowwhat"spiritualresemblance"and"formresemblance"are.(ChenYingzi,WangYinxia,2012)TheChinesetranslationdictionarywrote:"Formresemblance",'generalunderstandingtoretaintheoriginalform,specifically,suchaskeepthestyleoftheoriginal,thestructureofthesentencepatterns,andrhetoricaldevices,etc.(LuoLibin,2010)Thatistosay,"Formresemblance"isintheprocessoftranslationretaintheoriginalformtothegreatestextent.SoLuoXinzhangsaid,"spiritualresemblance",whichmeans"Lifelike",asthetermsuggests,isthespiritoftheoriginal,throughliteralmeaning,themeaningofwordstoexpress...allkindsofcharactershavedistinguishingfeatureeach,therearemanydifficultiestotranslate,andtranslationisnotaworkofwordbywordlikeastraightline,butMultilevelspreadofspirit.(LuoXinzhang,1984)Sothepursuitof"spiritresemblance"mainlyreferstothemeaningofwordsandinterestandcharmandstyleoftheoriginalwork."SpiritualResemblanceTheory"claims"heavyemphasisshapeofthesolarsystem",whichthinkthatthecoreofthetranslationisthe"spiritualresemblance"andkeepingbothoriginal"form"and"spirit".Therefore,intheprocessoftranslation,toachieve"spiritresemblance"isessentialinthetranslation,morehighlightshistranslationclaim"heavyemphasisshapeofthesolarsystem",butMrFuLeioncesaid:"I'mnotsayingthatthesyntacticisignoredabsolutely,translatorsshouldbekeptwithinthemaximumlimitforthesyntaxoftheoriginal."(FuLei,1984)Therefore,"Formresemblance"shouldalsobetakenintoconsiderationandcannotbecompletelyabandoned."spiritualresemblance"and"Formresemblancearedialecticalunity,notabsoluteopposition.""Formresemblance"isthemeansofliterarytranslation,while"spiritualresemblance"istheultimategoaloftranslation.(WangTan,LiuHuifeng,2013)SongofaPipaPlayerisaclassicinancientChinesepoetry,anditshighstatusinliteratureistheveryreasonwhytherearesomanyversionsoftranslation.ThispapermainlyselectsXuYuanchong'stranslationversionandYangXianyi'stranslationversionfromnumeroustranslations.XuYuanchongandYangXianyiarefamoustranslators,andthetwotranslatorshavetheirownpursuitoftheformalbeautyofthetranslation,formingtheirownuniquestyle.Throughcomparingandanalyzingthesimilaritiesanddifferencesof"SpiritualResemblance"and"FormResemblance"fromXuYuanchong'stranslationversionandYanXianyi'stranslationversion,weexploreharmonyandunityof"SpiritualResemblance"and"FormResemblance"inthepoetrytranslation.Inotherwords,theharmoniousunityof"spiritualresemblance"and"Formresemblance"isalsotheaestheticviewoftranslation.TherearealsotheresearchesofSongofapipaPlayer."YangHaotianwithXuYuanchong'EnglishversionSongofapipaPlayer,withthreebeautifultheoryastheoreticalperspective,whichexaminestheaestheticeffectofthetranslationandexploresthetranslatorhowtosuccessfullypassedtheoriginalbeautyinpoetrytranslation."(YangHaotian,2016)."LiangYinganalysismetaphorsinspecificexamplesofSongofapipaPlayer,fromthetranslationofmetaphortranslationmethodsareintroducedandaestheticeffectofXuYuanchonghandlingofmetaphorinpoetrytranslationmethods."(LiangYing,2014)"OnthebasisofreviewingthedevelopmentprocessofChineseandwesterntranslationaesthetics,thispapermakesacomparativestudyofXuYuanchong'stranslationandothertranslationsbasedonthetheoryofthreebeauties."(LiuLina,2011).Thesearticles,mostlybasedonthreebeautytheory,havethesameeffect.Andthisthesisisbasedonthetheoryof"spiritualresemblance".Contrastiveanalysisoftwoversionsinthesimilaritiesanddifferencesbetween"spiritualresemblance"and"Formresemblance"isalsomadeinthisthesis.ChapterthreeTranslationTheoriesandSubjectofStudy3.1FuLeiandHisTranslationPrincipleFuLei(courtesyname:Nu'an,1908-1966)wasborninNanhuiCountynearShanghai,andraisedbyhismother,whowasafamoustranslator.Intheearlychildhood,underthemother'sstrictteaching,hedevelopedarigorous,seriousandmeticulouspersonality.Inhisearlyyears,hestudiedartandarttheoryinFrancefrom1928–1932,wherehewasabletoobservetheworksofworld-classmastersandgreatlyimprovedhisartisticaccomplishment.AfterreturningtoChina,hetaughtinShanghaiartschool,becausehedidnotwanttotranslatethebookfromthevulgar,andhealmosttranslatedtheimportantworksofFrenchwriterssuchasVoltaire,BalzacandRomainRolland.MillionsofhisworkswereregardedastheChinesemodelessaysthatPeoplehighlypraised,whichformedthe"FuLeiStyle".Fulei'stranslationtheoryincludesthreeaspects.First,criteriaforselection.WhenFuLeichoosestheoriginaltext,hechoosestheworksprimarilythathavethespiritofthetimesandconformtothesocialdevelopmenttrendalongwithreaders'needs.Second,understanding,expressionandreader.FuLeibelievesthatthefaithfulreadermustbeloyaltotheoriginalwork.Third,Aesthetics-theharmonybetween"spirit"and"form"."Itseemstobeweightless.""Translationshouldbelikeapainting.Itisnotinshape,butinspirit."Usingthemethodofgrafting,theChineseclassicalaestheticsisappliedtothetranslationtheory,andtheartisticproblemofliterarytranslationisdiscussedwiththehelpof"deism"inthefieldofpaintingandpoetry.Fuleisaid:"toaskforthespiritofword,tomakeapoint,nottograspthedictionary,andtoputtogetherapatchworkofthings.""TheintentistoemphasizetheSpiritualResemblance,nottosaythatyoucandisregardit,ortoargueforit.""Spirit"attachedtotheForm"anForm"istheshellof"spirit","form"and"spirit"isaharmoniouswhole,"form"and"spirit"oflightandheavy,cannotbemeasuredbyminimumpointsorfavour.3.2BaiJuyiandSongofaPipaPlayerBaiJuyi,afamousmodernistpoetinthemiddleTangdynasty,isamusician,andBaiJuyioftenlivesinXiangShan,LuoYang.Whenyoungpeoplearepoor,theyhavemorecontactandunderstandingofsociallifeandpeople'ssufferings.Thereisanidealof"careabouttheworld",writingmany"allegoricalpoems",reflectingthemiserablelifeoftheworkingpeopleandexposingthedecadencefromtheevilrulingclass.Asaresultofoffendingthebureaucracy,hewasdemotedtoJiangZhouSiMa,andhewrotesomepoemsandsentimentalpoems.Thereareseventy-onevolumesoftheBookofWhite'sChangQing.LiteratureonBaiJuyiadvocated"Thearticleisallthetime,andthepoetryisdone.",stressedandinheritingmodernismfinetraditionsofChineseclassicalpoem,againstnosustenance,wasthepioneerofthenewpoemsmovement,hasimportantpositioninthehistoryofliterature.SongofaPiPaPlayerisafamouslongnarrativepoeminthehistoryofChineseliterature,whichisoneoftherepresentativeworksofBaiJuyi.SongofaPiPaPlayerwasmadebyTangXianzongYuanHe11years(AD816),whenBaiJuyiwas45yearsold,andhewasappointedastheSiMa.SiMaissecretariatassistant,soundslikeadecentposition,infact,placedinthemiddleTangdynastyofficials"crime",whichisadisguisedformsenttosomewheretoacceptsupervision.ThiswasagreatinfluenceonBaiJuyi,theturningpointofhisthoughtchange,andhisearlystrugglewasgraduallysoldoffandthenegativeemotionsincreased.SongofaPipaPlayeriscreatedinthesecondyearwhenBaiJuyiwasrelegatedofficialtoJiangzhou,whichworksthroughnarratingsuperbactingofpipafemaleandhersadstory,whichexpresstheauthor'spoliticalhitandtheemotionofmournfulnessanddepressionthathewasdisgraced.Here,poetsregardedapipafemaleastheirownoverthebosomfriend,withhermiserysuffering,hisfugitivedust,thesorrowoflife,alltogetherasawhole,thusmakeworkhasextraordinaryappeal.ChapterFourTheContrastiveAnalysisofXuYuanchong'andYangXianyi'EnglishVersionXuYuanchongandYangXianyiareexcellentandfamoustranslatorsintheChinesetranslationfield,whoarecommittedtothetranslationofC-E,andtheirtranslationhasthesameeffect,alsohasitsownuniquestyle.Thispartmainlyanalyzesthesimilaritiesanddifferencesbetweenthetwoversionsintheaspectof"Formresemblance"and"spiritualresemblance".Thereisadiscussiononthecontentof"spiritualresemblance"and"Formresemblance".XuJunhasbeensystematicallydiscussestheproblemof"Formresemblance"and"spiritualresemblance",hesaid:"accordingtothetranslationofpopular,"spirit"inthe"spiritualresemblance"isnotonlyincludingtheverve,sentiment,momentum,style,etc,alsoincludingthe"meaning","spirit"and"content".(XuJun,2003)"Intermsofpoetrytranslation.JiangFengsaid:"theFormofpoetryshouldincludethestructureofthepoem,wordorder(thecombinationofthewords),verse(ornoverse),metre(ornometre)andeventhewordspellingandcapitalization."(JiangFeng,1998)Therefore,itcanbesummarizedasstructure,wordorder(combinationofwords),metre(ornometre),verse(ornoverse),spellingandcapitalizationofwords.Itseemstoincludeverve,style,spirit,sentiment,momentumandcontent.ThissectionwilldiscussdifferencesandSimilaritiesofthetwoversionsofthespiritandform.4.1SongofaPiPaPlayerandXuYuanchong'andYangXianyi'EnglishVersionOriginaltext:《琵琶行》白居易元和十年，予左遷九江郡司馬。明年秋，送客湓浦口，聞舟中夜彈琵琶者，聽其音，錚錚然有京都聲。問其人，本長安倡女，嘗學(xué)琵琶于穆、曹二善才，年長色衰，委身為賈人婦。遂命酒，使快彈數(shù)曲。曲罷憫然，自敘少小時歡樂事，今漂淪憔悴，轉(zhuǎn)徙于江湖間。予出官二年，恬然自安，感斯人言，是夕始覺有遷謫意。因為長句，歌以贈之，凡六百一十六言，命曰《琵琶行》。潯陽江頭夜送客，楓葉荻花秋瑟瑟。主人下馬客在船，舉酒欲飲無管弦。醉不成歡慘將別，別時茫茫江浸月。忽聞水上琵琶聲，主人忘歸客不發(fā)。尋聲暗問彈者誰？琵琶聲停欲語遲。移船相近邀相見，添酒回?zé)糁亻_宴。千呼萬喚始出來，猶抱琵琶半遮面。轉(zhuǎn)軸撥弦三兩聲，未成曲調(diào)先有情。弦弦掩抑聲聲思，似訴平生不得志。低眉信手續(xù)續(xù)彈，說盡心中無限事。輕攏慢捻抹復(fù)挑，初為《霓裳》后《六幺》大弦嘈嘈如急雨，小弦切切如私語。嘈嘈切切錯雜彈，大珠小珠落玉盤。間關(guān)鶯語花底滑，幽咽泉流冰下難。冰泉冷澀弦凝絕，凝絕不通聲暫歇。別有幽愁暗恨生，此時無聲勝有聲。銀瓶乍破水漿迸，鐵騎突出刀槍鳴。曲終收撥當(dāng)心畫，四弦一聲如裂帛。東船西舫悄無言，唯見江心秋月白。沉吟放撥插弦中，整頓衣裳起斂容。自言本是京城女，家在蝦蟆陵下住。十三學(xué)得琵琶成，名屬教坊第一部。曲罷曾教善才服，妝成每被秋娘妒。五陵年少爭纏頭，一曲紅綃不知數(shù)。鈿頭銀篦擊節(jié)碎，血色羅裙翻酒污。今年歡笑復(fù)明年，秋月春風(fēng)等閑度。弟走從軍阿姨死，暮去朝來顏色故。門前冷落鞍馬稀，老大嫁作商人婦。商人重利輕別離，前月浮梁買茶去。去來江口守空船，繞船月明江水寒。夜深忽夢少年事，夢啼妝淚紅闌干。我聞琵琶已嘆息，又聞此語重唧唧。同是天涯淪落人，相逢何必曾相識！我從去年辭帝京，謫居臥病潯陽城。潯陽地僻無音樂，終歲不聞絲竹聲。住近湓江地低濕，黃蘆苦竹繞宅生。其間旦暮聞何物？杜鵑啼血猿哀鳴。春江花朝秋月夜，往往取酒還獨傾。豈無山歌與村笛？嘔啞嘲哳難為聽。今夜聞君琵琶語，如聽仙樂耳暫明。莫辭更坐彈一曲，為君翻作《琵琶行》。感我此言良久立，卻坐促弦弦轉(zhuǎn)急。凄凄不似向前聲，滿座重聞皆掩泣。座中泣下誰最多？江州司馬青衫濕。YangXianyi'EnglishVersionSongoftheLutePlayerBaiJuyiInthetenthyearofthereignofYuanhe,IwasdemotedtotheassistantprefectshipofJiujiang.Thenextautumn,whileseeingafriendoffatPengpu,Iheardsomeonestrummingaluteinaboatatnight,playingwiththetouchofamusicianfromthecapital.IfounduponinquirythatthelutistwasacourtesanfromChang'anwhohadlearnedfromthemusiciansMuandCaobutgrowingoldandlosingherlooks,shehadmarriedamerchant.ThenIordereddrinksandaskedhertoplayafewtunes.Afterplaying,indeepdistress,shetoldmeofthepleasuresofheryouthandsaidnowthatherbeautyhadfadesshewasdriftingfromplacetoplacebyriversandlakes.InmytwoyearsasanofficialawayfromthecapitalIhadbeenresignedenough,mymindatpeace,butmovedbyhertalethatnightIbegantotakemydemotionandexiletoheart.SoIwrotealongpoemandpresentedittoher.Ithas612wordsandIcallittheSongoftheLutePlayer.BytheXunyangRiveraguestisseenoffonenight;Chilltheautumn,redthemapleleavesandinflowerthereeds;Thehostalightsfromhishorse,theguestisaboard,Theyraisetheircupstodrinkbuthavenomusic.Drunkwithoutjoy,insadnesstheymustpart;Atthetimeofpartingtheriverseemssteepedinmoonlight;Suddenlyoutonthewateraluteisheard;Thehostforgetstoturnback,theguestdelaysgoing.Seekingthesoundinthedark,weaskwhoistheplayer.Theluteissilent,hesitantthereply.Rowingcloser,weaskifwemaymeetthemusician,Callformorewine,trimthelampandresumeourfeast;Onlyafterathousandentreatiesdoessheappear,Herfacehalf-hiddenbehindtheluteinherarms.Shetunesupandplucksthestringsafewtimes,Touchingourheartsbeforeeventhetuneisplayed;EachchordstrikesapensivenoteAsifvoicingthedisillusionofalifetime;Herheadisbent,herfingersstrayoverthestringsPouringouttheinfinitesorrowsofherheart.Lightlyshepinchesinthestrings,slowlyshestrumsandplucksthem;FirstTheRainbowGarments,thenTheSixMinorNotes.Thehighnoteswaillikepeltingrain,Thelownoteswhisperlikesoftconfidences;WailingandwhisperinginterweaveLikepearlslargeandsmallcascadingonaplateofjade,Likeawarblingorioleglidingbelowtheblossom,Likeamountainbrookpurlingdownabank,Tillthebrookturnstoice,thestringsseemaboutsnap,Abouttosnap,andforoneinstantallisstillOnlyanundertoneofquietgriefIsmorepoignantinthesilencethananysound;Thenasilverbottleissmashed,outgushesthewater,Armouredriderscharge,theirswordsandlancesclang!Whenthetuneends,shedrawsherpickfullacrossAndthefourstringsgiveasoundlikethetearingofsilk.Rightandleftoftheboatallissilence—Weseeonlytheautumnmoon,silverinmidstream.Pensivelysheputsthepickbetweenthestrings,Straightensherclothes,risesandcomposesherself.Sheis,shesays,agirlfromthecapitalWhosefamilyoncelivedatthefootofToadHill.AtthirteenshelearnedtoplaytheluteAndrankedfirstamongthemusicians;Herplayingwasadmiredbytheoldmasters,Herlooksweretheenvyofothercourtesans;Youthsfromwealthydistrictsviedintheirgiftstoengageher,Asinglesongbroughthercountlessrollsofredsilk;Mensmashedjeweledandsilvertrinketstomarkthebeat;Silkskirtsasredasbloodwerestainedbyspiltwine.Pleasureandlaughterfromoneyeartothenext.Whiletheautumnmoonandspringbreezepassedunheeded.Thenherbrotherjoinedthearmy,herauntdied,Thedaysandnightsslippedbyandherbeautyfades,Nomorecarriagesandhorsementhrongedhergate,Andgrowingoldshebecameamerchant'swife.Themerchantthoughtonlyofprofit:toseekitheleavesher.TwomonthsagohewenttoFuliangtobuytea,Leavingheraloneintheboatatthemouthoftheriver;Allaroundthemoonlightisbright,theriveriscold,Andlateatnight,dreamingofhergirlhood,Shecriesinhersleep,stainingherrougedcheekswithtears.Themusicofherlutehasmademesign,Andnowshetellsthisplaintivetaleofsorrow;Wearebothill-starred,driftingonthefaceoftheearth;Nomatterifwewerestrangersbeforethisencounter.LastyearIbadetheimperialcityfarewell;Ademotedofficial,IlayillinXunyang;Xunyangisapaltryplacewithoutanymusic,ForoneyearIheardnowindinstruments,nostrings.NowIliveonthelow,dampflatbytheRiverPen,Roundmyhouseyellowreedsandbitterbamboosgrowrife;FromdawntillduskIhearnoothersoundsButthewailingofnight-jarsandthemoaningofapes.OnadayofspringblossomsbytheriverormoonlitnightinautumnIoftencallforwineanddrinkalone;Ofcourse,therearerusticsongsandvillagepipes,Buttheirshrilldiscordantnotesgrateonmyears;TonightlisteningtoyourluteplayingWaslikehearingfairymusic;itgladdenedmyears.Don'trefuse,butsitdownandplayanothertune,AndI'llwriteaSongoftheLutePlayerforyou.Touchedbymywords,shestandsthereforsometime,ThengoesbacktoherseatandplayedwithquickenedtempoMusicsadderfarthanthefirstmelody,Andatthesoundnotamanofushasdryeyes.TheassistantprefectofJiangzhouissomovedThathisbluecoatiswetwithtears.XuYuanchong'EnglishVersionSongofaPipaPlayerBaJuyiOnenightbyriversideIbadeafriendgoodbye;Inmapleleavesandrushesautumnseemedtosigh.MyfriendandIdismountedandcameintotheboat;Withoutflutesongswedrankourcupswithheavyheart;Themoonbeamsblendedwithwaterwhenweweretopart.Suddenlyo’erthestreamweheardapipasound;Iforgottogohomeandthegueststoodspell-bound.Wefollowedwherethemusicledtofindtheplayer,Butheardthepipastopandnomusicintheair.Wemovedourboattowardstheonewhencecamethestrain,Broughtbackthelamp,askedformorewineanddrankagain.Repeatedlywecalledforthefairplayerstill.Shecame,herfacehalfhiddenbehindapipastill.Sheturnedthepegsandtestedtwiceorthriceeachstring;Beforeatunewasplayedweheardherfeelingssing.Eachstringsheplucked,eachnoteshestruckwithpathosstrong,Allseemedtosayshe’dmissedherdreamsallherlifelong.Headbent,sheplayedwithunpremeditatedartOnandontopouroutheroverflowingheart.Shelightlyplucked,slowlystrokedandtwangedloudThesongof“GreenWaist”afterthatof“RainbowCloud”.Thethickstringsloudlythrummedlikethepatteringrain;Thefinestringssoftlytinkledinamurmuringstrain.Whenminglingloudandsotnotesweretogetherplayed,Youheardorioleswarbleinafloweryland,Thenasobbingstreamrunalongabeachofsand.Butthestreamseemedsocoldastotightenthestring;Fromtightenedstringsnomoresongcouldbeheardtosing.Stillweheardhiddengriefandvagueregretconcealed;Thenmusicexpressedfarlessthansilencerevealed.Suddenlyweheardwaterburstasilverjar,Andtheclashofspearsandsaberscomefromafar.Shemadeacentralsweepwhenthemusicwasending;Thefourstringsmadeonesound,asifsilkonewasrending.Silencereignedleftandrightoftheboat,eastandwest;Wesawbutautumnmoonwhiteintheriver’sbreast.Sheslidtheplectrumpensivelybetweenthestrings,Smoothedoutherdressandrosewithacomposedmien.“Ispent,”shesaid,“inthecapitalmyearlysprings,WhereatthefootofMountofToadsmyhomehadbeen.AtthirteenIlearnedonthepipahowtoplay,Andmynamewasamongtheprimasoftheday.Iwonmymaster’sadmirationformyskill;Mybeautywasenviedbysongstressesfairstill.Thegallantyoungmenviedtoshowergiftsonme;Onetuneplayed,countlesssilkrollsweregivenwithglee.Beatingtime,Iletsilvercombandpindropdown,Andspilt-outwineoftstainedmyblood-redsilkengown.FromyeartoyearIlaughedmyjoyouslifeawayOnmoonlitautumnlightaswindyvernalday.Myyoungerbrotherleftforwar,anddiedmymaid;Dayspassed,nightscame,andmybeautybegantofade.Fewerandfewerwerecabsandsteedsatmydoor;Imarriedasmugmerchantwhenmyprimewaso’er.Themerchantcaredformoneymuchmorethanforme;Onemonthagohewentawaytopurchasetea,Leavinghislonelywifealoneinemptyboat;Shroudedinmoonlight,onthecoldriverIfloat.DeepinthenightIdreamsofhappybygoneyears,Andwoketofindmyrougedfacecrisscrossedwithtears.”Listeningtoherstory,Isignedagainandagain.Bothofusinmisfortunegofromshoretoshore.Meetingnow,needwehaveknowneachotherbefore?“IwasbanishedfromthecapitallastyearTolivedegradedandillinthiscityhere.Thecity’stooremotetoknowmelodioussong,SoIhaveneverheardmusicalltheyearlong.IdwellbyriverbankonalowanddampgroundInahousewithwildreedsandstuntedbamboosaround.WhatisheretobeheardfromdaybreaktillnightfallButgibbon’scryandcuckoo’shomeward-goingcall?BybloomingriversideandunderautumnmoonI’veoftentakenwineupanddrunkitalone.ThoughtIhavemountainsongsandvillagepipestohear,Yettheyarecrudeandstridentandgrateontheear.Listeningtoyouplayingonpipatonight,Withyourmusicdivinee’enmyhearingseemsbright.Willyousitdownandplayforusatuneoncemore?I’llwriteforyouanodetothepipaIadore.”TouchedbywhatIsaid,theplayerstoodforlong,Thensatdown,toreatstringsandplayedanothersong.Sosad,sodrear,sodifferent,itmovedusdeep;Thosewhoheardithidthefaceandbegantoweep.Ofallthecompanyattablewhoweptmost?Itwasnoneotherthantheexiledblue-robedhost.4.2SimilaritiesofXuYuanchong'andYangXianyi'EnglishVersion4.2.1TheFormResemblanceBetweenTwoEnglishVersionsIn