顏詩鈞.文化自覺下《詩經(jīng)·國風》中本源概念詞英譯策略探微[J].時代報告(奔流),2024,(08):7-9.Let'stakeanotherlookatthisexample:“呦呦鹿鳴，食野之蘋”（《小雅·鹿鳴》）“呦呦”isasimulationofthecallofadeer.InChineseculture,deerareoftenassociatedwithauspiciousnessandpeace,andthesceneryofdeersingingcreatesapeacefulandbeautifulatmosphere.XuYuanchongtranslatesto:Howgailycallthedeer,Whilegrazingintheshade!Gailyhasthemeaningofcheerfulandhappy,andbydescribingthecheerfulcallofthedeer,thereisapeacefulandbeautifulatmospherethatthereadercanfeel.4.2TheEmbodimentofPhysicalBeautyAncientChinesepoetrymostlyemphasizedthebeautyoftheformat,andpaidattentiontothebattleandcomparison.Therearestrictrequirementsforthenumberofwordsandlinesofthepoem.Theformatofthewholepoemisusuallyfixed,andthebeautifulformisanirreplaceablepartofapoem.Inthetranslationprocess,sometranslatorsfocusonlyonthesenseofsoundandignoretheform.Whenwetranslate,weshouldpayattentiontotheformalbeautyofthetranslatedtext.OverlappingwordsarethemostsignificantembodimentofthebeautyoftheBookofSongs.4.2.1UseofSynonymsThemorecommonoverlappingwordsintheBookofSongsareadjectives,whichmostlydescribethestateandimageofthings.Therefore,whentranslating,weneedtouseadjectivestotranslatetheoverlappingwordsintheBookofSongs.Thetranslatorcanusetwoadjectivesthatarethesameorhavesimilarmeanings.Theformoftheoriginaltextandtheformofthetranslatedtextareunified,whichconformstothedefinitionofformandbeauty.Here'sanexample:“桃之夭夭，其葉蓁蓁?！保ā吨苣稀ぬ邑病罚uYuanchongtranslatesthissentenceas:“Thepeachtreestandswayside,Withleavesthickanddense.”?！柏藏病眎susedtodescribethebeautyofpeachblossoms,and“蓁蓁”describesthelushbloomingofpeachblossoms.XuYuanchongtranslates“蓁蓁”as:“thickanddense”.Inthisway,thetranslationaccuratelyexpressesthemeaningoftheoriginaltext,usingtwosynonyms,makingthesentencestructurethesameandneat,andallowingthereadertovisuallyfeelthebeautyoftheform.Let'smoveontothesecondexample:“喓喓草蟲，趯趯阜螽。未見君子，憂心忡忡?！保ā墩倌稀げ菹x》WangRongpei'stranslationofthesetwolinesis:Grasshopperschirrinthemead.Whilelocustshopintheweed.Asmydearoneisnotthere,I'mfullofstrainandcare.“喓喓”isanonomatopoeiausedtodescribethecriesoflocustsandgrasshoppers,givingasadanddesolateautumnscene.Itissadforawomantonotbeabletowaitforherbeloved.“忡忡”expressesawoman'sinnermelancholy,andWangRongpeichosetwosynonymsstrainandcaretotranslatetheword“忡忡”.Thestructureisoppositetotheabove,sothatthereadercanfeelthebeautyoftheformalstructure.4.2.2TheLengthoftheLineThelengthofeachstanzaoftheBookofSongsconsistsoffourverses,eachofwhichismostlyfourcharactersandneatlyformatted.ThereasonwhyoverlappingwordsareoftenusedintheBookofSongsistocatertothisstructure,andsecondly,becausecompoundwordswerelimitedatthattime,inordertomaintainthestructureandrhythmintegrity.Whentranslatingpoemswithoverlappingwords,itisalsonecessarytopayattentiontowhetherthelengthofthepoemlinescorrespondstoeachother,andmaintainthestructureofequallength,soastopresentthebeautyoftheformtoforeignreaders.DuetothelargedifferencebetweenChineseandEnglish,thelengthofthetranslationcannotbemaintainedinfourwordsandonesentence,sothewholepoemshouldnotexceedtwoorthreewordsintheoriginalsentencewhentranslating,andtrytobeconsistentwiththelengthoftheoriginalpoem,soastorestorethebeautyoftheoriginalpoem.Letusnowexamineanexampletoillustratethispoint:桃之夭夭，灼灼其華。之子于歸，宜其室家。桃之夭夭，有蕡其實。之子于歸，宜其家室。（《周南·桃夭》）XuYuanchongtranslatesitas:Thepeachtreebeamssored;Howbrilliantareitsflowers!Themaiden'sgettingwed,Goodforthenuptialbowers.Thepeachtreebeamssored;Howplentifulitsfruit!Themaiden'sgettingwed;She'sthefamily'sroot.ItcanbeseenthatthelengthofXuYuanchong'stranslationisroughlysimilartothatoftheoriginaltext,mostlyfourwords,andnomorethansixwordsatmost.Inthisway,foreignreaderscanfeelthebeautyoftheformatofChinesepoetry.4.2.3StructuralSimilarityLet'sstartwiththisexample:牧野洋洋，檀車煌煌，駟騵彭彭?！洞笱拧ご竺鳌稺angRongpei'stranslationis:Far,farspreadthefieldsofMu-ye;Bright,brightshonethechariotshere.Theregallopedstalwartsteedsingroups.Intheprocessoftranslatingthefirsttwolinesofthepoem,WangRongpeichosetorepeattheadjectivesfarandbrighttotranslatetheoverlappingwords“洋洋”and“煌煌”intheoriginalpoem,notonlyfocusingonhighlightingthebeautyoftherhymeoftheoriginalpoeminthetranslation,butalsorepeatingtheadjectivestorhymeclosertothestructureandformatoftheoriginalpoem,whichcanbettershowtheurgentatmosphereoftheoriginalpoem.Translatorsoftenuseparallelstructuresorantiphonalsentencestomaintaintheformalbeautyofoverlappingwords.Thistranslationreproducestheformalbeautyandrhythmoftheoriginalpoemthroughtheuseofparallelstructures.Forexample,XuYuanchong'stranslation（《國風·衛(wèi)風·氓》）：Amanseemedfreefromguile;Intradeheworeasmile．He'dbarterclothforthread;No，tomehe'dbewed．Isawhimcrosstheford，Butgavehimnotmyword．Isaidbyhillsidegreen:Youhavenogo-between．Trytofindone，Ipray．Inautumnbetheday!ThestructureofXuYuanchong'stranslationismorelikeapoem.ThenumberoflinesinXuYuanchong'stranslationisnomorethan6words,andthenumberoflinesisunifiedwiththenumberofsentencesintheoriginaltext,andthestructureissimilartothatofthefour-characterpoemsintheBookofSongs,andthebehavioriscompact,whichisareproductionofthebeautyofformintheBookofSongs.Whentranslatingpoemswithoverlappingwords,thesyllablesandwordsareadjustedtomakethetranslationbettershowthebeautyofformandreproducetheformaleffectoftheoriginalpoem.4.3TheembodimentofSoundBeautyAncientpoetryisbothapoemandasong,andmostofthemcanbesungwithmusic,sotheycontainawealthofmusicaleffects.Throughthismusicaleffect,thepoetcanconveyemotionstothereader.AgoodtranslationallowsreaderstoappreciatetheoriginalmusicalbeautyofChinesepoetry,sothatthetranslatedpoemscanalsobereadpleasantly.4.3.1RhythmandRhymeTheformoftheBookofSongsismainlyinfourwords,withabrightrhythmandharmoniousrhyme.Forexample,《國風·鄭風·子衿》“青青子衿，悠悠我心?？v我不往，子寧不嗣音？”,Thepoemisfoursentencesandonesentence,withaneatrhythmandiscatchytoread.“衿”and“心”rhyme,and“音”alsoechoesthefirsttwointermsofrhyme,givingthepoemamusicalquality.Whentranslating,XuYuanchongwilltrytosimulatetherhythmandrhymeoftheoriginalpoemthroughthechoiceofEnglishwordsandthearrangementofsentencestructure,sothatthetranslatedtextcanalsoproduceasimilarmusicalbeautywhenreciting.Therhythmofsomepsalmsadjustsasemotionschange.Forexample,國風·王風·黍離》，“彼黍離離，彼稷之苗。行邁靡靡，中心搖搖。知我者，謂我心憂；不知我者，謂我何求。悠悠蒼天，此何人哉？”Therhythmoftheopeningchapterisrelativelysoothing,andtheuseofoverlappingwordssuchas“離離”and“靡靡”createsaheavyandsadatmosphere;Astheemotionprogresses,therhythmofthefollowingsentencesbecomesslightlyrapid,suchas“知我者……不知我者……”Thischangeinrhythmiscloselyintegratedwiththepoeticemotion.Retainingthisrhythmicvariationintranslationcanbetterreflectthesoundbeautyoftheoriginalpoem.4.3.2UseofOnomatopoeiaGenerallyspeaking,onomatopoeiaoverlappingisthemostcommonformofoverlappingwordsintheBookofSongs,whichcanemphasizethesoundeffect.TheBookofSongsusesawealthofonomatopoeiatoenhancethemusicaleffectofthepoems.Let'slookatthisexample:“關關雎鳩，在河之洲。窈窕淑女，君子好逑。”，“關關”isanonomatopoeiausedforthecallofadove.WhenXuYuanchongtranslated,hetranslatedthissentenceas:Byriversideapair,OfturtledovesarecooingandHetranslated“關關”withcooing,soastopreservethesoundbeautycreatedbytheoriginalpoemthroughonomatopoeiaasmuchaspossible.Thefunctionofonomatopoeiaistousethepronunciationofwordstoimitatesounds,whichcanrestorethesceneatthattimetoagreaterextent.“大車檻檻，毳衣如菼。豈不爾思？畏子不敢。大車啍啍，毳衣如璊。豈不爾思？畏子不奔?！保ā锻躏L·大車》）“檻檻”and“啍啍”describethesoundofthecarwalking,whichmakesthepoemmorebeautifulandharmoniousinrhythm,andaddssoundeffectstothepoem.Whentranslating,XuYuanchongtranslatedthesetwosentencesas:Rumblingyourcart，Reedlikeyourgrown，Imissyouinmyheart.HowdareIhaveitknown？Rattlingyourcart,Reddishyourgown,Imissyouinmyheart.HowdareIhaveitshown？Rumblingandrattlingareonomatopoeias,whichmeanacontinuoussoundinEnglishandareusedtoimitatethesoundofacarwalking.Accuratelyconveyingtheeffectofthisonomatopoeiaallowsthereadertofeeltheuniquecharmoftheoriginalpoemintermsofsoundbeauty.

Chapter5ConclusionThisstudyexplorestheEnglishtranslationofreduplicatedwordsinTheBookofSongsfromtheperspectiveofXuYuanchong'stheThreeBeautyTheory(意美、音美、形美).AmidgrowingglobalinterestinclassicalChineseliterature,theresearchaddressesthechallengesoftranslatingTheBookofSongs,particularlyitsnuancedandculturallyrichreduplicatedwords,whichareoftenlostintranslation.Thesignificanceofthisstudyliesinitscontributiontobothtranslationtheoryandpractice,offeringasystematicapproachtopreservingtheaestheticandculturalessenceofTheBookofSongsinEnglish.ChapterOneintroducesTheBookofSongsandoutlinestheresearchobjectives.ChapterTwoelaboratesontheThreeBeautyTheory,emphasizingitsroleinpoetrytranslation.ChapterThreeexploresthedefinition,features,andfunctionsofreduplicatedwordsinTheBookofSongs.ChapterFourevaluateshowtheThreeBeautyTheorycanbeappliedtothetranslationofreduplicatedwords,withexamplesillustratingthepreservationofmeaning,rhythm,andform.ThefindingsrevealthatXuYuanchong'stranslationssuccessfullycapturetheThreeBeautyofreduplicatedwords,thoughchallengesremaininfullyconveyingculturalconnotationsandphoneticelegance.Despiteitscontributions,thisstudyhaslimitations.Forinstance,TheanalysisprimarilyfocusesonXuYuanchong'stranslations,leavingroomforfurtherexplorationofothertranslators'works.Additionally,theculturalandlinguisticgapsbetweenChineseandEnglishposeunresolvedchallenges,particularlyintranslatingsoundsymbolismandarchaicexpressions.Futureresearchcouldexpandthescopetoincludecomparativestudiesofdifferenttranslators,incorporatereader-responsetheoriestoassessthereceptionoftranslatedreduplicatedwords,orexploreinterdisciplinaryapproachescombininglinguisticsandculturalstudies.Inconclusion,thisstudyunderscorestheenduringvalueoftheThreeBeautyTheoryasaframeworkfortranslatingclassicalChinesepoetry,bridgingthepastandpresentthroughtheartoftranslation.

ReferencesGuMingdong.DivinationandCorrelativeThinking:OriginsofanAesth