苏东坡的文学背景和他的赋SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu (Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C D Le Gros Clark， this is published here by kind permission of M Le Gros C Those who are interested in textual criticism may consult M Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly， V IV， N –E)Of the Sung dynasty， it may be said， as Hazlitt said of himself， that it is nothing if not The Chinese people dropped something of their usual wise passiveness during the Sung dynasty， and “pondered， searched， probed， vexed， and criticized” This intellectual activity， however， is not to be compared with that of the Pre-Chin period， the heyday of Chinese The men of the Sung dynasty were inquisitive rather than speculative， filled more with a sense of curiosity than with a sense of Hence， there is no sweep， no daring， no roominess or margin in their A prosaic and stuffy thing theirs is， on the This critical spirit revealed itself in many directions， particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）， that mélange adultere of metaphysics， psychology， ethics and Literary criticism in China is an unduly belated Apart from a handful of obiter dicta scattered here and there， Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung There is Chung Yung’s Classification of Poets (钟嵘诗品) of But Chung Yung is a literary genealogist rather than a critic， and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due， is the reverse of critical， let alone his fanciful attempts to trace literary parentages(1) Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2) Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure， ornate， grotesque，” His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language， so quietly ecstatic and so autonomous and self-sufficient， as it were， in its being but it fails on that very account to become sober and proper It is not until the Sung dynasty that criticism begins to be practiced in Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on individual Henceforth， causeries on poetry become established as the vehicle for Chinese One must note in passing that there do not appear professional critics with the rise of In those good old days of China， criticism is always the prerogative of artists The division of labour between critics and artists in the West is something that the old Chinese literati would scoff The criticism of Sung dynasty， like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind， is apt to fasten upon particulars and be given too much to the study of best words in best But it is symptomatic of the critical spirit， and there is an end of The Chinese common reader often regards the men of the Sung dynasty as Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese There is something paralyzing and devitalizing in their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its There is also a disingenuousness in their attempts at what may be called for want of a better name， philosophical masquerade: to dress up Taoism of Buddhism as orthodox C One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters， Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese For what strikes one most in the tao-hsüeh is the emphasis on self- This constant preying upon itself of the mind is quite in the spirit of the The Sung philosophers are morbidly introspective， always feeling their moral pulses and floundering in their own streams of To them， their mind verily “ a kingdom is” They analyse and pulverize human But for that moral bias which Nietzsche thinks to be also the bane of German philosophy， their vivisection of human soul would have contributed a good deal to what Santayna calls literary The poetry of the sung dynasty is also a case in It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang Chinese poetry， hitherto ethereal and delicate， seems in the Sung dynasty to take on flesh and becomes a solid， full-blooded It is more weighted with the burden of Of course， it still looks light and slight enough by the side of Western But the lightness of the Sung poetry is that of an aeroplane describing graceful curves， and no longer that of a moth fluttering in the mellow In the Sung poetry one finds very little of that suggestiveness， that charm of a beautiful thing imperfectly beheld， which foreigners think characteristic of Chinese poetry in Instead， one meets with a great deal of naked thinking and outright It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”， to adopt Schiller’s useful The Sung poets， however， make up for their loss in lisping naivete and lyric glow by a finesse in feeling and In their descriptive poetry， they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里） They have also a better perception of the nuances of emotion than the T’ang poets， as can be seen particularly in their Ts’u （词）， a species of song for which the Sung dynasty is justly famous(3) Small wonder that they are deliberate artists， considering the fact that they all have been critics in the off hours of their The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the C （3000字）还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）如果需要就麻烦您告诉我您的邮箱，再给您发过去。
浅论英语修辞格的运用及翻译摘要 使用修辞格是为了使语言更加生动形象，鲜明突出，加强语言表现力和感染力。本文从正确运用英语修辞格及对比分析英汉语言在修辞格式上的异同入手，浅谈如何在忠实表达原文的基础上，正确翻译和理解英语的修辞格，并介绍英语修辞格在翻译方面的基本原则及方法。关键词 英语修辞格 翻译 运用 语言是表达思想的工具，修辞则是语言表达的艺术。使用修辞格的目的是为了使语言更加生动形象、鲜明突出；或者使语言更加整齐匀称，音调铿锵，加强语言表现力和感染力，引起读者丰富联想的效果。英语和汉语都有悠久的历史，也都具有非常丰富的修辞方式。由于东、西方民族文化背景的不同，英汉语言在修辞格式上显然存在着既相一致又有区别的特点。认识并了解英汉两种语言修辞格式的异同，找出二者各自的特点，有助于我们在英汉语言转换过程中正确理解原文的修辞手法，并在译文中正确使用，从而忠实地表达原文的思想和风格。以下举例浅谈英语修辞格在翻译方面的基本原则及方法：一、直译法对于英汉两种语言中相类似的常用修辞格，~I1：simile(明喻)，metaphor(隐喻)，metonym(借代)，personification(拟人)，hyperbole(夸张)，irony(反语)，pun(双关)，rhetoricquestion(设问)等。在翻译中当然应当尽可能采用直译的方法，即在用词和修辞结构上都与原文保持一致，做到形神皆似。举例如下：In his dream he saw the tiny figure fall as a fly(simile)在他的梦中他看见那小小的人影像苍蝇一般地落了下来。Life is an isthmus between two eternities．(Metaphor)生活是永恒的生死两端之间的峡道。Sometimes the pen may be mightier than the sword．(Metonymy)有时文人比武士更有力量。The sun smiled down on the green meadows(Personificatian)太阳向着绿茵茵的草地俯首微笑。The ancient wilderness dreamed，stretched itself all open to the sun，and seemed to sigh with immeasurable content．(Personification)古老的荒野做着梦，直挺挺地躺在太阳下，好像无限满足地叹了口气。The winds from the east go tearing round the mountains like forty thousand devils．(Hyperbole)从东方吹来的风如同百万个魔鬼在那些高山周围狂奔猛闯。This diligent student seldom reads more than an hour per month．(Irony)这个勤奋的学生每个月读书时间不超过一小时。Make your every hello a real good—buy．(Pun)让你的每地声“哈”都真的物有所值。We must all hang together，or we shall hang separately．(Pun)我们必须紧密地团结在一起，否则我们将被一个个地绞死。我们发现，以上各句中的英语常用修辞格都能找到与之相对应的汉语修辞格，它们无论在结构上，或修辞作用上都彼此十分相似。二、意译法在许多情况下，因为两个民族的生活环境、风俗习惯、思维方式和美学观的差异，以及对于某些英语中常用而汉语中不用或罕用的修辞格，需要采取意译的办法，准确表达原文的思想和精神。1．转换修辞格原文运用了某种修辞格，有时在翻译中需换用另一种修辞手法，以忠实原文风格，并保持语言感染力。这类修辞格主要包括：oxymoron(矛盾修辞)，Zeugma(轭式搭配)，以及alliteration(头韵)等。英语中常用而汉语中不用或罕用的修辞格，翻译时在汉语中找不到相对应的修辞格，不能机械照搬原文。1)英语中oxymoron(矛盾修辞)是两个意思互相矛盾或互相排斥的词语紧密地联结在一起，组成句子描述一个事物或表达一种思想或说明一个道理。例：Speaking silence．dumb confession(干言万语的静默，默默无声的坦白)A being darkly wise，and rudely great．(愚昧地聪明，拙劣地伟大)将以上两句采用英语矛盾修辞的两句译为汉语时改为排比和 强。
