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作为汤显祖“临川四梦”之一的《牡丹亭》是中国著名古典戏曲的传世之作,是与莎士比亚的《罗密欧与朱丽叶》齐名的世界名剧,不但情节浪漫曲折,且文辞典丽雅致。其中以集唐诗的形式构成的下场诗,具有典型的互文特征,作为剧本结构中不可或缺的一部分,起到了锦上添花作用。本文从互文性的角度来赏析汪榕培与白之对《牡丹亭》下场集唐诗的英译,揭示互文性理论对译者理解其原文并恰当创造译文的积极作用,总结如何在英译时较好地表现这种独具匠心的文学形式,体现其艺术价值。
Peony Pavilion, one of Tang Xian Zu’s Four Rivers of Linchuan, is a relic of the famous classical Chinese opera. It is a famous world drama with Shakespeare’s Romeo and Juliet not only romantic but twists of the plot, Li Ya Zhi. Among them, the ending poem composed of the form of Tang poetry has the characteristic of intertextuality, which plays an icing on the cake function as an indispensable part in the script structure. This essay tries to appraise Wang Rongpei and Bai’s English translation of Tang Poems ending with “Peony Pavilion” from the perspective of intertextuality, reveals the positive role of intertextuality theory in understanding translators’ original texts and properly creating translations, To better express this unique literature form, reflecting its artistic value.