论文部分内容阅读
翻译文学作品一般按三条标准,就是“信、达、雅”,以“信”为本。诗歌翻译也不能例外。近年来,我国译坛不乏日本诗歌的优秀译作,堪称“信、达、雅”的楷模,如李芒同志所译的日本和歌,卞立强先生所译的壶井繁治的诗等。但有不少译作背弃了“信”这一根本，歪曲了原词、原文的意思，损伤了译文的质量。读《行路人》（见《日语学习与研究》1986年，第5期)，就发现有此类情况，现按笔者之见将该译作中的误译之处列举于后，以资商榷。
Translated literary works generally according to three criteria, that is, “letter, up, elegant” to “letter” -based. Poetry translation is no exception. In recent years, there are no shortage of excellent translations of Japanese poetry in our country’s translation forums. They are called as examples of “Faith, Advocacy, and Elegance”, such as Japanese songs sung by Comrade Li Man and poems compiled by Mr. Bian Liqiang. However, quite a few translations have abandoned the fundamental of “letter”, distorted the meanings of the original words and the original texts, and damaged the quality of translations. The “traveler” (see “Japanese language learning and research” 1986, No. 5), we found that such cases, according to the author’s opinion will be mistranslated in the translation cited below, to be open to question.