诗经小雅翻译对比

第一篇：诗经小雅翻译对比

《小雅·采薇》（第6章）的翻译。原诗：

“昔我往己，杨柳依依。今我来思，雨雪菲菲。行道迟迟，载饥载渴。我心伤悲，莫知我哀。”

回想当初出征时，杨柳依依随风吹；如今回来路途中，大雪纷纷满天飞。道路泥泞难行走，又渴又饥真劳累。满心伤感满腔悲。我的哀痛谁体会!笼罩全篇的情感主调是悲伤的家园之思。或许是突然大作的霏霏雪花惊醒了戍卒，他从追忆中回到现实，随之陷

入更深的悲伤之中。追昔抚今，痛定思痛，怎能不令“我心伤悲”呢？“昔我往矣，杨柳依依。今我来思，雨雪霏霏。”这是写景记时，更是抒情伤怀。个体生命在时间中存在，而在“今”与“昔”、“来”与“往”、“雨雪霏霏”与“杨柳依依”的情境变化中，戍卒深切体验到了生活的虚耗、生命的流逝及战争对生活价值的否定。绝世文情，千古常新。今人读此四句仍不禁枨触于怀，黯然神伤，也主要是体会到了诗境深层的生命流逝感。“行道迟迟，载渴载饥”，加之归路漫漫，道途险阻，行囊匮乏，又饥又渴，这眼前的生活困境又加深了他的忧伤。“行道迟迟”，似乎还包含了戍卒对父母妻孥的担忧。一别经年，“靡使归聘”，生死存亡，两不可知，当此回归之际，必然会生发“近乡情更怯，不敢问来人”(唐李频 《渡汉江》)的忧惧心理。然而，上述种种忧伤在这雨雪霏霏的旷野中，无人知道更无人安慰；“我心伤悲，莫知我哀”，全诗在这孤独无助的悲叹中结束。综观全诗，《采薇》主导情致的典型意义，不是抒发遣戍役劝将士的战斗之情，而是将王朝与蛮族的战争冲突退隐为背景，将从属于国家军事行动的个人从战场上分离出来，通过归途的追述集中表现戍卒们久戍难归、忧心如焚的内心世界，从而表现周人对战争的厌恶和反感。《采薇》，似可称为千古厌战诗之祖。

（1）无韵体（也称散体或散文式）

理雅各的译文:

“昔我往己，杨柳依依。今我来思，雨雪菲菲。行道迟迟，载饥载渴。我心伤悲，莫知我哀。”

At first, when we set out, The willows were fresh and green;

Now, when we shall be returning, The snow will be falling clouds.Long and tedious will be our marching;We shall hunger;we shall thirst.Our hearts are wounded with grief.And no one knows our sadness.亚瑟·韦利的译文: “昔我往己，杨柳依依。今我来思，雨雪菲菲。行道迟迟，载饥载渴。我心伤悲，莫知我哀。”

Long ago, when we started, The willows spread their shade.Now that we turn back

The snow flakes by.The march before us is long，We are thirsty and hungry, Our hearts are stricken with sorrow, But no one listens to our plaint.胡品清的译文: “昔我往己，杨柳依依。今我来思，雨雪菲菲。行道迟迟，载饥载渴。我心伤悲，莫知我哀。”

Long ago when we set off，Thick，thick were the willow shades.Now that we start for home，Heavy，heavy are the rain and snow.Long，Long is the march before us，We are hungry and thirsty.Our hearts are pain-stricken，Nobody knows our woe.理雅各的英译诗在内容上一贯极其忠实，但基本上是分行写出的散文，既无节奏，也未用韵脚，因此构不成抑杨顿挫的诗歌韵律。韦利的译文也没有运用韵，每个诗行的音步也无法一致。按他的说法，译诗用韵不可避免地要产生因声损义，所以他的要求就是准确地表达原诗的意义，因此他的英译文其实也就是散文。但是无论如何不能回避的问题是：就《诗经》而言，如果译出的诗不能传达出原诗的韵味，没有感染力，那么再忠实也欠可读性，因而就很难认定为成功的翻译。以上分别代表三人风格的典型例子已缺少了《诗经》原诗的“原汁原味”，因为诗歌成了散文，虽然分别也有可取之处，但从总体上来说，由于无韵，原诗的意象丧失殆尽，优美形式也荡然无存。这样一来，译文可能因难以记诵而不易流传，也就是说：缺乏生命力。

（2）韵体（或称诗体）

我们欣赏一下对《小雅·采薇》的几则韵体翻译。

威廉·詹金斯的译文: “昔我往己，杨柳依依。今我来思，雨雪菲菲。行道迟迟，载饥载渴。我心伤悲，莫知我哀。”

At first，when we started on our track，The willows green were growing.And now，when we think of the journey back，’Tis raining fast and snowing.And tedious and slow the march will be，Ah，food and drink will fail us.Ah, hard to bear is the misery！

None knows what grief assails us.詹金斯的翻译是比较规范的韵体翻译，读起来朗朗上口，基本移植了原诗的格式、韵律和节奏，因此再现了原诗外在形式的风彩。他的译本全诗常是三音步抑扬格，而且在二、四行押韵，具有英语传统诗歌的韵味，显得古色古香。为了达到这种境界，他曾分析了《诗经》诗章的字数和行数，还分析了原诗的押韵方式，虽然某些地方有增删或改变原诗意义（例如，hard to bear is the misery），但瑕不掩壁，总体来说，译文给人一种声美的享受。

庞德的译文:

Willows were green when we set out，it's blowin' an’snowin’ as we go

down this road, muddy and slow，hungry and thirsty and blue a doubt(no one feels half of what we know)庞德的翻译是自由式的，套用了译入语的民族形式，跟原文不太贴切，给人感觉是译者自己的创作。但他的译诗由于用韵恰当，旨趣离原文不远，符合英美读者的口味，因此也自成一家。

汪榕培的译文中每行末尾音节都有韵脚，其韵律安排是abab，整个诗节结构严谨，音节铿锵，韵味无穷，再现了原诗的美感。如此绝妙的规律说明译者对原诗的深刻理解和透彻的研究及译者深厚的英文功底。

汪榕培的译文:

When I set out so long ago，Fresh and green was the willow.When now homeward I go，There is a heavy snow.The homeward march is slow，My hunger and thirst grow.My heart is filled with sorrow;

Who on earth will ever know!

许渊冲的译文:

When I left here.Willows shed tear.I come back now.Snow bends the bough.Long，long the way；

Hard，hard the day.Hunger and thirst

Press me the worst.My grief o’er flows.Who knows？ Who knows？

许渊冲先生译诗一路用韵，在神形皆似方面达到了很高的境界，在保持原诗的形象、意思和旨趣方面都无懈可击：每行四个音节，与原诗相同，双行押韵，声美形美兼具，乃译诗精品。在他看来，译诗如不传达原诗的音美，就不可能产生和原诗相似的效果；相反，用韵的音美有时反而有助于传达原诗的意美。也就是说，用韵固然可能因声损义，不用韵则一定因声损义，用韵损义的程度反比不用韵小。也许正是籍于由这样的理论才产生了其三美兼具的作品。

第二篇：《诗经·小雅·采薇》的汉英翻译

英汉翻译学期论文

《诗经·小雅·采薇》的

汉英翻译 学期论文题目: __

学 院 外国语学院 专 业 英语专业

班 级 ___ XXXXXXXXXXX_______ 学 号

XXXXXXXXXX

姓 名

XXXXXX

指导教师

XXXX

教务处制 二Ｏ一三年一月七日

C-E Translation of shijing·xiaoya·caiwei

By

XXX

Under the Supervision of

XXX

Submitted in Partial Fulfillment of the Requirements

for the Term Paper For English-Chinese Translation

School of Foreign Studies

Jan.7, 2013

ABSTRACT

C-E Translation of shijing·xiaoya·caiwei

XXX

shijing is the earliest collection of poems in the world;caiwei is selected from xiaoya, and is an aulic song.The C-E translation of shijing can be traced back to the 18th century, and until now, there has been many translators both from China and abroad translating it.The thesis is divided into three chapters.Chapter one analyzes the poetry through its theme, style and artistry.Chapter two discusses its translations by predecessors, and analyzes their differences.Chapter three is the author’s personal opinions on its translation.Key words: caiwei;translation;different versions;personal opinions

摘要

《诗经·小雅·采薇》的汉英翻译

XXX

《诗经》是世界上最早的诗集，《采薇》选自《诗经》中的“小雅”，是宫廷乐歌。其中的“昔我往矣，杨柳依依。今我来思，雨雪霏霏”被称为《三百篇》中最佳诗句之一。而《诗经》的汉英翻译，可追溯到18世纪，至今已有中外数名翻译学家对其进行翻译。

本文分为三个章节。第一个章节通过《采薇》的主题，艺术手法等对其进行分析。第二章探讨了前辈们对其的翻译，分析不同译本的不同之处。第三个章节是作者个人的翻译观点。

关键词：采薇；汉英翻译；不同译本；个人观点

Introduction Shijing has 305 poems, and can be divided into three parts, feng, ya, and, song.caiwei is selected from xiaoya, but it also use overlapping syntactical structure and bixing technique like guofeng.This poem mainly shows frontier soldiers’ lives and emotions, and expresses dissatisfaction for the war and longing for home.The first three parts set off the long time away home and the desire for home by the growth of wei, which is very vivid and appropriate.The forth part shows the soldiers’ discipline through full bloom of changdi.The sentence “昔我往矣，杨柳依依。今我来思，雨雪霏霏。

行道迟迟，载渴载饥。我心伤悲，莫知我哀！”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)in the last part respectively shows the scenery and the emotion when going to war those years and when surviving at present.This sentence is considered to be the best-known one in shijing ever.The origin of English versions of Book of Poetry can date back to the 18th

century.The English versions have been a part of international communication.The research on the various versions studies how Book of Poetry spread in the world as well as their development.(Han 12)There are several versions of the translation of predecessors, and they all have their own strong points, so it is hard to judge which one is the best.The author can only express some superficial views by their forms of expression, aroma and styles.The thesis discusses different translations of Xu Yuanchong, Wang Rongpei, James Legge, and Arthur Waley.Professor Xu called himself as “书销中外六十本，诗译英法唯一人”, and he created a theory of “three beauties”, namely, “meaning beauty, sound beauty, form beauty”.Foreign scholars and readers all speak highly of his poetry translations.Professor Wang has made breakthrough progress in terms of C-E translation of Chinese classical literature and comparison between Chinese and Western cultures and so on.He is well up in poetry translation, and holds an idea of “要给人原诗的生动逼真的印象，需要尽可能保持原诗的风貌，也就是通常所说的以诗译诗”(To give vivid expression of the original poem, and as much as possible to maintain the original style of poetry, which is commonly referred to as poetry to poetry translation).James Legge is a famous sinologist in modern England, and is the first people who studies and translates Chinese

classics systematically.He has made a great contribution for the diffusion of Chinese Confucian classics.Arthur Waley is also a famous sinologist in United Kingdom.The Encyclopedia Britannica describes him like this: "he was the most outstanding orientalist in the first half of the 20th century, and also the most outstanding translator who translated oriental languages into English.........He was a poet and a innovator of poetry.Thanks to his translations, it became easier for Western readers to understand Chinese literature.”

This thesis is only a try to express some ideas of translating caiwei, and can not be comparable with the masters’ work.The author gives some views on the poem’s rhetorical devices, technique of expression and its rhythm.In the end of the thesis, the author attempts to translate this poem using the predecessors’ versions for reference.Chapter One Analysis of Caiwei

Caiwei is a poem selected from shijing·xiaoya·lumingzhishi.There are various versions about its creative age.But according to its content and other historical records, it is probably the work during the age of Zhouxuan king.Xianyun(the Huns)had been very powerful, and they often invaded the Central Plains, which brought disaster to the people living in the North.In terms of the content of caiwei, it should be written when soldiers came back from the battleground.The poem expresses soldiers’ hard life and their nostalgia.The poem is reproduced below.采薇采薇，薇亦作止。曰归曰归，岁亦莫止。靡室靡家，玁狁之故。不遑启居，玁狁之故。采薇采薇，薇亦柔止。曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡使归聘。采薇采薇，薇亦刚止。曰归曰归，岁亦阳止。王事靡盬，不遑启处。忧心孔疚，我行不来！彼尔维何？维常之华。彼路斯何？君子之车。戎车既驾，四牡业业。岂敢定居？一月三捷。驾彼四牡，四牡骙骙。君子所依，小人所腓。四牡翼翼，象弭鱼服。岂不日戒？玁狁孔棘！昔我往矣，杨柳依依。今我来思，雨雪霏霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀！

We gather fern which springs up here.Why not return now ends the year? We left dear ones to fight the Huns.We wake all night;the Huns cause fright.We gather fern so tender here.Why not return? My heart feels drear.Hard pressed by thirsty and hunger worst.My heart is burning for home I’m yearning.Far from home, how to send word now? We gather fern which grows tough here.Why not return? The tenth month’s near.The war not won, we cannot rest.Consoled by none, we feel distressed.How gorgeous are the cherry flowers!How great the car of lord of ours!It’s driven by four horses nice.We can’t but hie in one month thrice.Driven by four horses alined, our lord before, we marched behind.Four horses neigh, quiver and bow ready each day to fight the foe.When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?(Xu 182)This poem is written during Western Zhou dynasty, and is the thought of a soldier who is on his way home just from the battleground.And it also expresses his passion for the country.This poem describes such scenery: it was a cold sleeting winter, a soldier who just came back from the battleground walked alone on the way home.The road was bumpy, and the person was hungry and thirsty.However, home was close.He recollected the days of guarding frontiers.At this moment, all sorts of feelings welled up in his mind, so came out this poem.The whole poem has six sections, and could be divided into three levels.The preceding three sections are the first level, which is a recollection of his nostalgia and a narration of reasons for why cannot go home.The preceding four sentences express homesick feelings by clarifying meanings using repetition of reduplicated words and by advancing in regular order.This sentence reflects the hard lives of frontier soldiers.“Fern which springs up here”, “tender here”, “tough here” depict vividly the growth of Wei.They show the lapse of time and the long years of garrison, as well as “Why not return now ends the year?” and “The tenth month’s near.” They have a strong desire for home, but for the reason of garrison, they could not go home.This really makes a soldier with a limited life worried.The last four sentences give a reason for why he can not go home, and the fundamental reason is Xian Yun.Thus, one hand is the longing for home;another hand is the consciousness for fighting.They are two contradictory feelings which constitute the main key of the poem.The forth and the fifth sections describe the nervous life of marching and fighting.And the emotion also changes from distress to excitement.The previous four sentences in the forth section show the sense of pride specific to soldiers.And the following sentences describe the scene of fighting focusing on the chariots, and then depict the scene of fighting in detail focusing on soldiers.We can see from the contradictory emotions throughout the poem that the soldier has a strong responsibility as well as a longing for home.So it is very natural to recall the garrison life on the long way home.The main emotions enveloping the whole poem are nostalgia.The snow coming unexpectedly awakes the soldier from his memory and then to a deeper sadness.“昔我往矣，杨柳依依。今我来思，雨雪霏霏。”(“When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?”)is a description of scenery, and also an expression of the soldier’s nostalgia.During the changes of “today” and “yesterday”, “come” and “go”, the soldier feels the lapse of time, and the negate of life made by war, thus creates an atmosphere of sadness for us.“My grief overflows.Who knows? Who knows?” The whole poem ends up with a sigh over lonely and helpless.In terms of arts, “When I left here, willows shed tear.I come back now, snow bends the bough.Long, long the way;Hard, hard the day.My grief overflows.Who knows? Who knows?” is considered to be the best sentence in three hundred poems.The theme is sober.The poem is lined with impressive natural scenery description: the growth of wei, the tender of wei, the strong of wei, the blossom of changdi, the willow, and the snow.Here are the true thoughts of soldiers, and the distressed emotions do not diminish its value as a patriotic poem.On the contrary, this reflects the plainness of people with understandable thoughts.It is this pure authenticity that gives the poem a strong vitality and appeal.In terms of writing, it uses detail description, feeling and setting blended, qixing and harmonious rhythm, and makes the content and theme deepen step by step, thus strengthen its musical beauty and rhythmical beauty.There are narration, discussion, scenery, expression and psychological description in it, and all in an appropriate way.So caiwei is definitely one of the best poems in shijing.Chapter two Analysis of different translations Poetry is a literary style that reflects social lives with a compact language, vivid rhythm and special connotation, and it contains the poet’s personal emotions and imaginations.Because of all the above, poetry is difficult to translate.Most poems in shijing are Chinese classical poems with lines of four characters each which rhyme with each other every other sentence, but there are still changes in syntactical structure, including two characters, three characters, five characters, six characters, seven characters, and eight characters.The poems also use a lot of reduplication, alliteration, and vowel rhyme which strengthen the vitality and artistry of language.The thesis chooses the last part of the poem to analyze the style of different translations.At first, when we set out, The willows were fresh and green;Now, when we shall be returning, The snow will be our marching;We shall hunger;we shall thirst.Our hearts are wounded with grief, And no one knows our sadness.---------tr.By James Legge James Legge was born at Huntly, Aberdeenshire, and educated at Aberdeen Grammar School and then Kings College, Aberdeen.After studying at the Highbury Theological College, London, he went in 1839 as a missionary to China, but remained at Malacca three years, in charge of the Anglo-Chinese College there.The College was subsequently moved to Hong Kong, where Legge lived for nearly thirty years.A Chinese Christian, Keuh Agong accompanied Legge when he moved in 1844.He returned home to Huntly, Aberdeenshire, in 1846–7, taking with him three Chinese students.Legge and the students were received by Queen Victoria before his return to Hong Kong.(Wikipedia)“这首译诗忠实地再现了原文的字面意义，使译文读者易于直接体会到诗的意境, 有‘身临其境’之感”(“This version faithfully expresses the meaning of original poem, and let the readers know the artistic conception of the poem, and they could also have an immersed sense”)(Ding 50).Legge’s version is the representative of prose-style

translation of shijing.His version was the first translation of shijing published in Hong Kong in 1871.There were detailed notes and comments apart from the translation, and it became the basis of the later ones.Long ago, when we started, The willows spread their shade.Now that we turn back, The snow flakes fly.The march before us is long, We are thirsts and hungry.Our hearts are stricken with sorrow, But no one listen to our plaint.----------tr.By Arthur Waley This version is based on iambus, but not very strict.There are no metrical feet, but more rhythmical than Legge’s.His many translations include A Hundred and Seventy Chinese Poems(1918), Japanese Poetry: The Uta(1919), The No Plays of Japan(1921), The Tale of Genji(published in 6 volumes from 1921-33), The Pillow Book of Sei Shōnagon(1928), The Kutune Shirka(1951), Monkey(1942, an abridged version of Journey to the West), The Poetry and Career of Li Po(1959)and The Secret History of the Mongols and Other Pieces(1964).Waley received the James Tait Black Memorial Prizefor his translation of Monkey, and his translations of the classics, the Analects of Confucius and The Way and its Power(Tao Te Ching), are still regarded highly by his peers.Dutch poet J.Slauerhoff used poems from A Hundred and Seventy Chinese Poems and More Translations from the Chinese to write his 1929 adaptation of Chinese poetry, Yoeng Poe Tsjoeng.These translations are widely regarded as poems in their own right, and have been included in many anthologies such as the Oxford Book of Modern Verse 1892-1935, Oxford Book of Twentieth Century English Verse and Penguin Book of Contemporary Verse(1918-1960)under Waley's name.(Wikipedia)Shijing translated by Waley is a representative of blank verse.Waley translated “杨柳依依” into “The willows spread their shade”.These rhetorical devices of personification remind us of lush willows stretching out and shade the ground.This style is more close to the original poem.When I set out so long ago, Fresh and green was the willow.When now homeward I go，There is a heavy snow.The homeward march is slow, My hunger and thirst grow.My heart is filled with sorrow;Who on earth will ever know.---------tr.By Wang Rongpei This version combines meaning and rhythm ingeniously, using [əu] as the rhyme.Thus expresses a feeling of sorrow and is in accordance with the difficult pace.This version is closest to original poem in terms of “three beauties”, and is identical with the theory “closest natural equivalence” put forward by Nida, a famous western translator.When I left there, Willow shed tear.I came back now, Snow bends the bough.Long, long the way;Hard, hard the day, Hunger and thirst Press me the worst.My grief overflows.Who knows? Who knows?

---------tr.By Xu Yuanchong Professor Xu’s version is very simple.There are four syllables each line, which is same as the original poem.He translated “行道迟迟，载渴载饥。” into “long, long the way;hard, hard the day.Hunger and thirst press me the worst.” This version has come to a point of zenith both in beauty of meter and rhyme.The sentence “Snow bends the bough” vividly describes the state of trees overburdened by snow, which is full of charms.And this also implies the freezing cold of the weather, adding difficulties to the journey.These are analysis of different translations of caiwei, however, different people may hold different ideas, because it is very hard to translate poetry perfectly.If the version could convey the connotation, beauty of poetry and stick to the principle of “faithfulness, expressiveness, elegance”, this could be a successful translation.Chapter three

The author’s personal views

The above translations all reproduce the poem’s original meanings, but there are still some differences.Time in the first sentence in the last part is past, and the second is today.So the tense of the first sentence should be past tense, and the second should be present tense.But Legge used future progressive to replace present tense, however, this seemed a little affected.Waley and Leege both translated the last sentence “我心伤悲，莫知我哀”(“my grief overflows.Who knows? Who knows?”)into declarative sentence which was faithful to the original poem in form and content.Waley’s version seems less vivid compared to the others in terms of expressing artistic conception and verve.Xu’s version is concise and cadenced.And he conformed to the principle of “three beauties” he pursed all the time.A text to be translated is like a particle in an electric field attracted by the opposing forces of the two cultures and the norms of two languages, the idiosyncrasies of on writer(who may infringe all the norms of his own language), and the different requirement of its readers, the prejudices of the translator and possibly of its publisher.(Newmark 19)According to the predecessors’ translations, the author gives some personal views on caiwei’s translation.Below is the final version.Yesterday when I out, Willows swung in the wind;Today when I come back, Snow flies in the air.March is so long and hard, That I feel hungry and thirsty.No one could read my sorrow Just in my heart.This is a prose-like version without meter or rhythm.The first two sentences adapt the same syntactical structure which is the similar style to the original poem.It conveys the meaning of the poem, but lacks the beauty of rhythm and artistic appeal.The two adjectives “hungry” and “thirsty” merely describe the situation and state facts, and

cannot compare with Legge’s “hunger and thirst”.This is only the author’s personal opinion, if it has any unreasonable point, please oblige the author with your valuable comments.Conclusion Translating poetry could face a lot of trouble in forms, and this is self-evident.But, the real perfect translations could throw all restraints, and show the original poetry’s verve and rhythm.If a translation could be read thousands of times by readers, this is certainly a good version.When translating poetry, one should grasp the poetry’s artistic conception and meter, and use all skills flexibly, thus convey the poetry’s beauties to a maximum limit.Works Cited Bake, Mona, ed.Routledge Encyclopedia of Translation Studies.Shanghai: Shanghai Foreign Language Education Press，2004.Ding, Xiaofeng.[丁小风], 《小雅·采薇》英译赏析[J].《池州师专学报》，2000，(1).Fowler, H.W.A Dictionary of Modern English Usage.Oxford: Oxford University Press，1965.Han, Kun.[韩昆], 论许渊冲的翻译美学思想[D].上海：上海外国语大学，2009.Leech, Geoffrey.Semantics: The Study of Meaning.Harmondsworth: Penguin, 1981.Legge, James.The Chinese Classics: With a Translation, Critical and Exegetical Notes, Prolegomena, and Copious Indexes [M].Hong Kong: The Author’s, 1871.Legge, James.The Book of Poetry—Chinese Tests with English Translations[M].Shanghai: The Chinese Book Company, 1931.Newmark, P.Approaches to Translation[M].Oxford and New York: Pergamon, 1981.Nida, E.A.Toward a Science of Translating[M].Shanghai: Shanghai Foreign Language Education Press, 1993.Poe, Edgar Allan.The Poetic Principle[A], G.Richard Thompson, ed.Essays and Reviews[C].New York: Library of America, 1984.Steiner, George.After Babel.3ed[M].Shanghai: Shanghai Foreign Language education Press, 2001.Waley, Arthur.The Book of Songs[Z].New York: Grove Press, Inc.1960.Wang, Rongpei.[汪榕培], 传神达意译《诗经》[J].《外语与外语教学》，1994，(4).Wang, Rongpei.[汪榕培], The Book of Poetry[M].长沙：湖南人民出版社，2008.William, Epson.The Science of Translation: Problems and Methods [M].Shanghai: Shanghai Foreign Language Education Press, 2001.Xu, Yuanchong.[许渊冲], 翻译的艺术[M].北京：中国对外翻译出版公司，1984.Xu, Yuanchong.[许渊冲], Book of Poetry[M].长沙：湖南出版社，1993..

第三篇：诗经·小雅·鹿鸣（范文模版）

《诗经·小雅·鹿鸣》

【教学设想】

《诗经》是中国文学史上第一部诗歌总集,对后代诗歌发展有深远的影响，成为中国古典文学现实主义传统的源头。《鹿鸣》，《诗经·小雅》篇名,也是《小雅》第一篇,《诗经》中所谓四始之一,为先秦时代华夏族诗歌。全诗三章，每章八句,是周朝宴饮群臣宾客的一首宫廷乐歌。尽管其中有些诗句人们耳熟能详，但对于六年级学生来说，真正理解起来却并非易事。因此，本着“以学为主”的原则，这次课堂教学就化难为易，化繁为简，以读悟理，以读悟情。

【教学目标】

1.了解《诗经》的基本知识，有感情地诵读诗歌。

2培养结合注释初步读懂古诗的能力；品味、体会文章的内涵，提高把握作品思想感情的能力。

3.培养学生对我国古代文化的热爱之情。

【教学重点】

诗歌内容的理解和背诵。【教学难点】

诗歌主旨的把握，比兴手法的运用。

【教学方法】朗读教学法、问题探索法、讲练结合法、归纳法 诵读法

【教学设计】

一、导入1、2、3、背诵《诗经·小雅·采薇》节选 出示《诗经小知识》，指名读。

出示“不学诗，无以言——孔子”，齐读。问：谁知道这里的“诗”指什么？（《诗经》）

师：大圣人孔子对他的儿子孔鲤说：《诗》是语言的精华，不学语言的精华，就不能形象而准确的说话。是啊，传统文化是我们中国人的精神家园，传承了千年，我们应当继承和发扬。今天我们就一起走进《诗经·小雅·鹿鸣》篇，感受诗经的魅力！（板书课题）

二、新授

（一）初读文本，整体把握

1、出示文章，师范读，提出听读要求：听清字音，注意节奏。

出示生字，指名读，齐读。

自由读文章，指名分章朗读，齐读（读准字音，读出节奏）

2、结合注释和译文理解诗意。

a、结合注释和译文，自学诗文，疏通文意，提出不理解的地方。b、检查自学效果：出示通假字，简介通假现象，指名回答字意。

c本诗分三章，接下来老师和大家合作，我逐章读诗，你们读相应的诗文，我们来个诗文对读。

3、师简介，过渡。

《鹿鸣》是《诗经》中保存最早的一篇祝酒辞，也是一首祝酒歌，即在宴会上所唱的歌。

（二）品读文本，感悟诗意

1、a、提出问题：主人请的什么人？（从文中找出相应的词）嘉宾

君子

（板书）b、你认为什么样的人可以称之为“君子”？（品德高尚、博学多才）

c、你知道古诗文中有哪些描写君子的诗句？（生答，出示）谦谦君子，温润如玉。君子一言，驷马难追。

天行健，君子以自强不息；地势坤，君子以厚德载物。

《周易》 夫君子之行，静以修身，俭以养德，非淡泊无以明志，非宁静无以致远。

诸葛亮《诫子书》 齐读 d、本诗中主人是如何称赞来客的？指名回答。

出示：“我有嘉宾，德音孔昭。视民不恌，君子是则是效。” 指名结合译文说出意思。

e、创设情境，表演朗读：假如你就是主人，在座的就是你请来的嘉宾，你来模仿主人称赞一下来宾吧！指名（可加入动作）师示范。

全班起立，齐诵（对着听课的老师）

2、提出问题：主人是如何待客的？ a、浏览，找出文中相应的句子，指名回答。小结归纳：《诗经》板书）b、假如你是来的宾客，受到主人如此款待，你此时此刻的心情怎样？（高兴、开心、受宠若惊、感动）

3、提出问题：那你知道主人此次宴客的目的是什么吗？用诗中的话告诉我。

a、指名回答，出示：“人之好我，示我周行。”读出译文。b、原来主人请客的目的是向嘉宾请教治国的大道理。由此你可以猜想主人的身份是——君王。据说《鹿鸣》反映的正是周王宴会群臣、宾客的盛况。君王以隆重的仪式欢迎宾客，奉上丰盛的礼物，待之以醇美的酒菜，这体现了君王对臣下的以诚相待。那么，群臣、宾客会怎么说、怎么做呢？

出示写话练习：

主人（君王）：人（汝）之好我，示我周行。

宾客（群臣）：承蒙大王厚爱，————————————————。b、师生、生生表演对读。（加上动作）

师小结：古代，君臣之间本是等级森严，但通过宴会，可以沟通感情，使君王能够听到群臣的心里话。宴会的目的并非一般的吃吃喝喝，满足口腹的需要，而是为了“安乐其心”，即本诗结尾所说“以燕乐嘉宾之心”，使得参与宴会的群臣心悦诚服，自觉地为君王的统治服务。这也是本诗所要阐明强调的为君者须以诚对待贤臣嘉宾，则臣下始得尽其忠心，君臣融洽相处，国运才能兴隆的深刻道理。

4、最后一个问题，本诗除了写宴会的情景，还写了什么？（每章前两句皆以“呦呦鹿鸣”开头。）

a、结合注释1思考：为何写“呦呦鹿鸣”？为何以“鹿鸣”为题？

“见食相呼”，看到吃的不独享，呼朋引伴与之共享。出示：《传》日：“鹿得萍，呦呦然鸣而相呼，恳诚发乎中，以兴君乐宾客，当有诚恳相招呼以成礼也。”

《毛诗传》以鹿见食相呼比兴君子诚实信用和君臣同甘共苦的深厚情意。

点明“兴”，诗经的一种表现手法，先言他物以引起所咏之辞，也就是借助其他事物为所咏之物做铺垫。

b你觉得宴会上是一番怎样的情景？气氛如何？用一个词形容。（和谐欢乐、尽情尽兴、和乐且湛）

c、正如文后赏析所说，良宵美景中，主客情深意沉，酒酣耳热，钟磬和鸣，满座生春，好一幅古代夜宴图，就让我们在座的宾客在这和谐欢乐的气氛中共吟此诗。齐

（三）熟读吟诵，感悟诗情

1、这首诗现在能背下来的举手？（若有，问其背诵方法；若没有，指导观察本诗的结构。）

a三章，每章八句，每句四言（二、三章结尾有变化）b每章都有很多重复的句子，只改动其中个别字词。（重章叠句，一咏三叹）

c押韵（找出韵脚，注意换韵）

2、示范唱读，打节拍。同桌、男女、师生多种形式对读。

注意：现代文不能唱读，只能朗读。《诗经》是可以唱的。出示：诗三百五篇，孔子皆弦以歌之。

《史记·孔子世家》

3、三、总结：

《诗经》是中华民族传统文化的瑰宝，两千多年以来，为世代华夏儿女所传诵。希望同学们喜欢《诗经》，走进《诗经》，汲取营养，传承文明。板书设计：

小雅·鹿鸣

嘉宾

君子

——

尽其忠 君王

隆重的仪式

以诚相待

丰盛的礼物 醇美的酒菜

和谐融洽

国运兴隆

欣赏：杨芬古琴吟诵《诗经·小雅·鹿鸣》

第四篇：《诗经·小雅·棠棣》赏析

这是周人宴会兄弟时，歌唱兄弟亲情的诗.“凡今之人,莫如兄弟”,为一篇主旨.不过诗篇对这一主题的阐发是多层次的：既有对“莫如兄弟”的歌唱；也有对“不如友生”的感叹；更有对“和乐且湛”的推崇和期望.全诗八章，可分五层，首章为第一层，先兴比,后议论，开门见山，倡明主题。“棠棣之华,鄂不韡韡”，兴中有比；而诗人以棠棣之花喻比兄弟,是因棠棣花开每两三朵彼此相依而生发联想.“凡今之人,莫如兄弟”，这寓议论于抒情的点题之笔,既是诗人对兄弟亲情的颂赞,也表现了华夏先民传统的人伦观念.上古先民的部族家庭,以血缘关系为基础.在他们看来“兄弟,者,分形连气之人也”（《颜氏家训·兄弟》）.因而,比之良朋、妻孥,他们更重兄弟亲情.钱钟书论及《棠棣》时也指出：“盖初民重‘血族’之遗意也.就血胤论之,兄弟天伦也,夫妇则人伦耳；是以友于骨肉之亲当过于刑于室家之好.„„观《小雅·棠棣》,‘兄弟’之先于‘妻子’,较然可识”（《管锥编》）.这从文化人类学的角度,更深刻揭示了《棠棣》主题的历史文化根源.二、三、四章为第二层.诗人通过三个典型情境,对“莫如兄弟”之旨作了具体深入的申发,即：遭死丧则兄弟相收；遇急难则兄弟相救；御外侮则兄弟相助.这可能是历史传说的诗意概括，也可能是现实见闻的艺术集中.这三章在艺术表现上也颇有特点.毛先舒说：“《棠棣》,俗笔必先从和乐叙至急难,便乏味”（《诗辩坻》）.此篇则与之相反,事例的排列由“死丧”、“急难”到“外御”,从而由急而缓、由重而轻、由内而外,构成一个颇有层次的“倒金字塔”,具有强烈而深远的审美效果.其次,采用对比手法,把同一情境下“兄弟”和“良朋”的不同表现加以对照,更见出兄弟之情的诚笃深厚.“兄弟阋于墙,外御其务”,又更深一层：即使兄弟墙内口角,遇到外侮,也会不假思索一致对外.“阋于墙”与“外御其务”,两句之间没有过渡,情绪和行为的转变即在倾刻,有力表现出手足之情出于天然、发自深衷.由转折手法构成的这一典型情境,因表现了最无私的兄弟之情,成为流传至今的典故成语.第五章自成一层.如果说,前面是诗人正面赞颂理想的兄弟之情,这一层则由正面理想返观当时的现实状况；即由赞叹“丧乱”时的“莫如兄弟”,转而叹惜“安宁”时的“不如友生”.“虽有兄弟,不如友生”,这叹惜是沉痛的,也是有史实根据的.西周初年,出现过周公的兄弟管叔和蔡叔的叛乱.据此,《诗序》似认此诗为成王时周公所作,曰：“《棠棣》,燕兄弟也.闵管、蔡之失道,故作《棠棣》”；西周末年,统治阶级内部骨肉相残、手足相害的事更频频发生.据此,《左氏春秋》的作者认为此诗为厉王时召穆公所作,《左传·僖公二十四年》：“召穆公思周德之不类,故纠合宗族于成周,而作诗曰：‘棠棣之华„„’云云.”《棠棣》的作者,是周公抑或召穆公,尚难定论；但有一点可肯定,诗人的叹惜是有感而发的,且有警世规劝之意.不过,这是在宴饮的欢乐气氛中所唱之诗,因此,在短暂的低沉后,音调又转为欢快热烈.六、七章为第四层,直接描写了举家宴饮时兄弟齐集,妻子好合,亲情和睦,琴瑟和谐的欢乐场面.第七章“妻子”与“兄弟”的对照,包含了诗意的递进：“妻子好合,如鼓瑟琴”,而“兄弟既翕”,则“和乐且湛”.诗人似明确表示,兄弟之情胜过夫妇之情；兄弟和,则室家安,兄弟和,则妻孥乐.末章承上而来,卒章显志.诗人直接告诫人们,要深思熟虑,牢记此理：只有“兄弟既翕”,方能“宜尔室家,乐尔妻帑”；兄弟和睦是家族和睦、家庭幸福的基础.明理规劝之意,更为明显.《棠棣》是《诗经》中的名篇杰作,它不仅是中国诗史上最先歌唱兄弟友爱的诗作,也是情理相融富于理趣的明理典范.陆时雍《诗镜总论》曰：“叙事议论,绝非诗家所需,以叙事则伤体,议论则费词也.然总贵不烦而至,如《棠棣》不废议论,《公刘》不无叙事.”《棠棣》的“不废议论,不烦而至”,似可析而为二.一是真挚委曲,感人之至.开篇形象比兴,富于理趣；随之围绕“凡今之人,莫如兄弟”之旨,“丧乱”与“安宁”、“良朋”与“妻子”,及历史与现实、正面与反面,寓理于事,多层次地唱叹阐论,既感人亦服人.全诗笔意曲折,音调也抑扬顿挫,前五章繁弦促节,多慷慨激昂之音,后三章轻拢慢捻,有洋洋盈耳之趣.委曲深至,一片真诚.二是主题恒久,深邃之至.兄弟友爱,手足亲情,这是人类的普遍情感,也是文学的永恒主题.《棠棣》对这一主题作了诗意开拓,因而千古传唱,历久弥新.同时,“棠棣之华”、“莫如兄弟”、“兄弟阋墙,外御其务”,作为具有原型意义的意象、母题和典故,对后世“兄弟诗文”的创作产生了深刻的影响.而隋朝棠得志的《兄弟论》,在新的背境下对《棠棣》诗旨作了创造性的伸发,可以互参.棠棣之华，鄂不韡韡，凡今之人，莫如兄弟。死丧之威，兄弟孔怀，原隰裒矣，兄弟求矣。脊令在原，兄弟急难，每有良朋，况也求叹。兄弟阋于墙，外御其务，每有良朋，烝也无戎。丧乱既平，既安且宁，虽有兄弟，不如友生。傧尔笾豆，饮酒之饫，兄弟既具，和乐且孺。妻子好合，如鼓琴瑟，兄弟既翕，和乐且湛。宜尔家室，乐尔妻帑，是究是图，亶其然乎。

第五篇：蓼莪篇(诗经小雅)

蓼莪篇（詩經小雅）

蓼蓼者莪，匪莪伊蒿。哀哀父母，生我劬勞。

蓼蓼者莪，匪莪伊蔚。哀哀父母，生我勞瘁。

缾之罄矣，維罍之恥。鮮民之生，不如死之久矣。無父何怙，無母何恃。出則銜恤，入則靡至。

父兮生我，母兮鞠我。拊我畜我，長我育我；

顧我復我，出入腹我。欲報之德，昊天罔極！

南山烈烈，飄風發發。民莫不穀，我獨何害！

南山律律，飄風弗弗。民莫不穀，我獨不卒！

【全文翻譯】

那高大的植物是莪蒿吧，不是莪蒿，是青蒿。可憐的父母親啊！為了生養我受盡勞苦。那高大的植物是莪蒿吧，不是莪蒿，是牡菣，可憐的父母親啊！為了生養我積勞成疾。小瓶的酒倒光了，是大酒罈的恥辱。孤苦伶仃的人活著，還不如早些死去的好。沒了父親，我依靠誰？沒了母親，我仰賴誰？出門在外，心懷憂傷；踏進家門，魂不守舍。

父母雙親啊！您生養了我，撫慰我、養育我、拉拔我、庇護我，不厭其煩地照顧我，無時無刻懷抱著我。

想要報答您的恩德，而您的恩德就像天一樣的浩瀚無邊！

南山高聳聳，暴風陣陣起，人們沒有不過好日子的，為何只有我遭受不幸！南山高巍巍，暴風呼呼吹。人們沒有不幸福的，為何只有我不得終養父母！