Cult Load Words EN 4

Culture Loaded Words

Overview Page of Culture Loaded Words

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4 何芩 The Translation of Cultural-loaded words in The Nine Elegies in Elegies of the South Translated by Xu Yuanchong

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Key Words

Translation；Culture-loaded Words；Chinese Clasics；HuXiang Culture

关键词

翻译；文化负载词；中国典籍；湖湘文化

Literature Review

Introduction of Qu Yuan

Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period. His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his “zi” was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xie, son of King Xiong Tong of Chu. Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as "the progenitor of Chinese poetry" and "the progenitor of rhetoric". He is the founder and representative author of the "Chu rhetoric" and started the tradition of “herb and beauty”.

According to Si Ma Qian's words in “The Records of the Grand Historian”, there is also “The Invocation of the Soul”. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with five, six, seven, eight, or nine characters per stanza, as well as three-character and cross-stanzas, with a varied and flexible syntax; the word "兮" is used at the end of the stanzas, as well as "之," "于," "乎," "夫," "而," and other imaginary words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form.

Qu Yuan's Chu rhetoric is the most imaginative, and his words are very beautiful. In "Li Sao", he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid, and he also prominently depicted the story of three times of seeking a woman to express his own persistence and comparison. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.

The emergence of Qu Yuan marked a new era in Chinese poetry, from collective singing to individual creation. In his early years, Qu Yuan was trusted by King Huai of Chu and served as a left apprentice and a great official of Sanlu, who was also in charge of domestic and foreign affairs. After Wu Qi, Qu Yuan was another advocate of law change in Chu. He advocated the "beautiful government", and advocated the appointment of virtuous people and the revision of laws internally, and the alliance with Qi against Qin externally. He was exiled to the north of Han and the Yuan-Xiang valley because he was ostracized and slandered by the nobles. In 1953, the 2230th anniversary of Qu Yuan's death, the World Peace Council adopted a resolution to identify Qu Yuan as one of the world's four cultural celebrities to be commemorated that year.

Introduction of Chu Ci

Chu Ci is the earliest collection of romantic poetry and the source of romantic literature. The name "Chu Ci" was first mentioned in “The Records of the Grand Historian - Cool Officials”. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the Chu region, but only later did it become a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.

At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of sixteen poems, which was named “Chu ci”. This is the ancestor of the collection. Later, Wang Yi added his own work "Jiu Si", which became 17 pieces. The seventeen chapters are: "Li Sao", "Jiu Ge", "Tian Wen", "Jiu Zhang", "Yuan You", "Bu Jv", "Yu Fu", "Jiu Bian", "Zhao Hun", "Da Zhao", "Xi Shi", "Zhao Yinshi", "Qi jian", "Ai Shiming", "Jiu Huai", "Jiu Tan" and "Jiu Si". The structure of these seventeen chapters became the common text in later times.

The book uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu region, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with spirited feelings and strange imagination. Compared with the simple quatrain poems of the Book of Songs, the stanzas of the book are more lively and sometimes use the dialect of the state of Chu, which is unique in terms of rhythm and rhyme, making it more suitable for expressing rich and complex thoughts and feelings.

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References

《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South

万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.

白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.

张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.

钱梦雨.文化适应论视角下《楚辞》文化意象的英译——以许渊冲译本为例[J].文教资料,2021(02):55-57.

吴斐,龙卓,罗芸慧.“深度翻译”观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121. .....