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Robert Burn's A Red, Red Rose is a very popular love poem in the English literature. Three of our best known poets and translators Su Mansu, Guo Moruo and Yuan Kejia have produced their Chinese versions for this poem, with five-character quatrains, seven-character metre quatrains and free verse. By comparing and analysing their different forms and artistic styles, we find it helpful to improve our translation work besides appreciation.

苏格兰农民诗人彭斯的爱情诗《红红的玫瑰》是英国文学史上的名篇。中国近代翻译家苏曼殊、五 四新诗的开拓者郭沫若和现代翻译家袁可嘉都分别以五言古体诗、七言新格律诗和现代白话诗对原作进行了 翻译。对此进行比较和赏析,可以发现这三个译本的内容、形式和艺术风格都各有千秋,对我们今后的翻译也 具有借鉴意义。

The mood of literary work of classical Chinese poetry benefits from the vividness of Chinese characters.In this article, the author promulgates the vitality of Chinese culture in comparison with American Imagism.

汉语诗词的意境在相当程度上得益于汉字的形象性。在与美国意象派新诗的比照中 ,本文揭示了汉语文化生命力的源泉

Imagism,greatly influenced by ancient Chinese poetry,dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.We can find the shadow of imagism in poems of either HU Shi the pioneer of new poetry,Li Jin fa the symbolist poet,modern poet DAI Wang shu and BIAN Zhi lin,or "Nine Leaf Poets"in the 1940's and poets of obscurity in the 1980's.Ever since the beginning of the 20 th century,many Chinese poets began to translate,introduce imagism...

Imagism,greatly influenced by ancient Chinese poetry,dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.We can find the shadow of imagism in poems of either HU Shi the pioneer of new poetry,Li Jin fa the symbolist poet,modern poet DAI Wang shu and BIAN Zhi lin,or "Nine Leaf Poets"in the 1940's and poets of obscurity in the 1980's.Ever since the beginning of the 20 th century,many Chinese poets began to translate,introduce imagism and make a survey of the mutual influence,similarity and difference between imagism and Chinese imagist poetry.

深受中国古典诗歌影响的意象派诗歌 ,曾先后几次反弹回中国 ,对中国诗歌产生了巨大的冲击和影响。无论是在新诗的开拓者胡适、象征派代表李金发和现代派代表戴望舒、卞之琳的作品中 ,还是在 2 0世纪 40年代的“九叶派”诗人和 80年代的朦胧诗人的作品中 ,无不隐约地闪现着意象派的影子。同时 ,自 2 0世纪初 ,许多诗人开始译介意象派。自 80年代起 ,我国学者还就中国诗歌与意象派的相互影响、借鉴以及差异进行了深入的探讨和研究

 
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