许渊冲英译中国经典诗文集-宋词三百首（精装）（汉英）

 

丛书译者为许渊冲先生，其从事翻译工作70年，2010年12月荣获“中国翻译文化终身成就奖”；2014年8月荣获由国际译联颁发的文学翻译领域*奖项——“北极光”杰出文学翻译奖，成为首位获该奖的亚洲翻译家。经许先生的妙手，许多中国经典诗文被译成出色的英文韵语。这套汉英对照版“许译中国经典诗文集”荟萃许先生*代表性的英文译作14种，汉语部分采用中华书局版本。这些作品包括多种体裁，上起先秦，下至清代，既是联接所有中国人思想、情感的文化纽带，也是中国文化走向世界的重要桥梁。阅读和了解这些作品，即可尽览中国文化的“源头活水”。相信这套许氏译本能使英语读者分享孔子、老子的智慧，分享唐诗、宋词、中国古典戏曲的优美，并以此促进东西方文化的交流。2015年2月2日，由中国出版协会举办的第五届中华优秀出版物奖在京揭晓， “许译中国经典诗文集”（汉英对照）（14册）荣获“提名奖”。这套“中国经典诗文集”就是由他所译，前半部分是英文，后半部分是中文。

许渊冲–诗译英法唯一人 ，北京大学教授，翻译家。希望这套许氏译本能使英语读者对中国经典诗文也能“知之，好之，乐之”，能够分享孔子、老子的智慧，分享唐诗、宋词、中国古典戏曲的优美，并以此促进东西文化的交流。值得珍藏。许渊冲先生从事翻译工作70年，2010年12月荣获“中国翻译文化终身成就奖”。他被称为将中国诗词译成英法韵文的唯一专家，经他的妙手，许多中国经典诗文被译成出色的英文和法文韵语。Ancient Chinese classic poems are exquisite works of art. As far as 2,000 years ago, Chinese poets composed the beautiful work Book of Poetry and Elegies of the South, Later, they created more splendid Tang poetry and Song lyrics. Such classic works as Thus Spoke the Master and Laws: Divine and Human were extremely significant in building and shaping the culture of the Chinese nation. These works are both a cultural bond linking the thoughts and affections of Chinese people and an important bridge for Chinese culture and the world. Mr. Xu Yuanchong has been engaged in translation for 70 years. In December 2010, he won the Lifetime Achievement Award in Translation conferred by the Translators Association of China (TAC). He is honored as the only expert who translates Chinese poems into both English and French. After his excellent interpretation, many Chinese classic poems have been further refined into perfect English and French rhymes. This collection of Classical Chinese Poetry and Prose gathers his most representative English translations. It includes the classic works Thus Spoke the Master, Laws: Divine and Human and dramas such as Romance of the Western Bower, Dream in Peony Pavilion,  Love in Long-life Hall and Peach Blossom Painted with Blood. The largest part of the collection includes the translation of selected poems from different dynasties. The selection includes various types of poems, lyrics and Yuan, Ming and Qing dynasty songs. The selected works start from the pre-Qin era to the Qing Dynasty, covering almost the entire history of classic poems in China. Reading these works is like tasting “living water from the source” of Chinese culture. We hope this collection will help English readers “know, love and appreciate” Chinese classic poems, share the intelligence of Confucius and Lao Tzu, share the gracefulness of Tang Dynasty poems, Song lyrics and classic operas and songs and promote exchanges between Eastern and Western culture.  This book is one of the 14 books of Classical Chinese Poetry and Prose, a translation of Confucian classics Thus Spoke the Master.

Contents目 录Preface Zheng WenbaoWillow Branch SongWang YuchengRouged LipsKou ZhunTreading on GrassPan LangFountain of Wine(West Lake)Fountain of Wine(Tidal bore)Lin BuEverlasting LongingLiu YongJoy of Day and NightBells Ringing in the RainThe Moon in Autumn NightPhoenix Perching on Plane TreeWandering While Young (Slow goes)Wandering While Young (High and low)Imperial Capital RecalledFan ZhongyanWaterbag DancePride of FishermenSong of the Royal StreetCalming Wind and WavesZhang XianBuddhist Dancers (Missing my lord)Buddhist Dancers (So soon)Buddhist Dancers (The zither)Willows on Southern ShoreSong of Water ClockTelling Innermost FeelingSong of the ImmortalMagnolia FlowerYan ShuTreading on Grass(The mist-veiled grass)Treading on Grass(The farewell song)Silk-washing Stream(A song)Silk-washing Stream(By double-curtained bower)Silk-washing Stream(What can)Butterflies in Love withFlowersPure Serene Music…前　言 郑文宝柳枝词（亭亭画舸）王禹偁点绛唇（雨恨云愁）寇准踏莎行（春色将阑）潘阆酒泉子（长忆西湖）酒泉子（长忆观潮）林逋长相思（吴山青）柳永昼夜乐（洞房记得）雨霖铃（寒蝉凄切）秋夜月（当初聚散）凤栖梧（伫倚危楼）少年游（长安古道）少年游（参差烟柳）忆帝京（薄衾小枕）范仲淹苏幕遮（碧云天） 渔家傲（塞下秋来） 御街行（纷纷坠叶） 定风波（罗绮满城） 张先菩萨蛮（忆郎还上）菩萨蛮（玉人又是）菩萨蛮（哀筝一弄）江南柳（隋堤远）更漏子（锦筵红）诉衷情（花前月下）天仙子（水调数声）木兰花（相离徒有）晏殊踏莎行（细草愁烟）踏莎行（祖席离歌）浣溪沙（一曲新词）浣溪沙（小阁重帘）浣溪沙（一向年光）蝶恋花（槛菊愁烟）清平乐（红笺小字）…

PrefaceLife is the gift of nature, but beautiful living is the gift of wisdom.—Greek AdageThe ultimate good is beauty, and the ultimate joy lies in the creation or cherishing of the beautiful.—SchopenhauerIf the ultimate joy lies in the creation or cherishing of the beautiful, then ancient Chinese poets may be said to have enjoyed to the full both beauty and joy in their life, for two thousand years ago they created the beautiful Book of Songs and Elegies of the South, and one thousand years ago they created the more beautiful Tang poetry and Song lyrics. Of all these the last may be said to be the most beautiful, for Song lyrics can express more refined, more delicate, more subtle feelings than Tang poetry.The lyrics were originally songs written to a certain tune, so they may also be called tuned poetry or ci-poems. In the beginning the title of the tune and the theme of the lyric were closely related, for example, one of the earliest lyrics written to the tune of Magpie on the Branch reads as follows:How can I bear to hear the chattering magpieAnnounce the happy news on which I can’t rely?So thus I catch it alive when it flies to me againAnd shut it in a cage where lonely’t will remain.This is the first stanza of a lyric written by an anonymous author of the Tang Dynasty(618–907), of which we find the theme and the tune title are one: the magpie on a branch. By and by many lyrics were written to this tune and their themes became less and less related to the tune title. For instance, Feng Yansi (903–960) wrote many lyrics to this tune, one stanza of which reads as follows:Who says my grief has been appeased for long?Whenever comes spring,I hear it singIts melancholy song.I’m drunk and sick before the flowers from day to day,And do not care my mirrored face is worn away. Here we see the lyricist describes his grief in spring which is not related with the magpie on the branch. When it came to the Song Dynasty(960–1279), the theme of the lyric might have nothing to do with the tune title, except those lyrics of which the tune was composed by the lyricist himself.Poetry is, said Dr. Johnson, “the art of uniting pleasure with truth by calling imagination to the help of reason.” How to unite pleasure with truth? As the Song Empire was the most prosperous and civilized country in the world one thousand years ago, we may find a truthful picture of the Song people’s enjoyment in the following stanza written by Yan Jidao (1030–1106):Time and again with rainbow sleeves you tried to fillMy cup with wine that, drunk, I kept on drinking still.You danced and danced till the moon bung low over willow trees;You sang and sang till’ mid peach blossoms blushed the breeze. Here we see how a Song poet found enjoyment in wine, woman and song.How to call “imagination to the help of reason”? We may read the following couplet by Xin Qiji (1140–1207):One night’s east wind adorns a thousand trees with flowersAnd blows down stars in showers.This is a description of the Lantern Festival, the 15th day of the first lunar month, in which the lanterns are compared to flowers blown open by the east wind or to stars blown down in showers to vie in brightness with the full moon. Here we see how imagination is called “to the help of reason.”序为了更好，没有什么清规戒律不可打破。——贝多芬美是最高的善；创造美是最高的乐趣。——叔本华如果说“创造美是最高的乐趣”，那么，古代的中国诗人可以算是享受过美好人生的了。因为早在两千多年以前，中国就创造了美丽的《诗经》和《楚辞》；以后，中国又创造了更美丽的唐诗和宋词。而在四者之中，最美丽的要算后来居上的宋词。因为宋词所表达的思想感情，有时似乎比唐诗还更深刻，更细致，更微妙。词起源于隋代，全名是“曲子词”，“曲子”指音乐曲调，“词”指唱辞。“曲子”和“词”最初是一致的。如敦煌曲子词中有一首《鹊踏枝》，词的上片是：“叵耐灵鹊多谩语，送喜何曾有凭据？几度飞来活捉取，锁上金笼休共语。”曲子（词牌）和词写的都是喜鹊。但是一支曲子可以填各种不同的唱辞，后来，词的内容和词牌的名字（除了词人自作的曲子以外）就没有多大关系了。例如五代南唐冯延巳填了几首《鹊踏枝》：“梅落繁枝千万片”，“谁道闲情抛弃久”，“几日行云何处去”，等等，除第一首有“枝”字外，都和喜鹊没有什么关系。经过隋唐五代近四百年，词有了很大的发展。《全唐五代词》只收录了词人一百七十多位，词二千五百多首；而《全宋词》及《补辑》却收录了词人一千四百三十多位，词更多达两万八百多首，几乎是前人总和的八倍。因为唐、宋两代是中国历史上经济繁荣、文化昌盛的时期，而当时西方正处在黑暗时代，所以唐、宋王朝是那时世界上最发达的国家。尤其是宋代，达官贵人蓄养家妓的风气，士大夫诗酒歌舞的生活，都胜过了前朝。从晏几道在《鹧鸪天》中写的：“彩袖殷勤捧玉钟，当年拚却醉颜红。舞低杨柳楼心月，歌尽桃花扇底风。”也可见一斑了。宋词的第一个高峰，是在宋仁宗的统治时期，代表人物是晏殊（晏几道的父亲）和欧阳修。他们做官做到宰辅大臣，写词侧重于反映士大夫阶层闲适自得的生活，以及流连光景、感伤时序的情怀，所用词调还是以晚唐五代文人常用的小令为主，词风近似南唐的冯延巳。例如晏殊的《浣溪沙》：“一向年光有限身，等闲离别易销魂。酒筵歌席莫辞频。 满目山河空念远，落花风雨更伤春。不如怜取眼前人。”词的上片说：人生是短暂的，充满了离别的忧伤，所以能够歌舞饮宴的时候，就及时行乐吧！下片又说：看到山河就怀念远方的人，加上花谢花飞、风风雨雨，更使人悲哀。但哀悼过去，梦想未来，有什么用呢？还不如珍重现在吧！从这首词可以看出，晏殊是个理性词人，他有一种掌握自己、节制感情、寻求安慰的办法。晏殊节制感情，用的是消极的办法；欧阳修却更进一步，即使在苦难中，也能用对美好事物的欣赏来排遣他的忧愁，因此可以说，他用的是积极的办法。例如他写的《玉楼春》下片：“离歌且莫翻新阕，一曲能教肠寸结。直须看尽洛城花，始共春风容易别。”这四句词典型地体现了欧阳修用情的态度。人总是有分有合的，花总是有开有落的，趁着人在花开的时候，要尽情享受现在的美好；等到人散花落的时候，再与春天告别，也不至于那么难分难舍，因为人毕竟已经享受了美好的春天，没有辜负春光，对得起自己了。欧阳修不但能欣赏大自然美好的那一面，人世间美好的那一面，而且对悲伤感慨的事物，也能看到可以欣赏、可以爱好的那一面。例如第四首《采桑子》：“群芳过后西湖好，狼藉残红，飞絮，垂柳栏干尽日风。 笙歌散尽游人去，始觉春空。垂下帘栊，双燕归来细雨中。”西湖花落，柳絮飘扬，令人悲伤，但栏干外的垂柳，整日在春风中摇摆，那婀娜悠扬的姿态，那经历过繁华之后，感到万紫千红总是空的意境，难道不是可以欣赏的么？那经历过斜风细雨，双双归来的燕子，不也是很可爱的么？因此，欧阳修的小令可以说是达到了宋词初期的最高境界。严格说来，晏殊和欧阳修只是北宋前期婉约派的代表人物，而豪放派的代表却是与他们同时的范仲淹。范仲淹具有“先天下之忧而忧，后天下之乐而乐”的博大胸怀，曾率大军抗击西夏的武装侵略。他的词写边塞风光，如“四面边声连角起”，“羌管悠悠霜满地”；写军旅生活，如“燕然未勒归无计”，“将军白发征夫泪”；悲凉慷慨，如“酒入愁肠，化作相思泪”等。可惜他的词传世的不多，只能算是开了豪放派的先声。范仲淹和晏、欧写的都是小令，每首只有几十个字，内容受到形式的限制；把小令发展成为长调的重要词人是柳永，柳词一首可以长达二百多字，内容更加开阔高远。晏、欧词里的感情主要是写“春女善怀”，柳词却转变为“秋士易感”了。晏、欧做过大官，用辞高雅，感情凝练；柳永却接近市民，用白话入词，善于铺陈。例如他的代表作《雨霖铃》就是层层铺叙的典型。他依次把送别的气氛（寒蝉凄切），地点（都门的长亭），以及过程（留恋，催发，执手，相看，泪眼，无语，凝噎，直到念千里烟波等），一层层铺展开来，焦点由近而远，感情由浅入深。到了下片，更从个人的离别，想到自古以来普天下有情人的离别，从狭隘的个人遭遇，悟到人生聚散无常的哲理。但他并没有以理化情，而是进一步融情入景，把自己的离愁别恨，化成了“杨柳岸晓风残月”。这还不够，他又更进一步，推想到离别后惨不成欢的情况，“良辰好景虚设”，平常日子自然更难捱了。又如他的《忆帝京》也用平白的口语描写了迂回曲折的感情：先写别后失眠的痛苦（“展转数寒更，起了还重睡”），接着一转，想“回征辔”，但是无奈“已成行计”，就这样反反复复，思前想后，结果还是忍痛接受现实（“系我一生心，负你千行泪”）。后人冯煦评柳词说：“曲处能直，密处能疏……状难状之景，达难达之情，而出之以自然，自是北宋巨手。”概括地说，北宋前期，词坛上呈现着贵族词与平民词、雅词与俗词、小令与长调这样一种双峰对峙的局面。前者的高峰是欧阳修，后者的高峰是柳永。同期还有一位以写“云破月来花弄影”而出名的词人张先，他既写小令，又写长调，“适得其中，有含蓄处，亦有发越处”，出入于欧、柳两派之间，而以小令为主。到了北宋中期，王安石步武范仲淹，写了怀古咏史的豪放词《桂枝香》，要打破“诗言志”而“词言情”的题材分工，冲决“诗庄词媚”的风格划界，他成了承前启后的中坚人物。。。

TUNE: TELLING INNERMOST FEELINGBefore flowers, beneath the moon, shortly we metOnly to part with bitter regret.What’s more, I wake from wine and dreamsTo find fallen flowers and dim moonbeams.Flowers will bloom again;The moon will wax and wane.Would our hearts be the same?I’d turn the flameOf my heart, string on string,Into willow twigs to retainThe breeze of spring.诉衷情花前月下暂相逢，苦恨阻从容。何况酒醒梦断，花谢月朦胧？花不尽，月无穷，两心同。此时愿作，杨柳千丝，绊惹春风。TUNE: SONG OF THE IMMORTALWine cup in hand, I listen to Water Melody;Awake from wine at noon, but not from melancholy.When will spring come back now it is going away?In the mirror, alas!I see happy time pass.In vain may I recall the old days gone for aye.Night falls on poolside sand where pairs of lovebirds stay;The moon breaks through the clouds, with shadows flowers play.Lamplights veiled by screen on screen can’t be seen.The fickle wind still blows;The night so silent grows.Tomorrow fallen reds should cover the pathway.天仙子水调数声持酒听，午醉醒来愁未醒。送春春去几时回？临晚镜，伤流景，往事后期空记省。沙上并禽池上暝，云破月来花弄影。重重帘幕密遮灯。风不定，人初静，明日落红应满径。TUNE: MAGNOLIA FLOWERFAREWELL TO SUN GONGSU AT ANLUWhen we parted, the dream of meeting’s left in vain;Outdoors but clouds of dust raised by your horse remain.I will not listen to songs of regret till drunk.How can I gaze afar,O when the sun is sunk!With whom will you enjoy the moon in breeze tonight?The phoenix on my pipa sobs at music light.There’s nothing to compare with love under the sky;The river’s not so deep; the mountain not so high.木兰花和孙公素别安陆相离徒有相逢梦，门外马蹄尘已动。怨歌留待醉时听，远目不堪空际送。今宵风月知谁共？声咽琵琶槽上凤。人生无物比多情，江水不深山不重。