许渊冲英译中国经典诗文集-楚辞（精装）（汉英）

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**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。 

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 Qu YuanSorrow after DepartureThe Nine SongsThe Almighty Lord of the EastTo The God of CloudTo the Lord of River Xiang To the Lady of River Xiang The Great Lord of FateThe Young Goddess of Fate The God of the SunThe God of the RiverThe Goddess of the MountainFor Those Fallen for the CountryThe Last SacrificeAsking HeavenThe Nine ElegiesI Make my PlaintCrossing the RiverLament for the Chu CapitalSad Thoughts OutpouredLonging for ChangshaThinking of the Fair OneThe Bygone Days RegrettedHymn to the Orange TreeGrieving at the Whirlwind The Far-off JourneyDivinationThe FishermanSong YuNine ApologiesQu YuanRequiemGreat Requiem序 屈原离骚九歌东皇太一云中君湘君湘夫人大司命少司命东君河伯山鬼国殇礼魂天问九章惜诵涉江哀郢抽思怀沙思美人惜往日橘颂悲回风远游卜居渔父宋玉九辩屈原招魂大招

PrefaceThere lies a glassy oblong pool,Where light and shade pursue their course.How can it be so clear and cool?For water fresh comes from its source.Zhu Xi (1130–1200)Chinese poetry is a vast ocean where light and shade pursue their course. Its source is the Book of Poetry compiled in the 6th century B. C. and Elegies of the South composed in the 3rd. The Book of Poetry is the earliest anthology of realistic poems written by common people along the Yellow River in North China, including the richest State of Qi in the east, the most thickly populated States of Zheng and Wei in the Central Plain, and the most powerful State of Qin in the west. In the Valley of the Yellow River Confucius and his disciples had rationalized ancient tradition, myth and shamanism, humanized divinities and transformed extraordinary chaos into ordinary world order. On the other hand, Elegies of the South may be said to be the earliest collection of romantic poems written by poets of the largest State of Chu along the Blue River or the Yangzi Valley, permeated with time-hallowed tradition, fantastic imagination and violent emotions of a mythical world.Qu Yuan (340–278 B. C.) was the most important Chu poet who lived at a time when romanticism or shamanism in the South came into contact with realism in the North. He became the greatest lyrical poet in ancient China as a result of the contact. At first, he had won the confidence of the king of Chu, and held the high post of “left minister”. In view of the danger threatening Chu from the powerful State of Qin, Qu Yuan proposed reform in the government and alliance with the rich State of Qi to ensure the safety of Chu. But the king of Chu was surrounded by self-seekers who, having accepted bribes from Qin’s envoy, not only dissuaded the king from taking Qu Yuan’s advice, but brought about the poet’s estrangement from the king. Therefore, Qu Yuan wrote his autobiographic long poem Sorrow after Departure.This long poem is not only one of the most remarkable works of Chinese poetry, but it ranks as one of the greatest poems in world literature. It describes the poet’s patriotism, his disillusionment with a society fallen into evil ways and his imaginary journeys in a chariot drawn by dragon and phoenix to a supernatural world.The Moon’s Charioteer goes before, oh!The curtain-rolling Wind runs after.To clear the way the phoenixes soar, oh!The Lord of Thunder bursts in laughter.By means of rich imagery and skilled similes, the poet expresses his loyalty to the king of Chu referred to as “Fair One” or “Sacred One.”The Sacred One neglects his duty, oh!He will not look into my heart.The Slanderers envy my beauty, oh!They say I play a licentious part.Thus he builds up the tradition of using the beauty to symbolize the sovereign, and fragrant plants to represent loyal ministers. He also depicts, directly or indirectly, the social condition of that time and the destinies of the States of ancient China, for example:The last king of Xia’s stormy age, oh!Abused all laws and he lost his crown.That of Shang burned alive his sage, oh!His dynasty was overthrown.The conflicts between the ruling groups are repeatedly described while the poet affirms his determination to seek his ideal or beauty.序半亩方塘一鉴开，天光云影共徘徊。问渠哪得清如许？为有源头活水来。朱熹《观书有感》中国文化是“天光云影共徘徊”的一片汪洋大海，而它的“源头活水”就是《诗经》和《楚辞》。《诗经》是中国早的现实主义诗集，编于公元前六世纪，地区包括华北的黄河流域，东起富庶的齐国，西至强盛的秦国，中原地带有人口稠密的郑、卫等国。在华北，儒家把远古传统、神话、巫术逐一理性化，把神人化，把奇异传说化为君臣父子的世间秩序。《楚辞》却是中国早的浪漫主义诗集，作于公元前三世纪，地区是华南的长江流域，当时主要是版图广大的楚国。楚国保持和发展着绚烂鲜丽的远古传统，弥漫在一片奇异想象和炽烈情感的神话世界中；而楚文化的代表，是把个体的人格情操和想象的神话世界融合为一、开创了中国抒情诗光辉典范的屈原（约公元前340—前278）。从屈原起，开始了中国诗人个体创作的时代。屈原的作品，初是单篇流传的。现在所能看到的《楚辞》版本，早是东汉王逸的《楚辞章句》，前十篇的次序如下：一、《离骚》，二、《九歌》，三、《天问》，四、《九章》，五、《远游》，六、《卜居》，七、《渔父》，八、《九辩》，九、《招魂》，十、《大招》。后面还有几篇汉时人作品。一般说来，《楚辞》只收战国时期的楚国作品，所以本书只译了《楚辞章句》的前十篇。《诗经楚辞鉴赏辞典》序言中说：“今传屈原二十余篇作品，可以分成三类，构成一个序列。首先应说《九歌》十一篇，它本是楚地的祀神乐曲，经屈原加工润色，刮垢磨光，成为精美的诗篇。这组诗的抒情主人公或为神，或为主祭者。诗是代言体，尚非诗人的咏怀。它们更多地展现了诗人从继承到创新的创作轨迹。其次是《天问》，它是屈原根据神话、传说材料创作的古今无两的煌煌大篇，着重表现了诗人的历史观与自然观，显示了哲理与抒情的两重性。第三是《离骚》、《九章》等作品，是屈原的政治抒情之作，它们有事可据，有义可陈，情感充沛，形象鲜明，气象磅礴，达到了思想与艺术的完美结合。《天问》、《九歌》和《离骚》……各自代表了楚辞的成就。”《离骚》是中国古代早、辉煌的长篇抒情诗，其气魄之宏伟、抒情之深刻、构思之奇幻、辞采之绚烂，在古典诗歌的宝库里首屈一指。屈原在楚怀王时曾担任过“左徒”的要职，一度得到怀王的信任。他主张改革内政，联合东方富庶的齐国，抵抗西方强盛的秦国；但秦国的使臣贿赂了楚国的大臣，大臣向楚王进谗言，楚王不但不接受屈原的意见，反而把他放逐。所以他在《离骚》中写道：怨灵修之浩荡兮，终不察夫民心；众女嫉余之娥眉兮，谣诼谓余以善淫。关于“离骚”二字的意义，司马迁说是“离忧”，班固说是“罹忧”，王逸说是“别愁”，本书的译名采用司马迁和王逸的说法。《离骚》既是政治抒情诗，又是伟大心灵的悲剧，全诗可以看作是由“述怀”、“追求”、“幻灭”三部分组成的三部曲。他“述怀”的名句如：民生各有所乐兮，余独好修以为常。虽体解吾犹未变兮，岂余心之可惩？他“追求”的名句如：吾令羲和弭节兮，望崦嵫而勿迫。路曼曼其修远兮，吾将上下而求索。……前望舒使先驱兮，后飞廉使奔属。鸾皇为余先戒兮，雷师告余以未具。

Professor Xu is the best translator who translated ancient poems,
lyrics and songs in English.
Yu Hsiu Ku, University of Pennsylvania
历代诗、词、曲译成英文，且能押韵自然，功力过人，实为有史以
来*。
——顾毓琇，已故美国宾州大学荣誉退休教授
Professor Xu has gained a world-wide reputation for his rhymed
translations of Chinese verse.
Stephen H.West, University of California, Berkeley
许教授已因其对中国诗歌的韵译而赢得世界性的声誉。
——奚如谷，加州大学伯克利分校教授
Elegies of the South translated by Professor Xu is as a high peak
even in English literature and American literature.
Jon Kowallis, The University of Melbourne
许教授的《楚辞》英译当算英美文学里的一座高峰。
——寇志明，澳大利亚墨尔本大学学者
Romance of the Western Bower translated by Professor Xu might
vie with Shakespeare’s Romeo and Juliet in appeal and artistry.
Minerva Press, London
许译《西厢记》在艺术性和吸引力方面，可以和莎士比亚的《罗密
欧与朱丽叶》媲美。
——英国智慧女神出版社

The Nine SongsThe Almighty Lord of the EastAuspicious hour, oh! of lucky day!With deep respect, oh! we worship our lord.His jade pendants, oh! chime on display;He holds the hilt, oh! of his long sword.Jade weights fasten, oh! his mat divineAdorned with gems, oh! and flowers sweet.We pour pepper sauce, oh! and laurel wineAnd serve in orchids, oh! the spiced meat.We raise the rod, oh! to beat the drum;The drumbeats rise, oh! into the cloud.①In slow rhythm, oh! we sing and hum;To pipes and flutes, oh! we chant aloud.In fair array, oh! our lord appears;His fragrance fills, oh! the ritual hall.Five sounds mingle, oh! and charm our ears;Our lord is glad, oh! and gladdens all.九 歌【题解】《九歌》是一组祭祀神的乐歌，原本在楚国民间流传，后经屈原加工改写而具有了新的体制特点与精神面貌。《九歌》共有十一篇，“九”字为虚指还是实指？如果是实指，如何使总题与篇目相符？这是古今学者们争论的焦点。《文选五臣注》中张铣主张虚指，他认为：“九者，阳数之极，自谓否极，取为歌名矣。”朱熹《楚辞集注》则采取存疑的做法，认为：“篇名《九歌》而实十有一章，盖不可晓。旧以九为阳数者，尤为衍说。或疑犹有虞、夏《九歌》之遗声，亦不可考。今姑阙之，以俟知者，然非义之所急也。”他批评了张铣的看法，但并未自出新解。自明朝以来，主张实指的学者增多，汪瑗、林云铭、胡文英等人都有论及。其中，汪瑗率先提出较为合理的解释，其《楚辞蒙引》认为：“(《九歌》)末一篇固前十篇之乱辞也。《大司命》、《少司命》固可谓之一篇，如禹、汤、文武谓之三王，而文武固可为一人也。《东皇太一》也，《云中君》也，《湘君》也，《湘夫人》也，二《司命》也，《东君》也，《河伯》也，《山鬼》也，《国殇》也，非九而何？”总之，如何将十一篇中某些篇目进行合理归并，成为论说的重心所在。近代以来，上述“循名责实”的意识渐趋淡化，如陆侃如认为：“《九歌》是楚国民间祭歌，共十一篇，前十篇每一篇祭一个神，后一篇《礼魂》是送神曲。”这既是对汪瑗等人观点的继承，又不再主使《九歌》篇目与总题相符强作解人。现在一般认为，《九歌》前五篇《东皇太一》、《云中君》、《大司命》、《少司命》、《东君》为祭祀天神之歌，其演唱形式由饰为天神的主巫与代表世人的群巫共同参与、轮流演唱。但《东皇太一》中，主巫只出现于祭坛，并不演唱；后四篇《湘君》、《湘夫人》、《河伯》、《山鬼》为祭祀地之歌，以饰为地的主巫独唱独舞，没有群巫歌舞穿插其中；《国殇》为祭祀楚国阵亡将士的哀歌，因对祭祀对象的敬重，与祭神相似，也由主巫与群巫轮流对唱；后一篇《礼魂》为送魂曲，表明祭礼结束。“天神”、“地袛”、“人鬼”的体制安排，体现了《九歌》的完整性及系统性特点。姜亮夫认为东君与云中君、大司命与少司命、湘君与湘夫人、河伯与山鬼是四对配偶神。王逸《楚辞章句》云：“《九歌》者，屈原之所作也。昔楚国南郢之邑，沅、湘之间，其俗信鬼而好祠，其祠必作歌乐鼓舞以乐诸神。屈原放逐，窜伏其域，怀忧苦毒，愁思沸郁。出见俗人祭祀之礼，歌舞之乐，其词鄙陋。因为作《九歌》之曲，上陈事神之敬，下见己之冤结，托之以风谏。故其文意不同，章句杂错，而广异义焉。”肯定了《九歌》为屈原吸纳楚风遗俗而作。朱熹《楚辞集注》进一步提出，《九歌》是屈原在既有的民间祭歌的基础上加工润饰而成的，似乎更加符合屈子创作的原貌。品味歌中情感，多委婉多情，基于悲欢离合的爱恋之情，而辞句甚为典雅清丽，正是文学家与民间大胆抒情歌曲的优秀结合。不管《九歌》是否为屈原被流放之后的作品，将其拿来与屈原的政治遭际相比附固然有相通之处，但处处皆求于此，就脱离了《九歌》作为乐神祀曲的实际，而后者才是我们今天进行欣赏评价的出发点。以往的《九歌》研究多从政治、神话等角度进行阐释，包括上面提及的几个研究流派多不能出此范围。姜亮夫从《九歌》的宗教色彩出发，认为它与《离骚》有一共同的情怀，即“宗教情感”；至于在这种情感的处理方面则略有不同，《离骚》侧重理想化之描写，而《九歌》则侧重写实化之描写：“离骚等十三篇，与九歌十一篇，有一相同之情怀，曰‘宗教情感’。离骚十三篇所景仰之情，为远游帝宫，西涉昆仑，寄意圣贤，匹偶圣姬，就重华而陈辞，依彭咸以为仪，求宓妃之所在，望瑶台之偃蹇，胥是也。而九歌之咏十神，天地、日月、山川、人先、鬼伯、国殇，无一非宗教之所崇祀。其所仰之神异，而其情则类也。虽然，其处理方法，则两者实大异：十三篇之所神祀者，以思想、情愫之景仰之主，从理智分析，得其美蔽善恶之辨。而自理想中结构一别然之宇宙，与个人修自洁之理想相结合，而欲归依与影从；或个人情思无法处理之时，欲依神圣为自解之计。自神化中有个人理性存在，为高度之自觉感。至九歌十一篇，则全部为神鬼事迹之描写，其写情处，亦纯从神鬼自身事象上立意，或借其神威灵感，以赞叹欣赏之，或借神鬼夫妇燕昵之情，以歌咏之；即有所寓寄，亦仅能于同底窥测一二，非十三篇之直述冀望感念者之可比。故九歌宗教感情之处理，乃写实化之描写也；十三篇宗教情感之处理，乃理想化之描写也。”(详见《重订屈原赋校注》页167、168)。另外，需要指出的是，《九歌》中所体现出的宗教情绪既不是迷狂畏惧的，也不是轻佻玩亵的——无论是《云中君》“思夫君兮太息，极劳心兮忡忡”的告白，还是《湘君》、《湘夫人》、《河伯》、《山鬼》等篇什中的质朴真挚的情感，均表明了楚民与众神之间亲和、挚密的依恋关系，通过向赋予了平等人格的神的自由对话来实现祈愿、祝福等仪式过程。总之，孕育产生《九歌》的楚地民间具有的质朴、热情、重祀等特点，亦赋予了《九歌》欢腾的场面、华美的器饰、缠绵的情怀、虔敬的祷祝等等艺术美感和人文特质，读者可从中找到诗意的憩园。关于《九歌》的创作时间，王逸认为是屈原放逐江南时所作，当时屈原“怀忧若苦，愁思沸郁”，故通过制作祭神乐歌，以寄托自己的思想感情。但现代研究者多认为作于放逐之前，仅供祭祀之用。To The God of CloudBathed in orchid’s, oh! sweet-scented dewsAnd dressed in robes, oh! of varied hues,With fleecy hair, oh! you slowly riseTo beautify, oh! the morning skies.In deathless hall, oh! you stay at noon;Your whiteness rivals, oh! sun and moon.The dragon is, oh! your charioteer;You waft and wander, oh! far and near.In silver drops, oh! you come with rain;On wings of wind, oh! you rise again.Upon the land, oh! you come with ease;You float over, oh! and beyond four seas.Longing for you, oh! I can’t but sigh;My yearning heart, oh! to you would fly.东皇太一【题解】《东皇太一》是祭祀天神的乐歌，因居《九歌》之首，被称为迎神曲。“太一”之名在先秦的一些典籍中不是天神的名称，而是一个抽象的哲学概念，或指形成天地万物的元气，或指老庄思想中所谓“道”的概念。《吕氏春秋仲夏纪侈乐》有“太乙”一词，本指神名，疑“太乙”与“太一”相通。姜亮夫《楚辞通故天部》引本篇“穆将愉兮上皇”、宋玉《高唐赋》“醮诸神礼太一”，并下按语称“上皇即上帝之称变，言上皇者，以协韵之故，以此知战国时已以太一为上帝矣”。既而又进一步引申说：“细考先秦故籍，以一字表事物概念浸假而为造化之原，自《易》至《老》、《庄》莫不有此思想。……道立于一，则一之又一曰太一，太者更加神圣之谓，故以太一为造物主，亦即为以太一为帝。惟此说北土渐衰(重人事故)，故惟屈子、道家尚存其说。”汉景帝至汉武帝之时，太一渐成为天神、上帝的专名。另一方面，汉代以来天文家及道家又以天极明亮之星为太一。《史记封禅书》“宜立太一而上亲郊之”，《天官书》：“中宫，天极星，皇其一明者，太一常居也。”张守节《史记正义》：“泰一天帝之别名也。”可知，汉代星名与神名联为一体，祭太一亦成为郊祀的内容之一。直到宋代，祭祀太一的风俗犹存，据《楚辞通故书篇部》称，当时祭于东方则称东太一，于西方则称西太一，于中央则曰中太一。本篇“东皇太一”之“皇”字亦指天帝，有复指强调之义。将“太一”视为天神并加以祭祀早见于《九歌》，因此，祭祀“太一”可能是楚国特有的风俗。因东皇太一高踞众神之上，从篇中表述的祭祀形式看，主巫所饰东皇太一在受祭过程中略有动作而不歌唱，以示威严、高贵。群巫则载歌载舞，通篇充满馨香祷祝之音，使人油然而生庄穆敬畏之情，以此表现对东皇太一的虔敬与祝颂。吉日兮辰良①，穆将愉兮上皇②。抚长剑兮玉珥③，璆锵鸣兮琳琅④。【注释】①辰良：“良辰”的倒文，为押韵之故。好时光。②穆：恭敬。愉：娱乐。上皇：天帝，指东皇太一。③珥(ěr)：即剑珥，剑鞘出口旁像两耳的突出部分，又叫剑鼻。④璆(qiú)：美玉。锵(qiānɡ)：金属发出的音响。琳琅：美玉名。【译文】吉祥的日子啊美好时刻，恭敬地取悦啊天上的帝王。手抚长剑啊玉石为珥，身上玉佩啊锵锵相鸣。瑶席兮玉瑱①，盍将把兮琼芳②。蕙肴蒸兮兰藉③，奠桂酒兮椒浆④。【注释】①瑶席：装饰华美的供案。瑶，美玉。席，此为呈献美玉的供案。玉瑱(zhèn)：玉器。瑱，通“镇”。②盍(hé)：通“合”，会集。琼芳：美好的芳香植物。琼，本义美玉，引申为美好。③蕙肴：与“桂酒”相对。即用蕙草包裹的佳肴。蕙为香草名，又名薰草。蒸：姜亮夫《屈原赋校注》认为当作“荐”，即进献；而且应置于“蕙肴”之前，即此句应为“荐(蒸)蕙肴兮兰藉。”这样与下句“奠桂酒兮椒浆”结构完全相称。兰藉：垫在祭食下的兰草。兰，香草名。藉，古时祭礼朝聘时陈列礼品用的草垫。④桂酒：用桂花泡制的酒。椒浆：用椒泡制的酒浆。桂、椒都是香料。【译文】献祭供案上啊放着宝，还摆上成把啊芳香的植物。蕙草包裹着祭品啊下面垫有兰叶，桂椒泡制酒浆啊敬献上神。