英语本科毕业论文,标签：英语论文范文,毕业论文范文,http://www.dxs56.com
　　In conclusion, the literary style of the source text is untranalatable, for the medium of translation is language. Different languages have no ways to express the same literary style. The expression of the literary style is like imitating watercolor pictures in pencil or pen, and it can not reflect the literary style of the source text. www.dxs56.com
　　To sum up the opinions of previous scholars or translators, we can find something in common in their opinions—some writings are untranslatable such as poems. Once poems are translated, the specific taste that is the soul of the poem always disappears. Without its specific taste, poems can hardly be called “poems”. In one word, there exist some features that are difficult or even impossible to be translated from one language into another language, which is always considered as “untranslatability” by earlier translation scholars.
　　It should be admitted that in the translation process of CCP, certain problems or barriers would be encountered. It is because, for one thing, the abstruseness of the Chinese archaism and the very terseness of the traditional way of writing poetry make it difficult to comprehend the implications. For another, because Chinese is an ideograph language, the form and the meaning of a poem are so often integrated with the Chinese characters that it is not possible to translate them into another language accurately. In addition, on the level of polysemy, symbolism, frequent use of artistic images, anecdotes and allusions, CCP is particularly untranslatable to some extent.
　　2. Comparison between Chinese and English Version of Long Longing
　　Nowadays, there are many translators commit themselves to translation of poetry, but there arouses many problems. Let us compare the Chinese and English version of Long Longing to realize the untranslatability of artistic conception. The following part aims at finding out what is lost in Chinese Classic Poetry Translation.
　　Chinese Version of Long Longing:
　　长相思
　　汴水流，                   思悠悠，
　　泗水流，                   恨悠悠， www.dxs56.com
　　流到瓜洲古渡头，           恨到归时方始休，
　　吴山点点愁。               月明人倚楼。
　　English Version of Long Longing:
　　Long Longing
　　Waters of Bian flow,
　　Waters of Si flow,
　　Flow to the old ferry of Guachow,
　　The hills in Wu bow in sorrow.
　　My grieving seems to grow,
　　My longing seems to grow,
　　Grow until comes back my yokefellow,
　　We lean on the rail in moonglow（赵彦春，20xx：95）
　　Reading the Chinese version, we know that this poem describes a lady misses her lovers, leaning on the rail in moonglow. In the hazy moonglow, the hills and rivers greeting in her eyes are full of sorrow. The first three “flows” describe water sinuous, brewaging lingering charm. The following two “grows” add to sorrow. The whole poem expresses love with recentness, expressing the complicated feeling of characters with smooth and fluent words, harmonious rhythm. Especially that stream of moonglow foils the atmosphere of sorrow, strengthening artistic beauty, revealing the features of that simple words, resourceful meaning, easing understandability and profound significance.
　　But some of these reflected in the Chinese version can not be conveyed completely in the English version of this poem. A person who read it without any knowledge of its background, especially the reader who was born and grow up in another culture, can he taste all the flavor of the poem? The poem set in the war, because of the war, the lady was parted with his husband for a long time. This poem posts the fact that war brings pasture between relatives or lovers, so all people hope it comes an end. Without this background, the foreign readers can not taste the deep theme of the poem. The two rivers in the poem are Bin Flow and Si Flow. Why the author chooses these two rivers as yearning rivers? This is because these two rivers flow to the ocean without turning around. It also stands for the lingering yearning and sorrow goes without twisting. The old ferry Guachou always implicates a bleak feeling, such as sorrow or lovesick. The lady leans on the attic, missing his husband. In the past, women were not allowed to stay out without any necessity. And in the past, Chinese architecture always have that kind of design with an attic or aisle. All these culture can not be read only in the English version of the poem. In the English version of the poem, the word “bow” of the sentence “The hills in Wu bow in sorrow” is not supposed to be translated to “bow”. In the Chinese version, the poem would like to express sorrow which filters to hearts little by little, deeper and deeper. But in the English version, “bow” is a verb, expressing feeling on the surface. It leads to visual rigidity, idealistic ossification, and aesthetic languishment and so on. www.dxs56.com

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