Transference Of Musicality In English Translation Of Chinese Classical Poetry

Transference of Musicality In English Translation of Chinese Classical PoetryXu XiaominAbstract: Poetry attracts widespread attention ever since its beginning for its unusual beauty in image, musicality, etc. This thesis begins from these basic characteristics of poetry in order to ensure the importance of musicality in poems. But, when the current studies of poem translation are reviewed, it is found that the musicality is relatively neglected in the process of translation. The first chapter is to ascertain the significance of this thesis.The second chapter is the theoretical basis of transference of musicality. It defines and elaborates musicality in Chinese classical poetry and English poetry. Sound devices and means of achieving rhythm in the two languages are explained and analyzed respectively. The analysis shows that to some extent there is common association between musicality and sense or the mood of people. The two aspects of the discussion about musicality are linked together by the association between musicality and sense that exists commonly in languages. Psychological experiments give evidence for the association, which provides necessity and possibility of transference of musicality in poetry since the human beings have shared feelings.Anyway, the transference of musicality in poetry is discussed within the restriction of poem translation, so the basic principles of poem translation are listed and interpreted based on Peter Newmark's translation theories. The elaboration of the general principles of poem translation helps to find appropriate translation methods.In the fourth chapter, four methods are exemplified梩o imitate the original way of expression; to reproduce the musicality in target language; to make compensation to translation with non-musical ways of expression; and to add musicality to translation.Though to some extent these methods are useful, the possibility of transference is still limited. First, the musicality of poetry and the association between musicality and sense are not definite. There is no one-to-one response. Different translators may have different comprehension of a certain text. Next, the translatability of musicality is limited, for some of the musical devices are too attached to the language itself and cannot be retained in other languages.In the end, the author concludes the thesis and points out that the musicality also exists in other non-poetic works. It needs further research.