Formal Equivalence Viewed As A Criterion In Translating Modernist And Post-modernist Poetry

This paper is aimed to explore the importance of formal equivalence inthe translation of modernist and post-modernist poetry.When translators deal with poetry, they often find themselves in a dilemma that the form and meaning of the source language cannot coexist in the target language. The traditional translation theory emphasizes on the semantic meaning of the source text and teaches translators to be faithful to the original meaning which always refers to the semantic meaning of the source text. However, shall we always preserve the semantic meaning at the expense of the form? According to functional linguists, form is the presentation of meaning. In other words, form is not only the carrier of meaning but has the meaning of its own.Nida classified the translation into two types: one is formal equivalence, and the other is dynamic & functional equivalence. The formal equivalence is "basically source-oriented; that is, it is designed to reveal as much as possible of the form and content of the original message." (Nida, 1964: 165) He also brought forward the theory of dynamic equivalence which refers to "the closest natural equivalent to the source-language message." (Nida, 1964:166) To some degree, formal equivalence has been neglected or regarded as word-for-word translation. Therefore it loses its usefulness under the splendor of dynamic equivalence. However, for modernist and post-modernist poetry, formal equivalence resumes its position in translation theory.The text under discussion is one of E.E.Cummings' "Chanson Innocenter", an experimentalist poem in modern American poetry, with two of its Chinese translations being analyzed against the source text from the perspective of formal equivalence. The theory of formalism and visual culture can help to illustrate the importance of form in modernist and post-modernist poetry. After the analysis of the sampled poem, the author attempts to seek the function of formal equivalence in feminism and post colonialism.The author attempts to draw a conclusion that formal equivalence can be used as a criterion in translating modern or post-modern poetry. Due attention should be paid to it and as a translation principle, it will have its own function and development for new and modern texts, or in other words, non-traditional texts.Some people worry that the enthusiasm of visual effect will drive us away from poetic reading and then result in the loss of tradition. Some point out that the popularity of reading forms and pictures will make it possible to topple the language. When this happens, what is the position of formal equivalence? Confronted with the change of culture, each field will take thought for its survival and development. So formal equivalence as a translation principle will have its own development for new and modern texts.