A Study On The Translatability Of Chinese Classical Poetry From The Perspective Of Translation Aesthetics

Chinese classical poetry as the superior form of Chinese literature is not only the gem of China, but also a bright pearl of world literature. Due to its terse language, abstruse meaning, rich imagery, strong feeling and distinctive rhythm, Chinese classical poetry has attracted more and more readers both home and abroad. However, the translation of poetry, especially the translation of Chinese classical poetry, remains a controversial topic. Many linguists, translators and even poets hold the view that poetry is not translatable; but many translators have tried poetry translation practice and produced numerous excellent literary translation products. There has always been the debate on the translatability of poetry, especially the translatability of Chinese classical poetry. The traditional linguistic school of translation can not solve all the complicated problems in poetry translation. Thus, to research the translatability of Chinese classical poetry from an aesthetic perspective seems to be more significant and valuable against the background of the cultural turn in the1980s.Based on a critical review of previous study on translatability and untranslatability, the author utilizes Liu Miqing’s translation aesthetics to study the translatability of Chinese classical poetry, and reaches the conclusion that Chinese classical poetry is translatable in most cases and untranslatability is relative, for there are some limitations on translatability. Firstly, from the perspective of aesthetic object, the author employs numerous translation examples to conduct a comparative study and detailed analysis of original poems and finally reveals that Chinese classical poetry can be translated successfully in form system and non-form system. Secondly, aesthetic subject has two attributes. On the one hand, it is restricted to aesthetic object; on the other hand, aesthetic subject has subjective dynamics. Thus, there are some restrictions on translatability. Finally, to reduce the limitations of translatability, the author proposes representation including imitation and recast. Moreover, some prerequisites for the translator are also proposed. To summarize, Chinese classical poetry is translatable in most cases and untranslatability of poetry can be transferred into translatability.