| Shijing,which contains rich language and cultural resources,is mainly composed of lyric poetry and regarded as the origin of realistic poetry.The realistic feature of lyric poetry in Shijing lies in the fact that the emotion expression cannot separate from the narrative of pre-Qin people’s daily life and historical events.Curiously,its realistic feature is underestimated compared to its artistic expression methods and aesthetic value when it comes to the translation study of Shijing.What’s more,it is found that in Pound’s translation the form of translated poem breaks routine reading pattern and takes on spatial feature.Thus,this study intends to explore Pound’s translation of Shijing from spatial narrative perspective through the method of case analysis.At present,the application of spatial narrative perspective into the field of poetry is in a relatively advanced position at home and abroad,and its existing achievements are mainly divided into two aspects.One is "segmentivity" proposed by Duplessis(Mc Hale,2009),which is further supplemented and developed by Mc Hale.The other is the spatial narrative nature and function of imagery proposed by Yan(2009)This formulation of studying poetry from spatial narrative perspective does not form a complete theoretical system,but previous studies provide enough foundation for explaining the spatial narrative characteristics of Shijing from segmentivity and imagery.After illustrating how lyric poetry can be studied from spatial narrative perspectives,the study integrates the existing achievements of the theory and clarifies the relation between Pound’s translation view,translation method and spatial narrative perspective.These lay a solid foundation for the study.The study finds that firstly,in Pound’s Shijing,the visual segmentivity mainly refers to the narrative effect produced by adjusting the length of the lines and coordinating the blank span in accordance with the lyric’s actions or thoughts,thus becoming a part of the narration,promoting the narrative rhythm and highlighting the narrative theme.Secondly,auditory segmentivity in Pound’s translation is mainly displayed through the phonetic change,irregular combination of the intonation,rhythm and rhyme.Besides,the increase of modal categories strengthen the spatial feeling of narrative and improve the integrity of narrative.Last but not least,the formation of image space is mainly through the relations established by subject image and scene image.There are two kinds of relations between the subject image and the scene image in Shijing.First,when scene image is the environmental background formed by objective things,it can play a role of enhancing the emotional expression of subject image.If scene image is a specific place,it is conducive to the description of the event for tracing it back in history and in turn improve the depiction of subject image.Besides,the scene image may be what one subject image forces another to accept.Secondly,scene image may form a contrast with subject image to achieve emotional or theme stress in the opposite direction.The significance of this research lies in that,first of all,it emphasizes the narrative elements of lyric poetry in Shijing,which is beneficial to the development of new research objects in the transaltion study of Shijing.Secondly,the author studies Pound’s translation from the angle of interdisciplinary perspective,which can not only provide a new theoretical guidance for the translation study of Shijing,but also open a new path for the study of ancient Chinese lyric poetry.Thirdly,the discussion that poetic form can also participate in narrative is helpful to the expansion and extension of the study of poetic form. |
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