“神似论”角度下的《琵琶行》英译本 ――对比分析许渊冲及杨宪

　　Mr Fu lei's"Spiritual Resemblance Theory",which creates a separate school as a new theory of literary translation,is a major breakthrough in China's translation theory after Yan Fu putting forward"faithfulness,expressiveness and elegance",which marks"Spiritual Resemblance".He makes the key to literary translation and promotes the translation from the scrutiny of words to the level of art.More importantly,he puts the Chinese traditional aesthetics idea of"Lifelike"into the theory of translation and the understanding of translation theory has been promoted to the category of aesthetics,thus broadening the research field of translation theory.The translation theory of"Spiritual Resemblance Theory"marks the progress of Chinese translation in the past decades,and the translation theory starts from abstraction to concretion.

　　The"Spiritual Resemblance"mainly includes two levels of meaning,one refers to the pursuit of conveying the meaning and interest between the lines.The second is to pursue the charm and style that permeates the original work."Form Resemblance"means to retain the original form in the process of translation,such as genre,syntactic structure and rhetorical devices.Fu Lei puts forward"Spiritual Resemblance Theory"that is based on his literary thought a harmonious beauty,mainly embodied in the harmony of beauty and kindness,balanced development of the inner and outer and the perfect combination of content and form.Then,he is also stressed in Spiritual Resemblance of painting,and the"heavy emphasis shape of the solar system"in the painting field is well versed in the field of translation,as he once said,"The effect is concerned,the translation should be like in the picture to stress Spiritual Resemblance,but not in Form Resemblance".However,Mr Fu lei's theory of"Spiritual Resemblance"is not to mean that only consider"Spiritual Resemblance"and put the"Form Resemblance"aside,he once said"I'm not saying that the syntactic of original thesis is ignored absolutely,translators should be kept within the maximum limit for the syntax of the original thesis".Therefore,in the process of translation,both should be taken into consideration,as best as possible to achieve both.

　　This thesis chose the English translation versions of the famous epic poem Song of a PiPa Player,mainly from the angle of the"Spiritual Resemblance Theory"of Mr Fu lei to analyze and contrast similarities and differences of Xu Yuanzhong translation version and Yang Xianyi translation version.This paper is divided into five parts.The first part briefly introduces the importance,definition and background of Mr.Fu lei's"Spiritual Resemblance Theory".The second part sums up the application,understanding and research of the"Spiritual Resemblance Theory"in poetry translation.The third part introduces Mr.Fu lei and his translation theory,as well as a brief introduction to the text interpretation of poet Bai Juyi and his Song of a PiPa Player.The fourth part mainly compares and analyzes the similarities and differences between Xu Yuanchong's translation version and Yang Xianyi's translation version.The last part is the summary of the full text,through comparative analysis to discuss the"Spiritual Resemblance"and"Form Resemblance"of harmonious unity.

　　Mr.Fu Lei's"Spiritual Resemblance Theory"had a profound influence and guidance in the field of translation,and it is one of the important criteria to measure the quality of translation.Mao Dun put the earliest concept of"spirit resemblance"and"form resemblance"of painting and literary creation into the field of translation,Fu lei will contrast"spirit resemblance"with"form resemblance"in the field of translation,which makes extensive influence.(Zheng Qingzhu,2011)Chen Yingzi and Wang Yinxia said:"to understand Fu Lei's"Spiritual Resemblance Theory",we should first know what"spiritual resemblance"and"form resemblance"are.(Chen Yingzi,Wang Yinxia,2012)The Chinese translation dictionary wrote:"Form resemblance",'general understanding to retain the original form,specifically,such as keep the style of the original,the structure of the sentence patterns,and rhetorical devices,etc.(Luo Libin,2010)That is to say,"Form resemblance"is in the process of translation retain the original form to the greatest extent.So Luo Xinzhang said,"spiritual resemblance",which means"Lifelike",as the term suggests,is the spirit of the original,through literal meaning,the meaning of words to express…all kinds of characters have distinguishing feature each,there are many difficulties to translate,and translation is not a work of word by word like a straight line,but Multilevel spread of spirit.(Luo Xinzhang,1984)So the pursuit of"spirit resemblance"mainly refers to the meaning of words and interest and charm and style of the original work."Spiritual Resemblance Theory"claims"heavy emphasis shape of the solar system",which think that the core of the translation is the"spiritual resemblance"and keeping both original"form"and"spirit".Therefore,in the process of translation,to achieve"spirit resemblance"is essential in the translation,more highlights his translation claim"heavy emphasis shape of the solar system",but Mr Fu Lei once said:"I'm not saying that the syntacticis ignored absolutely,translators should be kept within the maximum limit for the syntax of the original."(Fu Lei,1984)Therefore,"Form resemblance"should also be taken into consideration and cannot be completely abandoned."spiritual resemblance"and"Form resemblance are dialectical unity,not absolute opposition.""Form resemblance"is the means of literary translation,while"spiritual resemblance"is the ultimate goal of translation.(Wang Tan,Liu Huifeng,2013)

　　Song of a Pipa Player is a classic in ancient Chinese poetry,and its high status in literature is the very reason why there are so many versions of translation.This paper mainly selects Xu Yuanchong's translation version and Yang Xianyi's translation version from numerous translations.Xu Yuanchong and Yang Xianyi are famous translators,and the two translators have their own pursuit of the formal beauty of the translation,forming their own unique style.Through comparing and analyzing the similarities and differences of"Spiritual Resemblance"and"Form Resemblance"from Xu Yuanchong's translation version and Yan Xianyi's translation version,we explore harmony and unity of"Spiritual Resemblance"and"Form Resemblance"in the poetry translation.

　　In other words,the harmonious unity of"spiritual resemblance"and"Form resemblance"is also the aesthetic view of translation.There are also the researches of Song of a pipa Player."Yang Haotian with Xu Yuanchong'English version Song of a pipa Player,with three beautiful theory as theoretical perspective,which examines the aesthetic effect of the translation and explores the translator how to successfully passed the original beauty in poetry translation."(Yang Haotian,2016)."Liang Ying analysis metaphors in specific examples of Song of a pipa Player,from the translation of metaphor translation methods are introduced and aesthetic effect of Xu Yuanchong handling of metaphor in poetry translation methods."(Liang Ying,2014)"On the basis of reviewing the development process of Chinese and western translation aesthetics,this paper makes a comparative study of Xu Yuanchong's translation and other translations based on the theory of three beauties."(Liu Lina,2011).These articles,mostly based on three beauty theory,have the same effect.And this thesis is based on the theory of"spiritual resemblance".Contrastive analysis of two versions in the similarities and differences between"spiritual resemblance"and"Form resemblance"is also made in this thesis.

　　Fu Lei(courtesy name:Nu'an,1908-1966)was born in Nanhui County near Shanghai,and raised by his mother,who was a famous translator.In the early childhood,under the mother's strict teaching,he developed a rigorous,serious and meticulous personality.In his early years,he studied art and art theory in France from 1928–1932,where he was able to observe the works of world-class masters and greatly improved his artistic accomplishment.After returning to China,he taught in Shanghai art school,because he did not want to translate the book from the vulgar,and he almost translated the important works of French writers such as Voltaire,Balzac and Romain Rolland.Millions of his works were regarded as the Chinese model essays that People highly praised,which formed the"Fu Lei Style".

　　Fu lei's translation theory includes three aspects.

　　First,criteria for selection.When Fu Lei chooses the original text,he chooses the works primarily that have the spirit of the times and conform to the social development trend along with readers'needs.

　　Second,understanding,expression and reader.Fu Lei believes that the faithful reader must be loyal to the original work.

　　Third,Aesthetics-the harmony between"spirit"and"form"."It seems to be weightless.""Translation should be like a painting.It is not in shape,but in spirit."Using the method of grafting,the Chinese classical aesthetics is applied to the translation theory,and the artistic problem of literary translation is discussed with the help of"deism"in the field of painting and poetry.Fu lei said:"to ask for the spirit of word,to make a point,not to grasp the dictionary,and to put together a patchwork of things.""The intent is to emphasize the Spiritual Resemblance,not to say that you can disregard it,or to argue for it.""Spirit"attached to the Form"anForm"is the shell of"spirit","form"and"spirit"is a harmonious whole,"form"and"spirit"of light and heavy,cannot be measured by minimum points or favour.

　　Bai Juyi,a famous modernist poet in the middle Tang dynasty,is a musician,and Bai Juyi often lives in XiangShan,LuoYang.When young people are poor,they have more contact and understanding of social life and people's sufferings.There is an ideal of"care about the world",writing many"allegorical poems",reflecting the miserable life of the working people and exposing the decadence from the evil ruling class.As a result of offending the bureaucracy,he was demoted to JiangZhou SiMa,and he wrote some poems and sentimental poems.There are seventy-one volumes of the Book of White's Chang Qing.Literature on Bai Juyi advocated"The article is all the time,and the poetry is done.",stressed and inheriting modernism fine traditions of Chinese classical poem,against no sustenance,was the pioneer of the new poems movement,has important position in the history of literature.Song of a Pi Pa Player is a famous long narrative poem in the history of Chinese literature,which is one of the representative works of Bai Juyi.

　　Song of a Pi Pa Player was made by Tang Xianzong Yuan He 11 years(AD 816),when Bai Juyi was 45 years old,and he was appointed as the SiMa.SiMa is secretariat assistant,sounds like a decent position,in fact,placed in the middle Tang dynasty officials"crime",which is a disguised form sent to somewhere to accept supervision.This was a great influence on Bai Juyi,the turning point of his thought change,and his early struggle was gradually sold off and the negative emotions increased.Song of a Pipa Player is created in the second year when Bai Juyi was relegated official to Jiangzhou,which works through narrating superb acting of pipa female and her sad story,which express the author's political hit and the emotion of mournfulness and depression that he was disgraced.Here,poets regarded a pipa female as their own over the bosom friend,with her misery suffering,his fugitive dust,the sorrow of life,all together as a whole,thus make work has extraordinary appeal.

　　Xu Yuanchong and Yang Xianyi are excellent and famous translators in the Chinese translation field,who are committed to the translation of C-E,and their translation has the same effect,also has its own unique style.This part mainly analyzes the similarities and differences between the two versions in the aspect of"Form resemblance"and"spiritual resemblance".There is a discussion on the content of"spiritual resemblance"and"Form resemblance".Xu Jun has been systematically discusses the problem of"Form resemblance"and"spiritual resemblance",he said:"according to the translation of popular,"spirit"in the"spiritual resemblance"is not only including the verve,sentiment,momentum,style,etc,also including the"meaning","spirit"and"content".(Xu Jun,2003)"In terms of poetry translation.Jiang Feng said:"the Form of poetry should include the structure of the poem,word order(the combination of the words),verse(or no verse),metre(or no metre)and even the word spelling and capitalization."(Jiang Feng,1998)Therefore,it can be summarized as structure,word order(combination of words),metre(or no metre),verse(or no verse),spelling and capitalization of words.It seems to include verve,style,spirit,sentiment,momentum and content.This section will discuss differences and Similarities of the two versions of the spirit and form.

　　Original text:

　　《琵琶行》

　　白居易

　　元和十年，予左迁九江郡司马。明年秋，送客湓浦口，闻舟中夜弹琵琶者，听其音，铮铮然有京都声。问其人，本长安倡女，尝学琵琶于穆、曹二善才，年长色衰，委身为贾人妇。遂命酒，使快弹数曲。曲罢悯然，自叙少小时欢乐事，今漂沦憔悴，转徙于江湖间。予出官二年，恬然自安，感斯人言，是夕始觉有迁谪意。因为长句，歌以赠之，凡六百一十六言，命曰《琵琶行》。

　　浔阳江头夜送客，枫叶荻花秋瑟瑟。

　　主人下马客在船，举酒欲饮无管弦。

　　醉不成欢惨将别，别时茫茫江浸月。

　　忽闻水上琵琶声，主人忘归客不发。

　　寻声暗问弹者谁？琵琶声停欲语迟。

　　移船相近邀相见，添酒回灯重开宴。

　　千呼万唤始出来，犹抱琵琶半遮面。

　　转轴拨弦三两声，未成曲调先有情。

　　弦弦掩抑声声思，似诉平生不得志。

　　低眉信手续续弹，说尽心中无限事。

　　轻拢慢捻抹复挑，初为《霓裳》后《六幺》

　　大弦嘈嘈如急雨，小弦切切如私语。

　　嘈嘈切切错杂弹，大珠小珠落玉盘。

　　间关莺语花底滑，幽咽泉流冰下难。

　　冰泉冷涩弦凝绝，凝绝不通声暂歇。

　　别有幽愁暗恨生，此时无声胜有声。

　　银瓶乍破水浆迸，铁骑突出刀枪鸣。

　　曲终收拨当心画，四弦一声如裂帛。

　　东船西舫悄无言，唯见江心秋月白。

　　沉吟放拨插弦中，整顿衣裳起敛容。

　　自言本是京城女，家在虾蟆陵下住。

　　十三学得琵琶成，名属教坊第一部。

　　曲罢曾教善才服，妆成每被秋娘妒。

　　五陵年少争缠头，一曲红绡不知数。

　　钿头银篦击节碎，血色罗裙翻酒污。

　　今年欢笑复明年，秋月春风等闲度。

　　弟走从军阿姨死，暮去朝来颜色故。

　　门前冷落鞍马稀，老大嫁作商人妇。

　　商人重利轻别离，前月浮梁买茶去。

　　去来江口守空船，绕船月明江水寒。

　　夜深忽梦少年事，梦啼妆泪红阑干。

　　我闻琵琶已叹息，又闻此语重唧唧。

　　同是天涯沦落人，相逢何必曾相识！

　　我从去年辞帝京，谪居卧病浔阳城。

　　浔阳地僻无音乐，终岁不闻丝竹声。

　　住近湓江地低湿，黄芦苦竹绕宅生。

　　其间旦暮闻何物？杜鹃啼血猿哀鸣。

　　春江花朝秋月夜，往往取酒还独倾。

　　岂无山歌与村笛？呕哑嘲哳难为听。

　　今夜闻君琵琶语，如听仙乐耳暂明。

　　莫辞更坐弹一曲，为君翻作《琵琶行》。

　　感我此言良久立，却坐促弦弦转急。

　　凄凄不似向前声，满座重闻皆掩泣。

　　座中泣下谁最多？江州司马青衫湿。

　　Yang Xianyi'English Version

　　Song of the Lute Player

　　Bai Juyi

　　In the tenth year of the reign of Yuanhe,I was demoted to the assistant prefect ship of Jiujiang.The next autumn,while seeing a friend off at Pengpu,I heard someone strumming a lute in a boat at night,playing with the touch of a musician from the capital.I found upon inquiry that the lutist was a courtesan from Chang'an who had learned from the musicians Mu and Cao but growing old and losing her looks,she had married a merchant.Then I ordered drinks and asked her to play a few tunes.After playing,in deep distress,she told me of the pleasures of her youth and said now that her beauty had fades she was drifting from place to place by rivers and lakes.In my two years as an official away from the capital I had been resigned enough,my mind at peace,but moved by her tale that night I began to take my demotion and exile to heart.So I wrote a long poem and presented it to her.It has 612 words and I call it the Song of the Lute Player.

　　By the Xunyang River a guest is seen off one night;

　　Chill the autumn,red the maple leaves and in flower the reeds;

　　The host alights from his horse,the guest is aboard,

　　They raise their cups to drink but have no music.

　　Drunk without joy,in sadness they must part;

　　At the time of parting the river seems steeped in moonlight;

　　Suddenly out on the water a lute is heard;

　　The host forgets to turn back,the guest delays going.

　　Seeking the sound in the dark,we ask who is the player.

　　The lute is silent,hesitant the reply.

　　Rowing closer,we ask if we may meet the musician,

　　Call for more wine,trim the lamp and resume our feast;

　　Only after a thousand entreaties does she appear,

　　Her face half-hidden behind the lute in her arms.

　　She tunes up and plucks the strings a few times,

　　Touching our hearts before even the tune is played;

　　Each chord strikes a pensive note

　　As if voicing the disillusion of a lifetime;

　　Her head is bent,her fingers stray over the strings

　　Pouring out the infinite sorrows of her heart.

　　Lightly she pinches in the strings,slowly she strums and plucks them;

　　First The Rainbow Garments,then The Six Minor Notes.

　　The high notes wail like pelting rain,

　　The low notes whisper like soft confidences;

　　Wailing and whispering interweave

　　Like pearls large and small cascading on a plate of jade,

　　Like a warbling oriole gliding below the blossom,

　　Like a mountain brook purling down a bank,

　　Till the brook turns to ice,the strings seem about snap,

　　About to snap,and for one instant all is still

　　Only an undertone of quiet grief

　　Is more poignant in the silence than any sound;

　　Then a silver bottle is smashed,out gushes the water,

　　Armoured riders charge,their swords and lances clang!

　　When the tune ends,she draws her pick full across

　　And the four strings give a sound like the tearing of silk.

　　Right and left of the boat all is silence—

　　We see only the autumn moon,silver in midstream.

　　Pensively she puts the pick between the strings,

　　Straightens her clothes,rises and composes herself.

　　She is,she says,a girl from the capital

　　Whose family once lived at the foot of Toad Hill.

　　At thirteen she learned to play the lute

　　And ranked first among the musicians;

　　Her playing was admired by the old masters,

　　Her looks were the envy of other courtesans;

　　Youths from wealthy districts vied in their gifts to engage her,

　　A single song brought her countless rolls of red silk;

　　Men smashed jeweled and silver trinkets to mark the beat;

　　Silk skirts as red as blood were stained by spilt wine.

　　Pleasure and laughter from one year to the next.

　　While the autumn moon and spring breeze passed unheeded.

　　Then her brother joined the army,her aunt died,

　　The days and nights slipped by and her beauty fades,

　　No more carriages and horsemen thronged her gate,

　　And growing old she became a merchant's wife.

　　The merchant thought only of profit:to seek it he leaves her.

　　Two months ago he went to Fuliang to buy tea,

　　Leaving her alone in the boat at the mouth of the river;

　　All around the moonlight is bright,the river is cold,

　　And late at night,dreaming of her girlhood,

　　She cries in her sleep,staining her rouged cheeks with tears.

　　The music of her lute has made me sign,

　　And now she tells this plaintive tale of sorrow;

　　We are both ill-starred,drifting on the face of the earth;

　　No matter if we were strangers before this encounter.

　　Last year I bade the imperial city farewell;

　　A demoted official,I lay ill in Xunyang;

　　Xunyang is a paltry place without any music,

　　For one year I heard no wind instruments,no strings.

　　Now I live on the low,damp flat by the River Pen,

　　Round my house yellow reeds and bitter bamboos grow rife;

　　From dawn till dusk I hear no other sounds

　　But the wailing of night-jars and the moaning of apes.

　　On a day of spring blossoms by the river or moonlit night in autumn

　　I often call for wine and drink alone;

　　Of course,there are rustic songs and village pipes,

　　But their shrill discordant notes grate on my ears;

　　Tonight listening to your lute playing

　　Was like hearing fairy music;it gladdened my ears.

　　Don't refuse,but sit down and play another tune,

　　And I'll write a Song of the Lute Player for you.

　　Touched by my words,she stands there for some time,

　　Then goes back to her seat and played with quickened tempo

　　Music sadder far than the first melody,

　　And at the sound not a man of us has dry eyes.

　　The assistant prefect of Jiangzhou is so moved

　　That his blue coat is wet with tears.

　　Xu Yuanchong'English Version

　　Song of a Pipa Player

　　Ba Juyi

　　One night by riverside I bade a friend goodbye;

　　In maple leaves and rushes autumn seemed to sigh.

　　My friend and I dismounted and came into the boat;

　　Without flute songs we drank our cups with heavy heart;

　　The moonbeams blended with water when we were to part.

　　Suddenly o’er the stream we heard a pipa sound;

　　I forgot to go home and the guest stood spell-bound.

　　We followed where the music led to find the player,

　　But heard the pipa stop and no music in the air.

　　We moved our boat towards the one whence came the strain,

　　Brought back the lamp,asked for more wine and drank again.

　　Repeatedly we called for the fair player still.

　　She came,her face half hidden behind a pipa still.

　　She turned the pegs and tested twice or thrice each string;

　　Before a tune was played we heard her feelings sing.

　　Each string she plucked,each note she struck with pathos strong,

　　All seemed to say she’d missed her dreams all her life long.

　　Head bent,she played with unpremeditated art

　　On and on to pour out her overflowing heart.

　　She lightly plucked,slowly stroked and twanged loud

　　The song of“Green Waist”after that of“Rainbow Cloud”.

　　The thick strings loudly thrummed like the pattering rain;

　　The fine strings softly tinkled in a murmuring strain.

　　When mingling loud and sot notes were together played,

　　You heard orioles warble in a flowery land,

　　Then a sobbing stream run along a beach of sand.

　　But the stream seemed so cold as to tighten the string;

　　From tightened strings no more song could be heard to sing.

　　Still we heard hidden grief and vague regret concealed;

　　Then music expressed far less than silence revealed.

　　Suddenly we heard water burst a silver jar,

　　And the clash of spears and sabers come from afar.

　　She made a central sweep when the music was ending;

　　The four strings made one sound,as if silk one was rending.

　　Silence reigned left and right of the boat,east and west;

　　We saw but autumn moon white in the river’s breast.

　　She slid the plectrum pensively between the strings,

　　Smoothed out her dress and rose with a composed mien.

　　“I spent,”she said,“in the capital my early springs,

　　Where at the foot of Mount of Toads my home had been.

　　At thirteen I learned on the pipa how to play,

　　And my name was among the primas of the day.

　　I won my master’s admiration for my skill;

　　My beauty was envied by songstresses fair still.

　　The gallant young men vied to shower gifts on me;

　　One tune played,countless silk rolls were given with glee.

　　Beating time,I let silver comb and pin drop down,

　　And spilt-out wine oft stained my blood-red silken gown.

　　From year to year I laughed my joyous life away

　　On moonlit autumn light as windy vernal day.

　　My younger brother left for war,and died my maid;

　　Days passed,nights came,and my beauty began to fade.

　　Fewer and fewer were cabs and steeds at my door;

　　I married a smug merchant when my prime was o’er.

　　The merchant cared for money much more than for me;

　　One month ago he went away to purchase tea,

　　Leaving his lonely wife alone in empty boat;

　　Shrouded in moonlight,on the cold river I float.

　　Deep in the night I dreams of happy bygone years,

　　And woke to find my rouged face crisscrossed with tears.”

　　Listening to her story,I signed again and again.

　　Both of us in misfortune go from shore to shore.

　　Meeting now,need we have known each other before?

　　“I was banished from the capital last year

　　To live degraded and ill in this city here.

　　The city’s too remote to know melodious song,

　　So I have never heard music all the year long.

　　I dwell by riverbank on a low and damp ground

　　In a house with wild reeds and stunted bamboos around.

　　What is here to be heard from daybreak till nightfall

　　But gibbon’s cry and cuckoo’s homeward-going call?

　　By blooming riverside and under autumn moon

　　I’ve often taken wine up and drunk it alone.

　　Thought I have mountain songs and village pipes to hear,

　　Yet they are crude and strident and grate on the ear.

　　Listening to you playing on pipa tonight,

　　With your music divine e’en my hearing seems bright.

　　Will you sit down and play for us a tune once more?

　　I’ll write for you an ode to the pipa I adore.”

　　Touched by what I said,the player stood for long,

　　Then sat down,tore at strings and played another song.

　　So sad,so drear,so different,it moved us deep;

　　Those who heard it hid the face and began to weep.

　　Of all the company at table who wept most?

　　It was none other than the exiled blue-robed host.

　　4.2.1 The Form Resemblance Between Two English Versions

　　In the process of translation,although Xu Yuanchong and Yang Xianyi's translation principles are different,there are many similarities in the aspect of"Form resemblance".

　　1.Structure.The structure of ancient poems is divided into two parts:ancient and modern poetry.Ancient poetry includes classical poetry(Song of before Tang)songs of chu,yuefu poems."song""chanting poetry","tune","hum"and so on.These classical poetry genre also belongs to Ancient verse,which don't request parallelism and rhyme is free.Song of a PiPa Player is an ancient poem.It is a variant of yue fu poetry.Its syllables and temperament are generally free,and the form adopts the ancient body of five words,seven words and miscellaneous words,rich in variety.Xu yuan-chong and Yang xianyi's English translation belong to the yuefu genre(also called Miscellaneous genre)in the ancient poetry.The length of each sentence is different.

　　Example 1:忽闻水上琵琶声，主人忘归客不发。

　　(a)Suddenly along the stream we heard a pipa sound.

　　I forgot to go home and the guest stood spell-bound.

　　(Tr.Xu yuanchong)

　　(b).Suddenly out on the water a lute is heard.

　　The host forgets to turn back,the guest delays going.

　　(Tr.Yang xianyi)

　　The poem describes that the voice wafted from the surface of the water,the sound suddenly attracted the attention of the host and guest.They walk don't want to go,and they have to find out this wonderful voice.We can know from the two versions,the structure of Xu translation version and yang translation version is roughly the same,each verse of the original is seven characters,which parallel with each other neatly and both versions of the translation is not as the same word in each sentence and the original Chinese poems and parallel with each other neatly.

　　2.Line(or no line)Each of the two versions of the translation is in a line,and each of the corresponding translations is independent and has not been merged.

　　Example 2:十三学得琵琶成，名属教坊第一部。

　　(a)At thirteen she learned to play the lute.

　　And ranked first among the musicians;

　　(Tr.Yang xianyi)

　　(b)At thirteen I learned on the pipa how to play,

　　And my name was among the primas of the day.

　　(Tr.Xu yuanchong)

　　Although only two sections were selected,they were enough to see the correspondence between the original.Each poem was independent.This verse describes the Pipa woman's youth and skill.

　　The full text of the two translations is not a whole poem,but each line is in line,so each poem begins with a capital letter.

　　4.2.2 The Style Resemblance between Two English Versions

　　Yang Xianyi once said,"I attach importance to the original text and emphasize“faithfulness”.The ancients said three words:faithfulness,expressiveness and elegance.Of course,it is impossible to keep"faithfulness"or not keep"expressiveness".That is not to be understood.The so-called"faithfulness"is not different from the original text."

　　"The'beauty in sound'and'beauty in form'are necessary conditions,and'beauty in sense'is a necessary and sufficient condition,"Xu Yuanchong said.(Xu Yuanchong,2006)Thus,the translation criteria of two translators are loyal to the original,not only to translate the"form"of the original,more to translate the"spirit"of the original to"vividly expresses".Xu Yuanchong believed that the faithfulness of translation includes three aspects:content,form and style,which are also corresponding to the elements of"spiritual resemblance".

　　Example 3:浔阳江头夜送客，枫叶荻花秋瑟瑟。

　　(a)By the Xunyang River a guest is seen off one night;

　　Chill the autumn,red the maple leaves and in flower the reeds.

　　(Tr.Yang xianyi)

　　(b)One night by riverside I bade a friend goodbye;

　　Inmaple leaves and hair-tumn seemed to sigh.

　　(Tr.Xu yuanchong)

　　"瑟瑟"is the voice of the wind.This verse is composed entirely of noun phrases.Yang xianyi transform"瑟瑟"into the forms of adjectives,xu yuanchong convert"瑟瑟"to the verb"sigh".Of course,anthropomorphic expression more expresses the feeling atmosphere of autumn.

　　The two translations not only translate the form and style of the original text,but also show the meaning and verve of the original text,and the two versions vividly show the bleak atmosphere of autumn wind.Chen Lili once said,"Yang Xianyi advocated limited flexibility for the sake of meaning,and Xu Yuanchong advocated that all restrictions should be broken down for the sake of communication."(Chen Lili,2011)In a word,both of them can express their divinity according to their own interpretation so that the translation is more faithful to the original text,and conveys the spirit of the original text better.

　　Example 4:移船相近邀相见，添酒回灯重开宴。

　　(a)Rowing closer,we ask if we may meet the musician,

　　Call for more wine,trim the lamp and resume our feast.

　　(Tr.Yang xianyi)

　　(b)We moved our boat towards the one whence came the strain,

　　Brought back the lamp,asked for more wine and drink again.

　　(Tr.Xu yuanchong)

　　Yang's translation is consistent with the original sentence structure,and also corresponds to the cheerful mood in the original.It can be seen that there is no conflict between the two translation concepts in the formal beauty of translation.Xu Yuanzhong emphasizes on both of original"form"and"spirit"and Yang Xianyi emphasizes the form first.But both of them fully reflect the sentiment and momentum of the original text.

　　Example 5:醉不成欢惨将别，别时茫茫江浸月。

　　(a)Drunk without joy,in sadness they must part;

　　At the time of parting the river seems foreigners in the moonlight;

　　(Tr.Yang Xianyi)

　　(b)Without flute songs we its drank our cups with heavy heart;

　　The moonbeams blended with water when we were to part.

　　(Tr.Xu Yuanchong)

　　Yang Xianyi used"without joy"and"in sadness"to express"不成欢"and"惨",while Xu Yuanchong expressed the original intention with"with heavy heart".Yang Xianyi translates"the river seems foreigners in moonlight"and Xu Yuanchong translates"the moonbeams blended with water",which show a kind of lonely and empty atmosphere,just as in the previous"without joy and in sadness,with heavy heart"to form a kind of depressive feeling.

　　4.3.1 The Form Resemblance between Two English Versions

　　1.word order.The two versions are integrated into a self-translation standard,and they all form their own style.For two translations,word order is very different.

　　Example 6:浔阳江头夜送客，枫叶荻花秋瑟瑟。

　　(a)By the Xunyang River a guest is seen off one night;

　　Chill the autumn,red the maple leaves and in flower the reeds.

　　(Tr.Yang Xianyi)

　　(b)One night by riverside I bade a friend goodbye;

　　Inmaple leaves and hair-tumn seemed to sigh.

　　(Tr.Xu Yuanchong)

　　In English,word order always shows the key point of the expression.In Bai Juyi’s original text,he aims to express the location(Xunyangjiang River)and the season(autumn).In this level,Yang Xianyi’s version has the same key points as the original text.The main reason is that Yang Xianyi has different understanding with Xu Yuanchong.

　　2.Metre.Metre refers to the weight and length of rhythm or pattern of the sound step in the reading,which should be distinguished according to the number of syllables and the position of stressed syllables.Traditional sound step includes six kinds:Iambus,Trochee,Anapaest,Dactyl,Amphibrach,Dactyl.

　　Xu Yuanchong translated a poem with a dozen syllables in each line.A pair of rhymes,and some specific Chinese language skills should be taken care of.Yang Xianyi believes that poetry translation is based on no harm of original meaning.In the translation of Song of a pipa Player,Yang Xianyi's version was translated by prose.

　　Example 7:忽闻水上琵琶声，主人忘归客不发。

　　(a)Suddenly along the stream we heard a pipa sound.

　　I forgot to go home and the guest stood spell-bound.

　　(Tr.Xu yuanchong)

　　(b).Suddenly out on the water a lute is heard.

　　The host forgets to turn back,the guest delays going.

　　(Tr.Yang xianyi)

　　Yang's translation version is a direct translation of this sentence,while Xu'translation version describes the fact that the guests and their owners forgot to return home and were attracted by the sound of the pipa,and the content that they did not have was added to the"Spiritual resemblance".

　　3.The spelling of word.The spelling of the two versions is also different.In terms of the title of the article,Yang's translation's version is"Song of a lute Player",while xu yuanzhong translates it as"Song of a PiPa Player".The two translations are only one word apart,"lute"and"PiPa"are the same meaning,and the usage is different.

　　Example 8:转轴拨弦三两声，未成曲调先有情。

　　(a)She tunes up and plucks the strings a few times,

　　Touching our hearts before even the tune is played.

　　(Tr.Yang xianyi)

　　(b)She turned the pegs and tested twice or thrice each string;

　　Before a tune was played we heard her feelings sing.

　　(Tr.Xu yuanchong)

　　The audience was impressed by the emotion that the players showed of the pipa sound."Touching our hearts",Yang translated into"heard feelings",both of which expressed the emotion of the pipa woman,but the play of words were very different.

　　4.3.2 The Style Resemblance between Two English Versions

　　Xu Jun once said,“Between"spiritual resemblance"and"Form resemblance",he value"spiritual resemblance"more.According to Xu Yuanchong,his"three beauty"theory benefits from Fu lei's"spiritual resemblance theory".(Xu Jun,2001)Xu Yuanchong Pays more attention to"spiritual resemblance"in the process of translation of poetry but he translates"spirit"in the poetry,at the same time,and didn't give up the"form",which keeps both of original"form"and"spirit".Xu Yuanzhong thought,"'reality'is the low standard of literary translation,and'beauty'is the high standard of literary translation."(Xu Yuanchong,2006)

　　Yang's translation standard is based on"faithfulness".He once said,"I attach importance to the original text and emphasize the"faithfulness".(Chen Lili,2011)The focus of translation is different,the spirit and style of translation are different,forming their own translation styles.

　　Example 9:大弦嘈嘈如急雨，小弦切切如私语。

　　(a)The high notes wail like pelting rain,

　　The low notes whisper like soft confidences.

　　(Tr.Yang Xianyi)

　　(b)The thick strings are all The way to The top.

　　The fine strings are in a murmuring strain.

　　(Tr.Xu Yuanchong)

　　These two sentences describe the music image of pipa music,"嘈嘈"and"切切"two onomatopoetic words used to describe the sound of a big string and small string,compared sound to"急雨"and"私语",which makes the image of the abstract becomes concrete.Yang Xianyi used"The high notes"and"The low notes"succinctly when dealing with"大弦"and"小弦".Two onomatopoetic words are converted into verbs"wail"and"whisper","急雨"and“私语”was translated into"pelting rain"and"soft confidences,he faithfully translates the original,but did not show the"spirit"of the original.Xu Yuanchong translates“大弦”和“小弦”into"The thick strings,The fine strings",and The onomatopoeic words are translated into verb phrases""loudly thrummed"and"softly tinkled"."急雨"and"私语"are translated as"pattering rain"and"murmuring strain","rain"and"strain",show the charm and emotional appeal of the original text.

　　Example 10:忽闻水上琵琶声，主人忘归客不发。

　　(a)Suddenly along the stream we heard a pipa sound.

　　I forgot to go home and the guest stood spell-bound.

　　(Tr.Xu yuanchong)

　　(b).Suddenly out on the water a lute is heard.

　　The host forgets to turn back,the guest delays going.

　　(Tr.Yang xianyi)

　　Yang Xianyi translated it completely in the intuitive method.From the perspective of his translation practice,he thought a lot about the content and form of the original text,and had less consideration about the original style.He was faithful to the style of the original text,and depicted the master and the guest attracted by the sound of the pipa,and forgot to return home.

　　Chen Lili said,"The purpose of Xu Yuanchong's translation is to translate the original text so as to bring the readers to experience beauty from the original text.In the translation practice of Yang Xianyi's Chinese-English translation,the readers'aesthetic pleasure is not the focus of his attention.(Chen Lili,2011)Yang Xianyi’s translation version and Xu Yuanchong’s translation version are according to their own translation criteria and standards.The translated poems are not identical to their own thoughts,but they are the same in some places.This part deals with the similarities and differences between the two versions,and analyzes the Similarities and the differences from the elements of"spiritual resemblance"and"form resemblance".About Similarities of form is from the structure of the poem,verse(or no verse)and Case sensitivity of word and so on to analyze the two translation versions,while differences of form is from word order,the spelling of words and the rhythm of poetry.Spiritual resemblance is an abstract concept,it contains many elements,such as verve,momentum,sentiment,etc.all of these ingredients can't do a specific and clear distinction,but It mainly highlights"spirit".For the similarities and differences of spiritual resemblance,it is from verve,content,form and so on,and there is no systematic sub-section.The maximum extent of the two versions is loyal to the original text,and Yang Xianyi uses the literal translation method to maximize the form of translation of the original text,while the spirit of the original text is not reflected.Xu Jun once said,"Xu Yuanchong paid more attention to"spiritual resemblance"between"form resemblance"and"spiritual resemblance".(Xu Jun,2001)Xu Yuanchong,in the process of translation,paid more attention to the form of the original text while spirit of the original text.

　　Chapter Five Conclusion

　　Fu lei's"spiritual resemblance theory"introduced the idea of"Lifelike"in Chinese traditional aesthetics into the translation theory,and promoted the understanding of translation theory to the category of aesthetics.Fu lei's"spiritual resemblance theory"is based on his idea of harmonious beauty,which is mainly manifested in the harmonious unity of beauty and kindness.

　　This article takes"spiritual resemblance"as theoretical basis,from numerous English version of the Song of a Pipa Player to select Xu Yuanchong's English translation version and Yang Xianyi translation version,comparing and analyzing Similarities and differences of two translations of"spiritual resemblance"and"form resemblance".This paper also makes a systematic analysis and discussion on the"spiritual resemblance theory"from the background of the theory to the essence of the translation of"spiritual resemblance theory".Fu lei once said,""I'm not saying that the syntactic of original thesis is ignored absolutely,translators should be kept within the maximum limit for the syntax of the original thesis".The essence of the"spiritual resemblance theory"is harmonious unity of"spiritual resemblance"and"form resemblance".

　　The last part analyzes the specific meaning and the elements of"spiritual resemblance"and"form resemblance"in detail,and analyzes the similarities and differences between the two versions of"form"and"spirit".The translator's different translation thoughts and priorities are different,and the translation is not the same.Xu yuanchong said,"the'true'is the low standard of literary translation,and'beauty'is the high standard of literary translation."(Xu Yuanchong,2006)Xu Yuanchong proposed the famous translation theory of"three beauties",which include beauty in sound,beauty in form and beauty in sense.Xu Yuanchong said,"The most important thing is'beauty in sense',followed by'beauty in sound',then'beauty in form'.Xu Yuanchong's"beauty in sense"also correspond with the"spiritual resemblance",so Xu Yuanchong's translation followed the principle to consider"form"first,then consider"spirit",and finally achieved the combination of spirit and form.

　　In addition to conveying the content of the original poem,Xu Yuanchong advocated that the translation should convey the form and rhyme of the original poem as much as possible,so as to make the translation harmonious unity and aesthetic.Yang Xianyi once said,"I attach importance to the original text and emphasize the faithfulness.His translation is based on the"faithfulness"and loyal to the original,which translates mainly the"form"of the original.If"spiritual resemblance"and form resemblance"conflict with each other,and is faithful to"Form resemblance",not away from the original text,the harmony of"spirit"and"form"less.

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