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I. Introduction
Robert Frost, one of the greatest poets in modern America and the world as well, speaking of poetry, said, “Poetry is what gets lost in translation.”. Actually, the rendering and transference of cultural imagery is where the difficulties of literature translation lie. Poetry represents the highest art form of language. Translation of poetry is indeed the process of actualizing imagery of the Source Language into the Target Language. So the rendering of imagery in poems is the core of the translation of poetry.
Through a lot of practice by many Chinese and foreign scholars, poetry translation is the most difficult in literary translation. For classical Chinese poetry, rhyme, meter and rhythm, and the abundance of images make it even more difficult to be translated into other languages. Poetry has a great effect in China, but how to render the classical Chinese poems into English and help the foreign readers to understand or be attracted by the poems has been a big problem for a long time. And so there is not a universally accepted solution to this problem. Different translators have different views on poetry translation, but they all try their best to catch the “spirit” and the aesthetics elements in the original Chinese poems.
With the development of translation, aesthetics has played an important roll in both theoretical probe and translation practice. And the concept is becoming more and more acceptable. The classical Chinese poetry lays stress on artistic conception and “feeling and setting blended”. And because of different languages have different rules and background, it is so difficult to reproduce the aesthetics in translating classical Chinese poetry.
Fuzziness exists in poetry in which ambiguous expressions produce aesthetics. In this thesis, I will explore the effect of fuzzy aesthetics on translation of classical Chinese poetry, and attempts to examine the ways of transferring the fuzzy aesthetics at different levels in different translation versions. The thesis consists four parts. Chapter one gives a introduction that the development of fuzzy aesthetics in translation of classical Chinese poetry. In this chapter I will analyze the difficulties in English of classical Chinese poetry. After that is the application in translation of classical Chinese poetry. Chapter two gives the definitions and characteristics of fuzzy aesthetics and elucidates its manifestations in classical Chinese poetry. Chapter three I will put forward the principles and ways of transferring fuzzy aesthetics through comparison of different translation versions of classical Chinese poems. Chapter four gives a conclusion. It will be pointed out that complete transference of fuzzy aesthetics of the original poem is impossible in many cases, but it is hoped that this thesis will provide the translators a new view to translate the classical Chinese poetry.
1.1 Difficulties in English Translation of Classical Chinese Poetry
The translation of poetry is generally held to be the most difficult, demanding and rewarding type of literary translation due to the subtlety and delicacy in the language of poetry and the differences between the source language and the target language.
It is even more difficult when it comes to English translation of classical Chinese poetry. Ancient Chinese language is highly condensed. The grammatical features enable ancient Chinese poets to create poems 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。