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開本：32開 紙張：輕型紙 包裝：精裝 是否套裝：否 國際標準書號ISBN：9787508540276 作者：許淵衝 出版社：五洲傳コ靄嬪? 出版時間：2019年01月
" 編輯推薦 叢書譯者為許淵衝先生，其從事翻譯工作70年，2010年12月榮獲“中國翻譯文化終身成就獎”；2014年8月榮獲由國際譯聯頒發的文學翻譯領域*獎項——“北極光”傑出文學翻譯獎，成為首位獲該獎的亞洲翻譯家。經許先生的妙手，許多中國經典詩文被譯成出色的英文韻語。這套漢英對照版“許譯中國經典詩文集”荟萃許先生*代表性的英文譯作14種，漢語部分采用中華書局版本。這些作品包括多種體裁，上起先秦，下至清代，既是聯接所有中國人思想、情感的文化紐帶，也是中國文化走向世界的重要橋梁。閱讀和了解這些作品，即可盡覽中國文化的“源頭活水”。相信這套許氏譯本能使英語讀者分享孔子、老子的智慧，分享唐詩、宋詞、中國古典戲曲的優美，並以此促進東西方文化的交流。2015年2月2日，由中國出版協會舉辦的第五屆中華優秀出版物獎在京揭曉， “許譯中國經典詩文集”（漢英對照）（14冊）榮獲“提名獎”。
內容簡介 許淵衝--詩譯英法*人 ，北京大學教授，翻譯家。希望這套許氏譯本能使英語讀者對中國經典詩文也能“知之，好之，樂之”，能夠分享孔子、老子的智慧，分享唐詩、宋詞、中國古典戲曲的優美，並以此促進東西文化的交流。值得珍藏。許淵衝先生從事翻譯工作70年，2010年12月榮獲“中國翻譯文化終身成就獎”。他被稱為將中國詩詞譯成英法韻文的*專家，經他的妙手，許多中國經典詩文被譯成出色的英文和法文韻語。這套“中國經典詩文集”就是由他所譯，前半部分是英文，後半部分是中文。許淵衝--詩譯英法*人 ，北京大學教授，翻譯家。希望這套許氏譯本能使英語讀者對中國經典詩文也能“知之，好之，樂之”，能夠分享孔子、老子的智慧，分享唐詩、宋詞、中國古典戲曲的優美，並以此促進東西文化的交流。值得珍藏。許淵衝先生從事翻譯工作70年，2010年12月榮獲“中國翻譯文化終身成就獎”。他被稱為將中國詩詞譯成英法韻文的*專家，經他的妙手，許多中國經典詩文被譯成出色的英文和法文韻語。這套“中國經典詩文集”就是由他所譯，前半部分是英文，後半部分是中文。
Ancient Chinese classic poems are exquisite works of art. As far as 2,000 years ago, Chinese poets composed the beautiful work Book of Poetry and Elegies of the South, Later, they created more splendid Tang poetry and Song lyrics. Such classic works as Thus Spoke the Master and Laws: Divine and Human were extremely significant in building and shaping the culture of the Chinese nation. These works are both a cultural bond linking the thoughts and affections of Chinese people and an important bridge for Chinese culture and the world. Mr. Xu Yuanchong has been engaged in translation for 70 years. In December 2010, he won the Lifetime Achievement Award in Translation conferred by the Translators Association of China (TAC). He is honored as the only expert who translates Chinese poems into both English and French. After his excellent interpretation, many Chinese classic poems have been further refined into perfect English and French rhymes. This collection of Classical Chinese Poetry and Prose gathers his most representative English translations. It includes the classic works Thus Spoke the Master, Laws: Divine and Human and dramas such as Romance of the Western Bower, Dream in Peony Pavilion, Love in Long-life Hall and Peach Blossom Painted with Blood. The largest part of the collection includes the translation of selected poems from different dynasties. The selection includes various types of poems, lyrics and Yuan, Ming and Qing dynasty songs. The selected works start from the pre-Qin era to the Qing Dynasty, covering almost the entire history of classic poems in China. Reading these works is like tasting "living water from the source" of Chinese culture. We hope this collection will help English readers "know, love and appreciate" Chinese classic poems, share the intelligence of Confucius and Lao Tzu, share the gracefulness of Tang Dynasty poems, Song lyrics and classic operas and songs and promote exchanges between Eastern and Western culture. This book is one of the 14 books of Classical Chinese Poetry and Prose, a translation of Confucian classics Thus Spoke the Master. 目錄 Contents目 錄PrefaceYu ShinanTo the CicadaTo the FireflyKong Shao’anFalling LeavesWang JiThe WineshopA Field ViewHan ShanLong, Long the Pathway to Cold HillShangguan YiEarly Spring in Laurel PalaceWang BoFarewell to Prefect DuPrince Teng’s PavilionYang JiongI would Rather FightLuo BinwangThe Cicada Heard in PrisonWei ChengqingParting with my Younger BrotherSong ZhiwenCrossing River HanShen QuanqiThe Garrison at Yellow Dragon TownHe ZhizhangThe WillowHome-comingChen Zi’angOn the Tower at YouzhouParting Gift序虞世南蟬詠螢孔紹安落葉王績過酒家野望寒山杳杳寒山道上官儀早春桂林殿應詔王勃送杜少府之任蜀州滕王閣詩楊炯從軍行駱賓王在獄詠蟬韋承慶南行別弟宋之問渡漢江瀋佺期雜詩賀知章詠柳回鄉偶書二首陳子昂登幽州臺歌送東萊王學士無競 前言 PrefaceIt is said that the 21st century will be an age of globalization. The new generation worthy of the new age should be bred not only in its national culture but also in the global culture. Therefore, each nation should try to globalize its culture, in other words, to make its culture known to the world and become a part of the global culture so as to make it more brilliant.If the 20th century may be said to be an American age, then the 19th was a British age and the 18th a French one. If we go further back, we may say that the 7th–13th centuries were Chinese ages, for during the Tang and the Song dynasties (618– 1279), China was the most advanced country in the world, so far as political system, economic development and artistic and literary culture are concerned.How did the Tang and the Song attain the highest development in the world during six hundred years? The answer may be summed up in two words, that is, the reign of “rite and music.” According to professon Y. L. Feng, music imitates the harmony of nature and rite imitates the order of the universe. Rite is instituted to secure the mean in man’s desire, and music, including poetry, to secure the mean in man’s sentiment. Music is benevolence concretized and rite is justice externalized. If a state is governed with rite and music, its people will be just and benevolent, and the world will be peaceful and happy. That is one of the reasons why China has been standing among the great nations for thousands of years.Emperor Xuan Zong (685–762) who reigned at the zenith of the Tang Dynasty enjoyed the highest economic and cultural prosperity when his government promoted the performance of rite and music. This may be seen from the first two verses he wrote when he offered sacrifice to Confucius in his temple:How much have you done, O, my sage,All for the good of all the age!This shows how much he worshipped Confucius and admired his wisdom. He followed Confucius in imitation of the order of the universe and provided conditions to make the performance of rite and music possible.Hence, Tang poetry has become a gem of traditional Chinese literature, As early as 1898, Herbert A Giles published his rhymed translations of Tang poems, of which Lytton Stratchey said, “the poetry is it is the best that this generation has known,” and that it “holds a unique place in the literature of the world” “through its mastery of the tones and depths of affection.” Later, Arthur Waley said in his translations from the Chinese, “If one uses thyme, it is impossible not to sacrifice sense to sound,” and he translated Tang poems into free verse. Thus began the controversy between rhymed version and free version in the translation of Chinese poetry. Generally speaking, the free translation emphasizes faithfulness to the original while the rhymed version, the beauty of the translated verse. Therefore, the controversy between these two types of translation may be said to be contradiction or conflict between faithfulness or truth and beauty. This controversy has lasted for a century. For instance, we may read the following versions of Li Bai’s Farewell to a Friend. The first version is a word for word transliteration, the second is more faithful to the original in word while the third is more beautiful and poetical than the second.序21世紀是全球化的世紀。新世紀的新人不但應該了解全球的文化，而且應該使本國文化走向世界，成為全球文化的一部分，使世界文化更加燦爛輝煌。如果說20世紀是美國世紀的話，那麼，19世紀可以說是英國世紀，18世紀則是法國世紀。再推上去，自7世紀至13世紀，則可以說是中國世紀或唐宋世紀，因為中國在唐宋六百年間，政治制度先進，經濟繁榮，文化發達，是全世界其他國家難以企及的。唐代的全盛時期可以說是“禮樂”治國的盛世。根據馮友蘭先生的解釋，“禮”模仿自然外在的秩序，“樂”模仿自然內在的和諧；“禮”可以養性，“樂”可以怡情；“禮”是“義”的外化，“樂”是“仁”的外化；做人要重“仁義”，治國要重“禮樂”。這是中國屹立於文明世界幾千年不衰的重要原因。就以唐玄宗而論，他去泰山時祭奠了孔子，寫下了《經魯祭孔子而嘆之》的五言律詩，可見他對禮教的尊重，對士人的推崇。因此，唐代文化昌盛，詩人輩出，唐詩成了中國文化的瑰寶。不但是在中國，就是在全世界，正如諾貝爾文學獎評獎委員會主席埃斯普馬克說的：“世界上哪些作品能與中國的唐詩和《紅樓夢》相比的呢？”（《諾貝爾文學獎內幕》306頁）早在19世紀末期，英國漢學家翟理斯(Giles)曾把唐詩譯成韻文，得到評論家的好評，如英國作家斯特萊徹(Strachey)說：翟譯唐詩是那個時代好的詩，在世界文學史上占有獨一無二的地位。但20世紀初期英國漢學家韋利(Waley)認為譯詩用韻不可能不因聲損義，因此他把唐詩譯成自由詩或散體，這就開始了唐詩翻譯史上的詩體與散體之爭。一般說來，散體譯文重真，詩體譯文重美，所以散體與詩體之爭也可以升華為真與美的矛盾。唐詩英譯真與美之爭一直延續到了今天。例如李白的《送友人》就有兩種不同的譯法，現將原詩和兩種譯文抄錄於下：PrefaceIt is said that the 21st century will be an age of globalization. The new generation worthy of the new age should be bred not only in its national culture but also in the global culture. Therefore, each nation should try to globalize its culture, in other words, to make its culture known to the world and become a part of the global culture so as to make it more brilliant.If the 20th century may be said to be an American age, then the 19th was a British age and the 18th a French one. If we go further back, we may say that the 7th–13th centuries were Chinese ages, for during the Tang and the Song dynasties (618– 1279), China was the most advanced country in the world, so far as political system, economic development and artistic and literary culture are concerned.How did the Tang and the Song attain the highest development in the world during six hundred years? The answer may be summed up in two words, that is, the reign of “rite and music.” According to professon Y. L. Feng, music imitates the harmony of nature and rite imitates the order of the universe. Rite is instituted to secure the mean in man’s desire, and music, including poetry, to secure the mean in man’s sentiment. Music is benevolence concretized and rite is justice externalized. If a state is governed with rite and music, its people will be just and benevolent, and the world will be peaceful and happy. That is one of the reasons why China has been standing among the great nations for thousands of years.Emperor Xuan Zong (685–762) who reigned at the zenith of the Tang Dynasty enjoyed the highest economic and cultural prosperity when his government promoted the performance of rite and music. This may be seen from the first two verses he wrote when he offered sacrifice to Confucius in his temple:How much have you done, O, my sage,All for the good of all the age!This shows how much he worshipped Confucius and admired his wisdom. He followed Confucius in imitation of the order of the universe and provided conditions to make the performance of rite and music possible.Hence, Tang poetry has become a gem of traditional Chinese literature, As early as 1898, Herbert A Giles published his rhymed translations of Tang poems, of which Lytton Stratchey said, “the poetry is it is the best that this generation has known,” and that it “holds a unique place in the literature of the world” “through its mastery of the tones and depths of affection.” Later, Arthur Waley said in his translations from the Chinese, “If one uses thyme, it is impossible not to sacrifice sense to sound,” and he translated Tang poems into free verse. Thus began the controversy between rhymed version and free version in the translation of Chinese poetry. Generally speaking, the free translation emphasizes faithfulness to the original while the rhymed version, the beauty of the translated verse. Therefore, the controversy between these two types of translation may be said to be contradiction or conflict between faithfulness or truth and beauty. This controversy has lasted for a century. For instance, we may read the following versions of Li Bai’s Farewell to a Friend. The first version is a word for word transliteration, the second is more faithful to the original in word while the third is more beautiful and poetical than the second.序21世紀是全球化的世紀。新世紀的新人不但應該了解全球的文化，而且應該使本國文化走向世界，成為全球文化的一部分，使世界文化更加燦爛輝煌。如果說20世紀是美國世紀的話，那麼，19世紀可以說是英國世紀，18世紀則是法國世紀。再推上去，自7世紀至13世紀，則可以說是中國世紀或唐宋世紀，因為中國在唐宋六百年間，政治制度先進，經濟繁榮，文化發達，是全世界其他國家難以企及的。唐代的全盛時期可以說是“禮樂”治國的盛世。根據馮友蘭先生的解釋，“禮”模仿自然外在的秩序，“樂”模仿自然內在的和諧；“禮”可以養性，“樂”可以怡情；“禮”是“義”的外化，“樂”是“仁”的外化；做人要重“仁義”，治國要重“禮樂”。這是中國屹立於文明世界幾千年不衰的重要原因。就以唐玄宗而論，他去泰山時祭奠了孔子，寫下了《經魯祭孔子而嘆之》的五言律詩，可見他對禮教的尊重，對士人的推崇。因此，唐代文化昌盛，詩人輩出，唐詩成了中國文化的瑰寶。不但是在中國，就是在全世界，正如諾貝爾文學獎評獎委員會主席埃斯普馬克說的：“世界上哪些作品能與中國的唐詩和《紅樓夢》相比的呢？”（《諾貝爾文學獎內幕》306頁）早在19世紀末期，英國漢學家翟理斯(Giles)曾把唐詩譯成韻文，得到評論家的好評，如英國作家斯特萊徹(Strachey)說：翟譯唐詩是那個時代好的詩，在世界文學史上占有獨一無二的地位。但20世紀初期英國漢學家韋利(Waley)認為譯詩用韻不可能不因聲損義，因此他把唐詩譯成自由詩或散體，這就開始了唐詩翻譯史上的詩體與散體之爭。一般說來，散體譯文重真，詩體譯文重美，所以散體與詩體之爭也可以升華為真與美的矛盾。唐詩英譯真與美之爭一直延續到了今天。例如李白的《送友人》就有兩種不同的譯法，現將原詩和兩種譯文抄錄於下：   | | |
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