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3.3.2 Untranslatability Due to Different Life Backgrounds and Styles
We know that history is one of the factors of untranslatability of artistic conception of CCP. There is a saying that Chinese poets always were born answer for the age, and they also are the reflection of that age. The theme of their poems derives from the reality, the ruling class, ordinary people and so on.
In addition to the factors discussed above, life ways are also factors that will affect the translation of artistic conception and cross-cultural communication. They originate from a certain religious culture. It also differs from that of another culture in many ways. The difference of religions between different cultures would be directly and indirectly reflected in the people’s language, communication and behaviors and cause untranslatability in translation. In Long Longing, The way to express sorrow is to miss someone endlessly and lean on the rail to wait for a person day after day or year after year. But when English are under this situation, they may act differently. They may not express their sorrow or bitterness as rivers, hills or that kind of things but as some furious matters which can express their feeling or emotion strongly.
3.3.3 Untranslatability Due to the Poet’s Thought and Feeling
Another factor which will affect artistic conception translation and cross-culture communication is the difference between values, aesthetics and attitudes of different cultures. These belong to another important branch of culture, which can be called the value system. The value of a certain culture is a set of behavioral standard for people to make choices and solve conflicts and it is usually displayed in its people’s philosophic and moral concept. It instills into its people, through certain infection, the standards of good and evil, truth and false, correctness and wrong, beautiful and ugliness, etc. to make it clear what they should learn, what they should criticize and what they should defend as well.
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The poet’s thought and feeling are from many aspects, it is also related to
reality and ideal. Bai Juyi, the famous poet of Tang Dynasty, was built his thought and his own spirit by the surroundings. He learnt Confucianism, Taoism and so on, so his thought and feeling sometimes can be traced to them. This principle is applicable to the main example in this essay.
4 Theoretic Bases of Untranslatability of Artistic Conception in CCP
Analysis in details needs general theoretical bases to complete and consolidate. It is generally held that untranslatability has its roots deep in the cultural differences. We know that human species originated in regions isolated from one another, so human culture—the byproduct of human evolution naturally bears some distinct regional features. Differences in mankind’s culture and thinking have thus come into being. The said differences have their most obvious manifestation in language is the tool with which a human being gives vent to his thought and describes his culture. Consequently, many language phenomena particularly embedded in a specific culture.
Sapir put forward his theory for this issue. He asserted in 1929 that “the ‘real world’ to a large extent is unconsciously built up on the language habit of the group. No two languages are ever sufficient similar to be considered as the same social reality. The worlds in which different societies live are distinct worlds, not merely the same world with different labels attached”. (马春梅，20xx:6—7) Sapir’s student Whorf extended his position in the 1930s into a theory known as the “Sapir-Whorfian hypothesis”. In its most extreme version, the “Sapir-Whorfian hypothesis” can be described as the following. That is people who speak different languages perceive and think about the world quite differently. On this basis, the Whorfian perspective is that translation between one language and another is at the very least, problematic, and sometimes impossible.
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On the foundation of this hypothesis, it is obvious that some elements are untranslatable, especially in cultural specification which they all contain connotations.
5 Solutions to the Untranslatability of Artistic Conception
Now that artistic conception is untranslatable, what should we do when the CCP were delivered to other English-speaking countries? We should find good ways to reduce the distortion during the translation.
5.1 Poetry Translation According to Particular Background
We know from the above analysis that history is one of the factors of untranslatability of CCP. There is a saying that Chinese poets always were born answer for the age and they also are the reflection of that age. The theme of their poems derives from the reality, the ruling class and ordinary people and so on. For example, the set of the poem was chaos caused by war. People hated the war and long for reuniting with their relatives and lovers. The ruling class at that time was punk. The poet was upright and cares about sufferings of people. From the above, we know that the whole poem was created on a particular history, feeling and so on.
5.2 Poetry Translation According to Spirit and Thought Pattern
Internal factors are also important elements in CCP translation. Grasping the connotation of the poem and translating it into another language without any confusion are important jobs. Let’s take Long Longing for example again. When people translate this poem, we should get a general knowledge of the abstract factor, that is to say the spirit and thought pattern. We can get these from the poet. The thought of the poet Bai Juyi is the integration of Confucianism and Taoism. Actions are in accord with the thought of Confucianism. It is giving a hand to people of the nation when you get rich and being good to people even when you are poor. The ideal of his “helping the others” is on the basis of humanity of the Confucianism and the thought of Lao zi and Han Feizi. The thought of solitude is from Zhuang Zi. The Chinese expression is indirect, but the English Version seems more direct.
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5.3 Poetry Translation According to Aesthetics
We know that poetry are also full of beauty, it has something to do with music, paintings, architecture, philosophy and so on. When poetry is translated, we can create an artistic bridge among them. We should translate it with the right and familiar symbol in the other language.
6 Conclusion
Poetry is the most sublime and concentrated literary genres; it demands freshness in artistic conception. The translation of poetry observes general translation theories and attaches great importance to the conveyance of aesthetic effect of the original.
In poetry translation circle, different people have different opinions on possibility of poetry translation. Especially for CCP, most translators, writers and scholars make efforts to maintain the original flavor of it. Because this is a special culture of China, it is the quintessence of Chinese wits. It has the task to deliver the glory of China with a five thousand-year history. Delivering the right flavor of CCP, it is also helpful for foreigners to understand our culture better and shorten the distance between each other. This cultural bridge is favorable for promoting our understanding and friendship.
By adopting integrated perspectives, the thesis analyzes the untranslatability of CCP according to the concrete example.
First, this thesis begins with a general introduction of poetry and the untranalatability of CCP. In this part, firstly, it states the necessity of CCP translation——CCP is the wonderful cultural fortune. It is interested in people home and abroad. Then it points out that the main problem of CCP translation is untranslatability of artistic conception, and it states some poets, scholars or translators’ views to favor that poetry can not be translated, especially its artistic conception. Because CCP is the oldest literary form and artistic conception is its core, it reflects man’s heart and soul. It is also the picture of man’s senses and imagination. If the artistic conception is reduced or disappears, poems can not be called “poems”. In the second part, by comparing the Chinese and English version of Long Longing, we find that this kind of feeling is reduced after translating, some even disappears. We call “what is lost in the CCP translation” as “artistic conception”. Part three mainly discusses three problems. First, from some views of experts in translation circle, we know that artistic conception is the very general quality in poetry and the most important aesthetics requirement in CCP translation. We should be regard it as the eternal pursuit. Second, it analyzes artistic conception in details. And it finds three reasons for untranslatability of artistic conception. They are different thought pattern and spirit, different life backgrounds and styles and the poet’s thought and feeling. In the forth part, it cites Sapir’s words and Sapir-Worfian hypothesis as its theoretical bases. The centralized perspective is that artistic conception translation in CCP is impossible because of the cultural specification. In the fifth part, it concludes there are three solutions to untranslatability of artistic conception according to the above mentioned causes. The last part refers to the importance of CCP translation and reviews the whole thesis. It concludes there are several methods to deliver the artistic conception of CCP as much as possible, such as (1) following time and space, (2) reviewing the ideal and reality, (3) feeling in your heart. The solutions mainly focus on background, thought and aesthetics.
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