摘 要

视域融合是伽达默尔阐释学重要概念之一，在接受美学理论中也占有举足轻重的地位，近年来颇受关注并越来越频繁地应用于文学研究之中。唐代诗人寒山,其诗歌在故土备受冷落，在他乡却引领风骚，这一“墙内开花墙外香”的文化现象及其潜在原因具有极大的研究价值。

本文试以加里·斯奈德翻译的24首寒山诗英译本为研究对象，采用视域融合理论为研究视角，解读斯奈德对寒山诗歌的摹仿与改写及其在译本中的具体体现。结合时代背景和译者本人主观因素，文章首先剖释了寒山及其诗歌跨越时空限制及文化障碍在异国大放光彩的原因，后从句法结构、意象、直译手法的运用三个角度探讨斯奈德在翻译过程中对寒山诗风特征的沿袭。后从形式、诗行省略、词语误读三方面举例阐述了斯奈德为迎合目标读者视域而对译本所做的改写，揭示了其在翻译过程中浓厚的本土意识，旨在为寒山诗的译介及斯奈德的译本研究提供些许参考。

关键词：加里·斯奈德；寒山；视域融合；期待视域

Abstract

Fusion of horizon is one of paramount concepts of Gadamer’s philosophical hermeneutics, also takes crucial role in the reception aesthetics. Recently the theory has garnered considerable concerns and been applied more and more frequently to literature research. Han Shan, a poet in Tang Dynasty, whose poems are shaded domestically but valued abroad. Such a novel cultural phenomena and its potential reasons are worthy of exploring.

Taking Snyder’s twenty four translations of Han Shan as the object of research and fusion of horizon as perspective, this thesis delves into Snyder’s imitation and rewriting in the process of translation with specific examples. Combining historical background and subjective preference, the paper firstly pinpoints reasons why Han Shan and his poems outshine abroad. In the angle of syntax, imagery and adoption of literal translation, it investigates Snyder’s assimilation of poetic traits from Han Shan. Then the paper expatiates on Snyder’s rewriting in terms of free verse, deliberate omission of lines and lexical misunderstanding so as to ingratiate the horizon of targeted readers. Meanwhile it exposes Snyder’s strong sense of nativeness during the stage of translation, aiming to provide references for studies on translation of Han Shan’s poems and Snyder’s version.

Key words: Gary Snyder; Han Shan; fusion of horizon; horizon of expectation

Contents

1 Introduction 1

1.1 An Introduction of Gary Snyder’s Preference for Han Shan and His Poems 1

1.2 An Introduction of Fusion of Horizon 2

1.3 Significance of Research 3

1.4 Research Questions and Methodology 3

1.5 Organization of the Paper 4

2 Literature Review 6

2.1 Overview Study on the Translation of Han Shan’s Poems 6

2.2 Studies on Gary Snyder 6

2.2.1 Research on Gary Snyder Abroad 6

2.2.2 Research on Gary Snyder at home 7

3. Snyder’s Imitation of Han Shan’s poems 8

3.1 Syntax: Ellipsis of Predicates 8

3.2 Picturesque Imagery: Line Drawing and Zoosemy 9

3.3 Literal Translation 10

4 Snyder’s Rewriting of Han Shan’s poems 11

4.1 Adoption of Free Verse 11

4.2 Deliberate Omission of Lines 12

4.3 Lexical Misunderstanding 13

5 Conclusion 15

Acknowledgments 16

Reference 17

On Gary Snyder’s Translation of Han Shan’s Poems from the Perspective of Fusion of Horizons

1 Introduction

• 1. An Introduction of Gary Snyder’s Preference for Han Shan and His Poems

In 1953, a Japanese art exhibition held in American. An ink painting of Han Shan presented caught Snyder’s eyes and struck his chord. With the guidance of Chen Shih-Hsiang, a prestigious sinologist in University of California, Berkeley, Snyder first published his twenty-four translations of Han Shan’s poems in Evergreen Review in 1958. Henceforth Han Shan’s poems shrugged off the cold shoulder and gained a classic status in the United States (Ou, 2008). A blizzard of Han Shan Fever started rolling in the 1960s. Hippies and Beat Generation who were

eager to jump on the bandwagon regarded this unworldly hermit as their spiritual idol.

Snyder’s preference for Han Shan can be ascribed to historical background. Be immune to the second War, American continent was bombarded with material abundance and commercial prosperity. However, economy surged by leaps and bounds only accompanied by rampant racial discrimination, escalating environmental pollution and mercenary ethos of society. Demoralized by the stifling atmosphere, the torrent of discontent finally spurted in the mid-1950s. The Beat Generation rose and emancipated themselves from conventional values by indulging in outlandish clothes, foul language and drug abuse. The other side of rock, hallucinogen and sexual liberation is the popularity of Zen Buddhism. From 1950 to 1958, celebrated scholar Suzuki Teitaro Daisetz came to American to teach Zen Buddhism in the Columbia University, which filled up American people’s mental vacancy and triggered their interests in Zen thoughts.

Han Shan, a eccentric recluse, sniffs at secular fame and leads laid-back life at his will. Such slovenly image distinguishes him from sundry poets in the Tang Dynasty also reaps veneration of the Beat Generation. Moreover, characterized by plain language and exquisite image, his poems symbolizes a deviation from mainstream culture, which jibes with the Beat Generation’s spiritual pursuit for anti-tradition and subculture.

On the subjective factor, Snyder’s captivation with Zen Buddhism also accounts for his preference for Han Shan. Snyder has an affinity with Zen at his very early age.

“I went on to a description of the world’s religions in some magazine. I was only about 12,or 13. It said Buddhism is a religion which believed that all living beings have its ethical system that should not be harmed and not killed. So I was on alert immediately to watch for more about Buddhism” (Chung, 2006:52).

In 1956, Snyder determined to learn Zen further in the Japanese temple. He spent more than ten years delving into Zen Buddhism until 1968 and melted it into his ecological regionalism. Han Shan’s poems brimmed with Zen thoughts that win Snyder’s favor.