![许译古典诗词：许渊冲经典英译唐诗三百首、宋词三百首、唐五代词选、元曲三百首（汉英对照 套装共4册） [Classical Chinese Poetry]](https://pic.windowsfront.com/12179832/5928e2bbNa06d8748.jpg)
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许渊冲--诗译英法第yi人 ，北京大学教授，翻译家。希望这套许氏译本能使英语读者对中国经典诗文也能“知之，好之，乐之”，能够分享孔子、老子的智慧，分享唐诗、宋词、中国古典戏曲的优美，并以此促进东西文化的交流。值得珍藏。许渊冲先生从事翻译工作70年，2010年12月荣获“中国翻译文化终身成就奖”。他被称为将中国诗词译成英法韵文的唯yi专家，经他的妙手，许多中国经典诗文被译成出色的英文和法文韵语。这套“中国经典诗文集”就是由他所译，前半部分是英文，后半部分是中文。
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.
内页插图
目录
PrefaceYu Shinan
To the Cicada
To the Firefly
Kong Shao’an
Falling Leaves
Wang Ji
The Wineshop
A Field View
Han Shan
Long, Long the Pathway to Cold Hill
Shangguan Yi
Early Spring in Laurel Palace
Wang Bo
Farewell to Prefect Du
Prince Teng’s Pavilion
Yang Jiong
I would Rather Fight
Luo Binwang
The Cicada Heard in Prison
Wei Chengqing
Parting with my Younger Brother
Song Zhiwen
Crossing River Han
Shen Quanqi
The Garrison at Yellow Dragon Town
He Zhizhang
The Willow
Home-coming
Chen Zi’ang
On the Tower at Youzhou
Parting Gift
序
虞世南
蝉
咏萤
孔绍安
落叶
王绩
过酒家
野望
寒山
杳杳寒山道
上官仪
早春桂林殿应诏
王勃
送杜少府之任蜀州
滕王阁诗
杨炯
从军行
骆宾王
在狱咏蝉
韦承庆
南行别弟
宋之问
渡汉江
沈佺期
杂诗
贺知章
咏柳
回乡偶书二首
陈子昂
登幽州台歌
送东莱王学士无竞
Contents
目 录
Preface
Zheng Wenbao
Willow Branch Song
Wang Yucheng
Rouged Lips
Kou Zhun
Treading on Grass
Pan Lang
Fountain of Wine(West Lake)
Fountain of Wine(Tidal bore)
Lin Bu
Everlasting Longing
Liu Yong
Joy of Day and Night
Bells Ringing in the Rain
The Moon in Autumn Night
Phoenix Perching on Plane Tree
Wandering While Young (Slow goes)
Wandering While Young (High and low)
Imperial Capital Recalled
Fan Zhongyan
Waterbag Dance
Pride of Fishermen
Song of the Royal Street
Calming Wind and Waves
Zhang Xian
Buddhist Dancers (Missing my lord)
Buddhist Dancers (So soon)
Buddhist Dancers (The zither)
Willows on Southern Shore
Song of Water Clock
Telling Innermost Feeling
Song of the Immortal
Magnolia Flower
Yan Shu
Treading on Grass(The mist-veiled grass)
Treading on Grass(The farewell song)
Silk-washing Stream(A song)
Silk-washing Stream(By double-curtained bower)
Silk-washing Stream(What can)
Butterflies in Love withFlowers
Pure Serene Music...
前 言
郑文宝
柳枝词（亭亭画舸）
王禹偁
点绛唇（雨恨云愁）
寇准
踏莎行（春色将阑）
潘阆
酒泉子（长忆西湖）
酒泉子（长忆观潮）
林逋
长相思（吴山青）
柳永
昼夜乐（洞房记得）
雨霖铃（寒蝉凄切）
秋夜月（当初聚散）
凤栖梧（伫倚危楼）
少年游（长安古道）
少年游（参差烟柳）
忆帝京（薄衾小枕）
范仲淹
苏幕遮（碧云天）
渔家傲（塞下秋来）
御街行（纷纷坠叶）
定风波（罗绮满城）
张先
菩萨蛮（忆郎还上）
菩萨蛮（玉人又是）
菩萨蛮（哀筝一弄）
江南柳（隋堤远）
更漏子（锦筵红）
诉衷情（花前月下）
天仙子（水调数声）
木兰花（相离徒有）
晏殊
踏莎行（细草愁烟）
踏莎行（祖席离歌）
浣溪沙（一曲新词）
浣溪沙（小阁重帘）
浣溪沙（一向年光）
蝶恋花（槛菊愁烟）
清平乐（红笺小字）...
Preface
Lyrics from Dunhuang Phoenix’s Return into the Cloud
Li Bai
Dai Shulun
Liu Changqing
Zhang Zhihe
Liu Yuxi
Bai Juyi
Wen Tingyun
Huangfu Song
Wei Zhuang
Li Ye
Ouyang Jiong
He Ning
序
敦煌曲子词
李白
戴叔伦
刘长卿
张志和
刘禹锡
白居易
温庭筠
皇甫松
韦庄
李晔
欧阳炯
和凝
......
Contents
目 录
Preface
Yuan Haowen
Man And Moon
(I)
(II)
Minor Sacred Music
(I)
(II)
Yang Guo
Red Peach Blossoms
(I)
(II)
Liu Bingzhong
Dried Lotus Leaves
(I)
序
元好问
人月圆：卜居外家东园
（一）
（二）
小圣乐：骤雨打新荷
（一）
（二）
杨果
小桃红：采莲女
（一）
（二）
刘秉忠
干荷叶
（一）
(II)
(III)
Du Renjie
Playing the Child (I)
(II)
(III)
(IV)
(V)
(VI)
(VII)
(VIII)
Wang Heqing
A Drinker’s Sky
Half and Half (I)
(II)
(III)
He Xicun
Red Peach Blossoms (I)
(II)
(III)
Shang Ting
Song of Princess Pan
（二）
（三）
杜仁杰
耍孩儿（一）
（二）
（三）
（四）
（五）
（六）
（七）
（八）
王和卿
醉中天
一半儿：题情（一）
（二）
（三）
盍西村
小桃红：江岸水灯
小桃红：客船晚烟
小桃红：杂咏
商挺
潘妃曲
精彩书摘
TUNE: TELLING INNERMOST FEELINGBefore flowers, beneath the moon, shortly we met
Only to part with bitter regret.
What’s more, I wake from wine and dreams
To find fallen flowers and dim moonbeams.
Flowers will bloom again;
The moon will wax and wane.
Would our hearts be the same?
I’d turn the flame
Of my heart, string on string,
Into willow twigs to retain
The breeze of spring.
诉衷情
花前月下暂相逢，苦恨阻从容。
何况酒醒梦断，花谢月朦胧？
花不尽，月无穷，两心同。
此时愿作，杨柳千丝，绊惹春风。
TUNE: SONG OF THE IMMORTAL
Wine cup in hand, I listen to Water Melody;
Awake from wine at noon, but not from melancholy.
When will spring come back now it is going away?
In the mirror, alas!
I see happy time pass.
In vain may I recall the old days gone for aye.
Night falls on poolside sand where pairs of lovebirds stay;
The moon breaks through the clouds, with shadows flowers play.
Lamplights veiled by screen on screen can’t be seen.
The fickle wind still blows;
The night so silent grows.
Tomorrow fallen reds should cover the pathway.
天仙子
水调数声持酒听，午醉醒来愁未醒。
送春春去几时回？
临晚镜，伤流景，往事后期空记省。
沙上并禽池上暝，云破月来花弄影。
重重帘幕密遮灯。
风不定，人初静，明日落红应满径。
TUNE: MAGNOLIA FLOWER
FAREWELL TO SUN GONGSU AT ANLU
When we parted, the dream of meeting’s left in vain;
Outdoors but clouds of dust raised by your horse remain.
I will not listen to songs of regret till drunk.
How can I gaze afar,
O when the sun is sunk!
With whom will you enjoy the moon in breeze tonight?
The phoenix on my pipa sobs at music light.
There’s nothing to compare with love under the sky;
The river’s not so deep; the mountain not so high.
木兰花
和孙公素别安陆
相离徒有相逢梦，门外马蹄尘已动。
怨歌留待醉时听，远目不堪空际送。
今宵风月知谁共？声咽琵琶槽上凤。
人生无物比多情，江水不深山不重。
Du Xunhe
A WIDOW LIVING IN THE MOUNTAINS
Her husband killed in war, she lives in a thatched hut,
Wearing coarse hemper clothes and a flaxen hair.
She should pay taxes though down mulberries were cut,
And before harvest though fields and gardens lie bare.
She has to eat wild herbs together with their root,
And burn as fuel leafy branches from the trees.
However deep she hides in mountains as a brute,
From oppressive taxes she can never be free.
杜荀鹤
山中寡妇
夫因兵死守蓬茅，麻苎衣衫鬓发焦。
桑柘废来犹纳税，田园荒后尚征苗。
时挑野菜和根煮，旋斫生柴带叶烧。
任是深山更深处，也应无计避征徭。
Huang Chao
TO THE CHRYSANTHEMUM
In soughing western wind you blossom far and nigh;
Your fragrance is too cold to invite butterfly.
Some day if I as Lord of Spring come into power,
I’d order you to bloom together with peach flower.
THE CHRYSANTHEMUM
When autumn comes, the mountain-climbing day is nigh;
My flower blows when other blooms come to an end.
In battle array my fragrance rises sky-high;
The capital with my golden armour will blend.
黄巢
题菊花
飒飒西风满院栽，蕊寒香冷蝶难来。
他年我若为青帝，报与桃花一处开。
菊花
待到秋来九月八，我花开后百花杀。
冲天香阵透长安，满城尽带黄金甲。
Wang Jia
A SPRING FEAST
The paddy crops wax rich at the foot of Goose-lake Hill;
Door half closed, pigs in sty and fowls in cage are still.
The shade of mulberries lengthens, the feast is o’er,
All drunken villagers are helped back to their door.
AFTER THE RAIN
Before the rain I still see blooming flowers;
Only green leaves are left after the showers.
Over the wall pass butterflies and bees;
I wonder if spring’s in my neighbor’s trees.
王驾
社日
鹅湖山下稻粱肥，豚栅鸡栖半掩扉。
桑柘影斜春社散，家家扶得醉人归。
王驾
雨晴
雨前初见花间蕊，雨后全无叶底花。
蜂蝶纷纷过墙去，却疑春色在邻家。
Zhang Zhihe
Tune: A Fisherman’s Song
In front of western hills white egrets fly up and down,
In peach-mirrored stream mandarin fish are full grown.
In my blue bamboo hat
And green straw cloak, I’d fain
Go fishing careless of slanting wind and fine rain.
Note
Zhang Zhihe (730–782) served in the court as a petty official and then retired to the riverside and lived in seclusion. This poem describing the happiness of a fisherman was wide spread and soon reached Japan. Even the Japanese Emperor (reigned 804–823) wrote five lyrics following the rhyme of his poem.
张志和
渔父
西塞山前白鹭飞，
桃花流水鳜鱼肥。
青箬笠，绿蓑衣，
斜风细雨不须归。
Liu Yuxi
Tune: Dreaming of the Southern
Shore
Gone on the wing,
Farewell to lovers of spring!
The willow sways their leaves;
Fair maiden waves her sleeves.
Sweet orchid wet with dew sheds tears to bid adieu.
Sitting alone, could she not frown?
Note
Liu Yuxi (772–842) was well known for his popular songs which depict the life and love of the common people. This song displays a happy combination of natural scenery and inner feeling of the persona.
刘禹锡
梦江南
春去也，
多谢洛城人。
弱柳从风疑举袂，
丛兰裛露似沾巾。
独坐亦含。
Guan Hanqing
TUNE: SONG OF WHITE CRANE
Incense in golden censer burned,
I stand in red bower unconcerned.
The moon atop the willow tree,
At dusk my lover trysts with me.
TUNE: FOUR PIECES OF JADE
PARTING GRIEF
Since you are gone,
For you I long.
When will my yearning come to end?
I lean on rails, caressed by snow-like willow down.
The stream you went along
At hillside takes a bend.
It’s screened from view
Together with you.
TUNE: FOUR PIECES OF JADE
LIFE OF EASY LEISURE
(I)
Halt running horse and bind
Ape-like whimsical mind!
Leap out of a world which raves with dust and waves!
Wake up from noonday dream of glory vain!
Get rid of fame and gain!
Take a rest in your nest of pleasure
And enjoy your leisure!
(II)
Having tilled the southern field, I
At the foot of eastern hill lie.
I’ve known the world and its ways,
And ponder at leisure the past days.
O wise is he
And foolish me!
What should I contend to be?
关汉卿
白鹤子
香焚金鸭鼎，闲傍小红楼。
月在柳梢头，人约黄昏后。
四块玉
别情
自送别，心难舍，一点相思几时绝？
凭阑袖拂梅花雪。
溪又斜，山又遮，人去也。
四块玉
闲适
（一）
意马收，心猿锁，跳出红尘恶风波。
淮阴午梦谁惊破？
离了利名场，钻入安乐窝，闲快活。
（二）
南亩耕，东山卧，世态人情经历多。
闲将往事思量过，
贤的是他，愚的是我，争甚么？
……
前言/序言
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世纪是全球化的世纪。新世纪的新人不但应该了解全球的文化，而且应该使本国文化走向世界，成为全球文化的一部分，使世界文化更加灿烂辉煌。如果说20世纪是美国世纪的话，那么，19世纪可以说是英国世纪，18世纪则是法国世纪。再推上去，自7世纪至13世纪，则可以说是中国世纪或唐宋世纪，因为中国在唐宋六百年间，政治制度先进，经济繁荣，文化发达，是全世界其他国家难以企及的。
唐代的全盛时期可以说是“礼乐”治国的盛世。根据冯友兰先生的解释，“礼”模仿自然外在的秩序，“乐”模仿自然内在的和谐；“礼”可以养性，“乐”可以怡情；“礼”是“义”的外化，“乐”是“仁”的外化；做人要重“仁义”，治国要重“礼乐”。这是中国屹立于文明世界几千年不衰的重要原因。就以唐玄宗而论，他去泰山时祭奠了孔子，写下了《经鲁祭孔子而叹之》的五言律诗，可见他对礼教的尊重，对士人的推崇。
因此，唐代文化昌盛，诗人辈出，唐诗成了中国文化的瑰宝。不但是在中国，就是在全世界，正如诺贝尔文学奖评奖委员会主席埃斯普马克说的：“世界上哪些作品能与中国的唐诗和《红楼梦》相比的呢？”（《诺贝尔文学奖内幕》306页）
早在19世纪末期，英国汉学家翟理斯(Giles)曾把唐诗译成韵文，得到评论家的好评，如英国作家斯特莱彻(Strachey)说：翟译唐诗是那个时代最好的诗，在世界文学史上占有独一无二的地位。但20世纪初期英国汉学家韦利(Waley)认为译诗用韵不可能不因声损义，因此他把唐诗译成自由诗或散体，这就开始了唐诗翻译史上的诗体与散体之争。一般说来，散体译文重真，诗体译文重美，所以散体与诗体之争也可以升华为真与美的矛盾。
唐诗英译真与美之争一直延续到了今天。例如李白的《送友人》就有两种不同的译法，现将原诗和两种译文抄录于下：
Preface
Life is the gift of nature, but beautiful living is the gift of wisdom.
—Greek Adage
The ultimate good is beauty, and the ultimate joy lies in the creation or cherishing of the beautiful.
—Schopenhauer
If the ultimate joy lies in the creation or cherishing of the beautiful, then ancient Chinese poets may be said to have enjoyed to the full both beauty and joy in their life, for two thousand years ago they created the beautiful Book of Songs and Elegies of the South, and one thousand years ago they created the more beautiful Tang poetry and Song lyrics. Of all these the last may be said to be the most beautiful, for Song lyrics can express more refined, more delicate, more subtle feelings than Tang poetry.
The lyrics were originally songs written to a certain tune, so they may also be called tuned poetry or ci-poems. In the beginning the title of the tune and the theme of the lyric were closely related, for example, one of the earliest lyrics written to the tune of Magpie on the Branch reads as follows:
How can I bear to hear the chattering magpie
Announce the happy news on which I can’t rely?
So thus I catch it alive when it flies to me again
And shut it in a cage where lonely’t will remain.
This is the first stanza of a lyric written by an anonymous author of the Tang Dynasty(618–907), of which we find the theme and the tune title are one: the magpie on a branch. By and by many lyrics were written to this tune and their themes became less and less related to the tune title. For instance, Feng Yansi (903–960) wrote many lyrics to this tune, one stanza of which reads as follows:
Who says my grief has been appeased for long?
Whenever comes spring,
I hear it sing
Its melancholy song.
I’m drunk and sick before the flowers from day to day,
And do not care my mirrored face is worn away. Here we see the lyricist describes his grief in spring which is not related with the magpie on the branch. When it came to the Song Dynasty(960–1279), the theme of the lyric might have nothing to do with the tune title, except those lyrics of which the tune was composed by the lyricist himself.
Poetry is, said Dr. Johnson, “the art of uniting pleasure with truth by calling imagination to the help of reason.” How to unite pleasure with truth? As the Song Empire was the most prosperous and civilized country in the world one thousand years ago, we may find a truthful picture of the Song people’s enjoyment in the following stanza written by Yan Jidao (1030–1106):
Time and again with rainbow sleeves you tried to fill
My cup with wine that, drunk, I kept on drinking still.
You danced and danced till the moon bung low over willow trees;
You sang and sang till’ mid peach blossoms blushed the breeze. Here we see how a Song poet found enjoyment in wine, woman and song.
How to call “imagination to the help of reason”? We may read the following couplet by Xin Qiji (1140–1207):
One night’s east wind adorns a thousand trees with flowers
And blows down stars in showers.
This is a description of the Lantern Festival, the 15th day of the first lunar month, in which the lanterns are compared to flowers blown open by the east wind or to stars blown down in showers to vie in brightness with the full moon. Here we see how imagination is called “to the help of reason.”
序
为了更好，没有什么
清规戒律不可打破。
——贝多芬
美是最高的善；
创造美是最高的乐趣。
——叔本华
如果说“创造美是最高的乐趣”，那么，古代的中国诗人可以算是享受过美好人生的了。因为早在两千多年以前，中国就创造了美丽的《诗经》和《楚辞》；以后，中国又创造了更美丽的唐诗和宋词。而在四者之中，最美丽的要算后来居上的宋词。因为宋词所表达的思想感情，有时似乎比唐诗还更深刻，更细致，更微妙。
用户评价
读《许译古典诗词》这套书，简直是打开了一扇通往盛唐宋韵的时光之门。作为一名对中国古典诗词有着浓厚兴趣的读者，我一直在寻找能够精准传达诗词意境，又不失原著韵味的译本。许渊冲先生的译作，无疑是填补了我心中这块空白的珍宝。 初翻开《唐诗三百首》，脑海中浮现的便是李白“飞流直下三千尺”的豪迈，杜甫“国破山河在”的沉痛，王维“明月松间照，清泉石上流”的静谧。许译在翻译这些耳熟能详的诗句时，并没有选择生硬的直译，而是巧妙地运用英语的表达方式，让那些古老的意象在新的语言中焕发出勃勃生机。例如，将“床前明月光”译为“Before my bed, the bright moonlight flows”，寥寥数语，便将那种思乡之情、朦胧之感传递得淋漓尽致。再看“举头望明月，低头思故乡”，译为“I lift my head to gaze at the bright moon; I lower my head and think of home”，句式结构与原诗的起承转合相得益彰，读来顿觉心神契合。 更让我惊喜的是，许译并非仅仅追求字面上的对应，他更注重捕捉诗词的“神韵”。那些千古传颂的名句，在许译的笔下，英语读者也能感受到其磅礴的气势、婉约的情思，以及字里行间流露出的东方哲学。比如，曹操《短歌行》中“对酒当歌，人生几何”，译为“To feast and sing, how short is life”，虽然简练，却准确地传达了诗人对人生短暂的慨叹。而《宋词三百首》中的那些温婉缠绵，或是豪放不羁的词作，许译同样拿捏得恰到好处。李清照的“寻寻觅觅，冷冷清清，凄凄惨惨戚戚”，在许译手中变成了“Seeking, seeking, cold, cold, bleak, bleak, sad, sad, sorrowful”，音韵上的模仿，词语选择上的贴切，都让人拍案叫绝。 这套书的另一大亮点在于其精美的装帧和对原著的尊重。每一首诗词都配有原文，便于我对照阅读，品味译文与原文之间的妙处。汉英对照的形式，不仅是学习英语的绝佳素材，更是深度理解中国古典诗词的有力工具。我常常一边读着英文译文，一边回味着中文原句，仿佛置身于诗词创作的年代，与诗人一同感受那份喜怒哀乐。 总而言之，《许译古典诗词》是一套值得反复品读的经典之作。它不仅是诗词爱好者的案头必备，更是向世界传播中华文化瑰宝的优秀载体。许渊冲先生的译笔，如同一座沟通东西方文化的桥梁，让那些曾经遥不可及的古老诗篇，如今在我的书桌上，用另一种语言，依然闪烁着永恒的光辉。
评分作为一名对中国古典诗词情有独钟的普通读者，我一直在寻找一本能够真正让我“读懂”并“品味”古诗词的英文译本。经过多方比较和尝试，最终我将目光锁定在《许译古典诗词》这套精美的书籍上。 首先，《唐诗三百首》的翻译，让我对那些耳熟能详的诗句有了全新的认识。许渊冲先生的译笔，如同解开了一个个精妙的语言密码，将那些曾经令我感到难以逾越的古老意象，以一种自然而富有韵律的英文呈现在我面前。比如，白居易的《长恨歌》，其缠绵悱恻的情感，在许译的笔下，依然能够传递出那种深入人心的悲伤和无奈。他并没有一味地追求字面意思的吻合，而是更注重诗歌的整体情感和艺术感染力，这对于一个非母语的读者来说，无疑是巨大的福音。 接着，《宋词三百首》的翻译，则让我领略到了宋词独有的婉约与风雅。许译在处理那些细腻的情感和委婉的表达时，显得游刃有余。他能够捕捉到词人微妙的情绪变化，并将其转化为同样细腻动人的英文。例如，晏殊的《蝶恋花·槛菊愁烟湿丫鬟》，许译将“无可奈何花落去，似曾相识燕归来”译为“Alas! Flowers fall, what can be done? / As if we had met, the swallows return.”，这种译法既保留了原句的意境，又融入了英文的表达习惯，让我感受到了那种淡淡的伤感和对时光流逝的无奈。 《唐五代词选》和《元曲三百首》的翻译，则让我看到了许译在不同文学体裁上的深厚功力。唐五代词的浪漫与自由，元曲的生动与市井气息，都被他用英文恰如其分地展现出来。他能够根据不同体裁的特点，调整译文的风格和语言，让读者在阅读时，能够感受到不同时代、不同类型的文学所特有的魅力。 这套书的另一个让我赞赏的地方是其严谨的汉英对照格式。这不仅方便了我随时对照原文，深入理解译文的妙处，更是让我能够从中学习到许多地道的英文表达方式。每一次翻阅，都像是与古人进行了一场跨越时空的对话，让我对中华古典文学的理解又上了一个台阶。
评分作为一位多年潜心钻研中国古典文学的海外学子，寻觅能够真正传达古文神韵的译本，始终是我心中的一项重要课题。此次有幸拜读《许译古典诗词》这套由许渊冲先生倾力翻译的巨著，我深感幸甚至哉！ 这套书包含的《唐诗三百首》、《宋词三百首》、《唐五代词选》以及《元曲三百首》，涵盖了中国古典文学中最为璀璨的几个时期和体裁，其译本的质量，对于我深入理解和研究这些作品具有至关重要的意义。许译在处理唐诗时，尤其注重其内在的格律与意境的融合。例如，他对李白《望庐山瀑布》的翻译，“The water of the White Deer’s Spring falls three thousand feet, As if the Milky Way falls from the ninth heaven.”，巧妙地将“飞流直下三千尺”的宏伟景象，用英文的意象和语感表现出来，既保留了原诗的壮阔，又融入了英文的磅礴。 在宋词方面，许译展现了他对词体“婉约”与“豪放”双重美学的深刻理解。易安居士的《声声慢》，“寻寻觅觅，冷冷清清，凄凄惨惨戚戚。”，许译将其译为“Seeking, seeking, cold, cold, bleak, bleak, sad, sad, sorrowful.”，通过重复的形容词和叠词，试图在英文中重现词的原有的音律感和情绪的递进，这份苦心孤诣，令人动容。而辛弃疾的豪放词，如“醉里挑灯看剑，梦回吹角连营”，许译译为“In drunken sleep I trim the lamp to see my sword; When dreaming of the army’s bugle call,”，寥寥数语，便勾勒出战士枕戈待旦的悲壮情怀。 《唐五代词选》和《元曲三百首》的翻译，同样展现了许译对不同文学体裁的驾驭能力。唐五代词的铺叙与宋词的凝练有所不同，元曲的口语化和戏曲性也要求译者有独特的处理方式。许译在这些作品的处理上，都力求做到“信达雅”，既不失原著的本意，又能在英文中找到最恰当的表达方式，让不同文化背景的读者都能领略到中国古典文学的魅力。 这套书不仅内容丰富，译文质量极高，其汉英对照的排版方式，也为我这种需要精读原著的研究者提供了极大的便利。能够如此系统地接触到中国古典诗词最精华的部分，并且拥有如此高质量的英文译本，我感到非常幸运。这套书将是我学术研究道路上不可或缺的宝贵财富。
评分作为一个长期在国外学习和生活的文学爱好者，我一直对中国古典诗词抱有深厚的感情，但也常常苦于找不到能够真正传达其精髓的英文译本。《许译古典诗词》这套书的出现，可以说是解决了我的一个长久以来的困扰，并且带来了意想不到的惊喜。 首先，《唐诗三百首》的翻译，让我领略到了许渊冲先生“诗译英灵”的非凡功力。他并非将唐诗仅仅看作是中国古老的文学作品，而是将其视为世界文学宝库中的璀璨明珠。在翻译那些大家耳熟能详的诗篇时，他巧妙地运用英文的韵律和节奏，将原诗的意境、情感，甚至是作者创作时的心境，都尽可能地在英文中重现。例如，王之涣的《登鹳雀楼》，“白日依山尽，黄河入海流。欲穷千里目，更上一层楼。”，许译为“The sun by the mountains sets, / The Yellow River flows into the sea. / To see a thousand miles further, / Go up one storey higher.”，这种简洁而富有力量的翻译，让我能够清晰地感受到诗歌的壮阔景象和积极向上的哲理。 而《宋词三百首》的翻译，则让我体会到了许译对宋词细腻情感的深刻把握。宋词的婉约缠绵，常常包含着复杂的情感层次，这对于翻译来说是一个巨大的挑战。许译在翻译李清照的词时，那种淡淡的忧愁，那种对往事的追忆，都通过他精妙的英文表达，传递得丝丝入扣。他对词的节奏和韵律的模仿，也让英文读者能够感受到宋词独特的音乐美。 《唐五代词选》和《元曲三百首》的翻译，则进一步展现了许译在不同文学体裁上的高超技艺。他能够根据唐五代词的抒情特征，以及元曲的口语化、戏曲化风格，灵活调整自己的翻译策略，力求在保持原著风格的同时，让英文读者能够理解和欣赏。 这套书的另一个令人称道之处在于其精美的装帧和清晰的汉英对照。这不仅是一套具有极高学术价值的翻译作品，更是一套可以作为文学欣赏和语言学习的优秀读物。我常常在闲暇时翻阅，每一次都能从中获得新的感悟和启发。这套书，无疑是我中国古典文学学习道路上的一座重要里程碑。
评分说实话，一开始拿到这套《许译古典诗词》的时候，我并没有抱有太高的期待，因为我尝试过不少中英文对照的古诗词读物，但很多译本都显得生硬，甚至有些扭曲了原诗的韵味。然而，当我真正翻开许渊冲先生的译本，并且开始对照阅读后，我便被深深吸引住了。 这套书包含的《唐诗三百首》、《宋词三百首》、《唐五代词选》和《元曲三百首》，几乎涵盖了我最喜欢也最想深入了解的古典诗歌体裁。许译在处理唐诗时，那种“以意译为主，兼顾形似”的风格，让我眼前一亮。他并非简单地将汉字转化为英文单词，而是深入理解诗歌的情感、意境和文化背景，然后用流畅、富有诗意的英语重新创作。例如，杜甫《春望》中的“国破山河在，城春草木深”，他译为“The state is broken, but hills and streams remain; The city in spring, with grass and trees grown deep.”，寥寥数语，便将战乱后的凄凉景象描绘得入木三分，同时又不失原诗的格局。 阅读《宋词三百首》，我更能感受到许译的功力。宋词的婉约细腻，或慷慨激昂，都要求译者有极高的语言敏感度。许译在翻译李清照的词时，那种淡淡的忧伤，那种女性特有的细腻情感，在他精准的英文选择下，得到了很好的传达。而对于苏轼、辛弃疾等豪放派词人，许译的译文也充满了力量和气势。他能够捕捉到词人笔下的壮志未酬，或是对人生的感悟，并将其转化为英文读者能够理解和感受的情感。 《唐五代词选》和《元曲三百首》的翻译，则让我看到了许译在不同文学风格上的灵活性。唐五代词的典雅与宋词的抒情有所不同，而元曲的通俗生动，更是对译者的挑战。许译在处理这些作品时，都展现了他对不同时代、不同体裁文学特点的深刻洞察，并能够用恰当的英文表达出来，让读者能够感受到不同时期文学的独特魅力。 这套书的另一个优点是其精美的排版和对原文的忠实呈现。汉英对照的形式，让我能够更直接地比较和学习。对于我这样希望在保持对中国古典诗词原貌的理解下，同时提升英文阅读和表达能力的人来说，这套书简直是完美的学习资源。我常常沉浸其中，仿佛穿越时空，与古人对话，感受他们笔下的悲欢离合。
评分给小孩接受传统文化熏陶的，同时不忘学英语，中西合璧才是王道啊！许老的翻译还是很兼顾传统文化的
评分内容不错，就是排班不太好，前面全部是英文，后面全部是中文，不是每首诗中英文对照
评分谈这个浪费时间没意义，谈多了伤感情
评分书的质量好，值得拥有，家人满意。
评分许渊冲大师的作品，所以买来读一读，插图比较精美，书是平装书，而且定价偏高，书比较薄，还算满意。
评分不愧是大家的作品！值得仔细研读
评分给女儿买的希望她能好好学啊！好不好我不懂
评分薄薄一本，不到*页，居然*元，如此只贵不值
评分商品挺好的，值得购买，我认为
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