摘 要

泰戈尔作为世界最出名的诗人之一，他的杰作《飞鸟集》也享誉全球，被许多国家翻译并出版。本文主要研究比较的是郑振铎《飞鸟集》译本和冯唐《飞鸟集》译本在翻译风格上的不同之处。郑振铎作为一位20世纪早期的杰出学者，是中国最早将《飞鸟集》翻译成中文的译者之一。他所翻译的《飞鸟集》在中国被公认为经典并广为流传。冯唐作为一位当代作家，在2015年年底出版了他对《飞鸟集》的重译版本。这本以全新风格翻译的《飞鸟集》在出版后立即引起了人们的争议，并在短时间内遭到了许多读者的指责。

本文通过分析比较两位译者在词汇、短语、句子及诗歌结构上的翻译特点，以及他们表现出的不同的诗歌美感，加上他们对不同的翻译手法的运用等，试图分析两个译本不同的翻译风格和特点，从而对冯唐译本进行客观的评价，并讨论其对中国翻译界的影响。

本文一共分为六章。第一章是引言部分，主要介绍题目的研究意义和全文的结构。第二章为文献综述与译者介绍，简单地介绍了泰戈尔和他的作品《飞鸟集》，还有郑振铎、冯唐两位译者及其作品，并回顾了以往学者对郑振铎译本和冯唐译本的研究。从第三章到第五章，笔者通过对一些诗例的举证，依次从词汇特点、句法特征和翻译技巧三个方面分析了两个译本不同的翻译风格。最后，第六章对两个译本不同的翻译风格进行了总结，并对冯唐进行客观的评价后，指出中国翻译理念需要与时俱进。

关键词：《飞鸟集》；郑振铎《飞鸟集》译本；冯唐《飞鸟集》译本；翻译风格对比

Abstract

Tagore was one of the best known poet in the world, and his masterpiece Stray Birds, which achieved worldwide fame, was published in many languages. This paper mainly discusses the different translation styles of Zheng Zhenduo’s and Feng Tang’s versions of Stray Birds. Zheng Zhenduo was an eminent scholar of the early 20th century, who was one of the first group of translators who translated Stray Birds into Chinese. His translation has been generally recognized as the most classic and widespread version of Chinese Stray Birds. Feng Tang is a modern writer, who has published a new Chinese version of Stray Birds last year. His entirely different translation style has aroused controversy, and soon sharp criticism around his new translation reached fever pitch.

By comparing their different translations of the same word, their different translation features of the phrases, sentences and poems’ structural forms, their different poetry aesthetics they create in the translated poems, and their different usages of translation methods like literal translation and free translation, the author tries to analyze the instinctive translation styles and features of these two versions, in order to evaluate Feng Tang’s version objectively, and further discuss about its influence towards Chinese translation field.

The paper is divided into six parts. The first chapter is an introduction to the significance and structure of the paper. The second chapter introduces Tagore and Stray Birds, as well as the two translators Zheng Zhenduo and Feng Tang, and then gives a review of the former studies of Zheng’s and Feng’s versions of Stray Birds. Next, from Chapter 3 to Chapter 5, the author analyzes the differences of these two versions in sequence from the perspectives of terms, syntactic features and translation methods with examples illustrated. Last, the sixth chapter draws a conclusion on the different translation styles of the two version, and offers an objective assessment to Feng Tang’s version, then points out that Chinese translation needs to keep pace with the times.

Key Words: Stray Birds; Zheng Zhenduo’s Stray Birds; Feng Tang’s Stray Birds; comparative studies of translation styles

Contents