Abstract
Various untranslatable factors in poem translation make classical Chinese poem translation rather difficult. Accordingly, one distinguished Chinese translator, Xu Yuanchong, put forward the “Three Beauty” Theory to set up a standard for poem translation and the theory of “Creation for Loss” to guide the translation practice. This paper will, on the basis of professor Xu’s theory, study the problem of untranslatability and creative reproduction of classical Chinese poem respectively from three aspects, namely, sound, form and sense. Besides, various studies on professor Xu’s translation theory cause confusions in understanding. Therefore, this paper tries to give a comprehensive comment on his theory through a wide research on previous studies in order to provide a better understanding. Lastly, this paper will critically study the application of the “Three Beauty” Theory and the theory of “Creation for Loss” in the classical Chinese poem translation practice in hope for providing several helpful guidelines.
Keywords   Classical Chinese Poem Translation   “Three Beauty” Theory Untranslatability   Creation for Loss

中国古典诗歌英译是文学翻译中的难点，其中的一个重要原因是诗歌翻译中存在诸多的不可译因素。而中国翻译家许渊冲提出了诗歌翻译的“三美”理论，作为诗歌翻译的标准，以及“以创补失”论作为诗歌翻译的方法论。基于该理论，本论文将从“三美”的角度探讨中国古诗英译的不可译现象以及其审美再现的创造性翻译方法。此外，目前关于许渊冲“三美论”翻译理论和创造性翻译方法中各家之词众多，反而容易造成认识上的混淆与偏差。本文的一个重要目的就是在广泛搜集资料的基础上，对许渊冲的“三美论”做出较客观的综合述评，帮助大众更好地认识以及运用该理论。最后，文章将辩证地探讨“三美论”及古诗创造性翻译方法在理论以及翻译实践中的运用，以期为中国古诗英译提供一定的借鉴。
关键词  中国古诗翻译   不可译现象   三美论   以创补失

The problem of whether classical Chinese poem is translatable has long been a controversial topic. Some people believe that poetry is untranslatable. Robert Frost  defined, “Poetry is what gets lost in translation,” while Eugene Nida said, “Anything that can be said in one language can be said in another, unless the form is an essential element of the language.” Therefore, he thought poem translation very demanding. On the contrary, the famous Chinese translator Xu Yuanchong held that “poem is translatable but reproducing the original beauty in sense, sound and form is rather difficult.” His translation theories of “Three Beauty” and “Creation for Loss” set up standard and provide approaches for classical Chinese poem translation.