汉诗歌英译

汉诗歌英译 Translation of Chinese Poetry

Prose is words in the best order; poetry is the best words in the best order. --Coleridge 散文是井然有序的文字, 诗是井然有序的绝妙好词。 --柯尔律治 • 《五十奥义书》：人之精英为语言, 语言之精英为诗歌。

诗的范畴（古代诗歌）Classification of Ancient Poetry 诗按音律分(Sound and rhythm) 　　（1）古体诗：包括古诗（唐以前的诗歌）、楚辞、乐府诗. A form of pre-Tang poetry, usu. having five or seven characters to each line, without strict tonal patterns or rhyme schemes 　　（2）近体诗:绝句+律诗 “modern style” poetry, referring to innovations in classical poetry during the Tang Dynasty, marked by strict tonal patterns and rhyme schemes 　　（3）词：又称为诗余、长短句、曲子、曲子词、乐府等。 Ci, a type of classical Chinese poetry 　　（4）曲：又称为词余、乐府。元曲包括散曲和杂剧。 Qu, a type of verse for singing, popular in the Yuan Dynasty

按内容来分类(Contents) （1）怀古诗（Nostalgic Poetry ）　　（2）咏物诗(Object-Chanting Poetry ) 　　（3）山水田园诗(Pastoral poetry) 　　（4）战争诗(Poetry of war) 　　（5）行旅诗(Poetry of travelling) （6）闺怨诗(Poetry of boudoir repinings) 　　（7）送别诗(Farewell poetry)

诗的范畴（现代诗歌）Classification of Modern Poetry 按照作品内容的表达方式(Ways of expression) 　　（1）叙事诗：诗中有比较完整的故事情节和人物形象，通常以诗人满怀激情的歌唱方式来表现。 Narrative poems: complete plot and characters 　　（2）抒情诗：主要通过直接抒发诗人的思想感情来反映社会生活，不要求描述完整的故事情节和人物形象。如，情歌、颂歌、哀歌、挽歌、牧歌和讽刺诗。 Lyrics: full release of the poet’s emotion • 　当然，叙事和抒情也不是绝然分割的。 Sometimes they two are interwoven.

按照语言的音韵格律和结构形式(rhyme and structure) （1）格律诗：是按照一定格式和规则写成的诗歌。它对诗的行数、诗句的字数（或音节）、声调音韵、词语对仗、句式排列等有严格规定，Metrical poetry: strict requirements on form, rhyme, number of character and lines, sentence pattern, etc. （2）自由诗：不受格律限制，无固定格式，注重自然的、内在的节奏，押大致相近的韵或不押韵，字数、行数、句式、音调都比较自由，语言比较通俗。 Free verse: free form and popular language （3）散文诗：兼有散文和诗的特点。作品中有诗的意境和激情，常常富有哲理，注重自然的节奏感和音乐美，篇幅短小，像散文一样不分行，不押韵，如，鲁迅的《野草》。 Prose poetry: a mixture of characteristics of prose and poetry

诗的特点Characteristics 诗是一种最集中地反映社会生活的文学样式，它饱含着丰富的想象和感情，常常以直接抒情的方式来表现，而且在精炼与和谐的程度上，特别是在节奏的鲜明上，它的语言有别于散文的语言。 ---何其芳 • 第一，高度集中、概括地反映生活 A full reflection of life • 第二，抒情言志，饱含丰富的思想感情 Outflow of strong emotion • 第三，丰富的想象、联想和幻想 Imagination and fancy • 第四，语言具有音乐美 Musical beauty

Poetry comes nearer to vital truth than history. （Plato） 诗歌比历史更接近于事实真相。（柏拉图） • Painting is silent poetry, and poetry is a apeaking picture. (Simonides, ancient Greek writer)画是无言之诗，诗是有声之画。(古希腊作家西蒙尼特斯) • A great poem is a fountain forever overflowing with the waters of wisdom and delight. （Shelley）　　　一首伟大的诗犹如一座喷泉，不断地喷出智慧和快乐的泉水。（雪莱）

诗的表现手法Techniques of Expression • 《毛诗序》说：“故诗有六义焉：一曰风，二曰赋，三曰比，四曰兴，五曰雅，六曰颂。”“风、雅、颂”是指《诗经》的诗篇种类，“赋、比、兴”就是诗中的表现手法。 • 赋：是直接陈述事物的表现手法。 Fu, to narrate things directly • 比：是用比喻的方法描绘事物，表达思想感情。如，《诗经》中的《螽斯》《硕鼠》等篇。 Bi, to dipict things with figures of speech • 兴：是托物起兴，即借某一事物开头来引起正题要描述的事物和表现思想感情的写法。如《诗经》中的《关雎》《桃夭》等篇。 Xing, to start a topic by borrowing something else

1．比拟Metaphor&personification 徐志摩《再别康桥》 ……那河畔的金柳，是夕阳中的新娘；波光里的艳影，在我的心里荡漾。 The golden willows by the riversideAre young brides in the setting sun;Their reflections on the shimmering wavesAlways linger in the depth of my heart.

2．夸张Hyperbole “桃花潭水深千尺，不及汪伦送我情” However deep the Lake of Peach Blossoms may be, It’s not so deep, O Wang Lun! As your love for me. “飞流直下三千尺，疑是银河落九天” Its torrent dashes down three thousand feet from high As if the Silver River fell from the blue sky. (Tr. X.Y.Z)

禅垂诿饮清露，流响出疏桐。居高声自远，非是藉秋风” TO THECICADA Though rising high, you drink but dew; Yet your voice flows from sparse plane trees. Far and wide there’s none but hears you; You need no wings of autumn breeze. (Tr. XYZ) 3．借代Metonymy

诗的翻译Translation of Poetry 1.诗之不可译(Untranslatability) • 罗伯特·L·弗洛斯特：诗就是在翻译中失去的那种东西 Robert L. Frost： Poetry is what is lost in translation • 歌德（Wolfgang von Goethe ） • 洪堡（Humbert） • 穆诗雄《论中国古典诗歌的不可译性》

2.诗之可译(Translatability) • 郭沫若/王佐良/许渊冲：以诗译诗 • 闻一多：诗笔译诗 • 成仿吾《译诗论》：译诗也应当是诗，这是我们所最不能忘记的。译诗应当忠于原文。 • 刘重德《译诗问题初探》：信于内容，达如其分，切合风格 • 冯庆华：译诗要把握其思想感情、意境形象、音韵节奏和风格神韵；讲究音美、形美、意美

语言的文学性, 文学的意思性, 意思的可理解性,意思理解后的可表达性”等, 都保证了一首诗有可被译出的可能性. literariness + Meaningfulness + =>translatability Understandability + expressiveness

诗的难译因素分析Analysis of untranslatable factors 1.特殊的形或表达技巧 (Poems of unique form and technique) 赏花归去马如飞，去马如飞酒力微。酒力微醒时己幕，醒时己幕赏花归。

宋代李禺有回文诗《两相思》： 　　思妻诗枯眼望遥山隔水，　　往来曾见几心知？　　壶空怕酌一杯酒，　　笔下难成和韵诗。　　途路阳人离别久，　　讯音无雁寄回迟。　　孤灯夜守长寥寂，　　夫忆妻兮父忆儿。思夫诗儿忆父兮妻忆夫，　　寂寥长守夜灯孤。　　迟回寄雁无音讯，　　久别离人阳路途。　　诗韵和成难下笔，　　酒杯一酌怕空壶。　　知心几见曾往来，　　水隔山遥望眼枯。

通灵宝塔回文诗·题明明德咨询公司 明　　通慧　　智达全　　谋生道备　　制变论周行　　法学成义务厚　明理事功政载德 • 上尖起读：明，通慧；智达全，谋生道备；制变论周行，法学成义务厚；明理事功政载德。　　回文：德载政功事理明，厚务义成学法；行周论变制，备道生谋；全达智，慧通；明。 • 左尖起读：明，理法；事学制，功成变谋；政义论生智，载务周道达通；德厚行备全慧明。　　回文：明慧全备行厚德，通达道周务载；智生论义政，谋变成功；制学事，法理；明。 • 右尖起读：德，厚载；行务政，备周义功；全道论成事，慧达生变学理；明通智谋制法明。　　回文：明法制谋智通明，理学变生达慧；事成论道全，功义周备；政务行，载厚；德。 • 外圈环读：明慧全备行厚德，德载政功事理明；明法制谋智通明。　　回文：明通智谋制法明，明理事功政载德；德备行厚全慧明。 • 内圈环读：达道周务，务义学成；学变生达。　　回文：达生变学，成学义务；务周道达。

2.特殊的字与声的组合Unique combination of character and sound • 李清照《声声慢》: “寻寻觅觅，冷冷清清，凄凄惨惨戚戚” • 杜甫：飘飘何所似，天地一沙鸥 • 《古诗十九首》之青青河畔草：青青河畔草,郁郁园中柳. 盈盈楼上女,皎皎当窗牖. 娥娥红粉妆,纤纤出素手. 再如：蒋捷《一剪梅·舟过吴江》 • 秋娘渡泰娘桥，风又飘飘，雨又潇潇。 Farewell Ferry and the Beauty’s Bridge would pinez: Wind blows from hour to hour; Rain falls shower by shower.（许渊冲）译者的确已伸展浑身解数试图取得与原文的一致效果，但是，两文之优劣仍一目了然。原文寥寥数语，意境全出，译文语言却有拼凑之嫌，而且内容浅显，没有韵味之美。

3.特殊的含义Unique meaning • 李商隐：春蚕到死丝方尽，蜡炬成灰泪始干。（“丝”通“思”：death&heartbeat） • 刘禹锡《竹枝词》:杨柳青青江水平，闻郎江上唱歌声。东边日出西边雨，道是无晴却有晴. （“晴”通“情”：sunny&love） The English translation could only gain one meaning and lose the other. 英语里只能二者择其一，无法像原文一般一箭双雕。

4.特殊的修辞Unique rhetoric devices 张祜《何满子》：故国三千里，深宫二十年，一声何满子，双泪落君前。 Home-sick a thousand miles away, Shut in the palace twenty years. Singing the dying swan’s sweet lay, Oh! How can she hold back her tears.(Tr.许渊冲) 译者对原文有了很大的改动，“三千”成了“一千”，“一”与“双”都略去做意译。如此做法，即便完整保留了原文的意思，却失去了原文字里行间的精雕细琢，同时也失去了原文的意境。

5. 特殊的文化Unique culture 金昌绪《春怨》：啼时惊妾梦，不得到辽西。 1.Their warbling broke the dream wherein My lover smiled to me. (Tr. Fletcher) 2.From dreaming of my dear, Far off on the frontier. (Tr. X. Y.C) 辽西：地名，也指战事不断(a place, also a symble of war)。译文一对此完全抛却，译文二意译，省略了词本身的意思。试译：李商隐《锦瑟》之庄生晓梦迷蝴蝶，望帝春心托杜鹃。

6.特殊的文字特征Unique features of Chinese characters 汉字凝练，往往寥寥数字中，意境跃然其上。如：马致远《天净沙·秋思》：枯藤老树昏鸦，小桥流水人家。古道西风瘦马，夕阳西下，断肠人在天涯。短短28字，却勾勒出天地之景，游子之孤，乡愁之苦。欧阳修：月上柳梢头，人约黄昏后。 The moon climbed to willow tops, I trysted her at yellow dusk.(Tr. Bynner) 原文10字，有动有静，声色影情全出；译文却着笔于动，文字直白，雅趣全失。

7.汉诗歌自身特点Unique characteristicas of Chinese poetry 汉语诗歌是中国文学的瑰宝，中国文化的灵魂。其于中国历史如此之高地位，与其本身的严格要求与诗人严谨的创作态度是分不开的。诗歌要求Requirements of poetry 形：长短、行数、字数等form: Length, lines, characters 声：韵（押韵）、调（平仄）等Sound: rhyme and tone + 诗人态度Attitude of poet 一字之推敲，往往数日之久 (patience, responsibility) =>译诗难许均：蜀道难，译诗更难。

总之,诗歌是一种对其所属语言有着高度依赖性的文学样式,其形式构成中的很大一部分是属于语言符号系统自身特定性的成分。这部分是很难在不同的语言系统间顺利转换的。因而,在诗歌翻译问题上追求百分之百忠实原作无异于痴人说梦。总之,诗歌是一种对其所属语言有着高度依赖性的文学样式,其形式构成中的很大一部分是属于语言符号系统自身特定性的成分。这部分是很难在不同的语言系统间顺利转换的。因而,在诗歌翻译问题上追求百分之百忠实原作无异于痴人说梦。 • Anyway, poetry is a special literary type highly depending on it’s own language. Much of its forming is a component of lansign system that is hardly can be transferred between different languages. • Loyalty cannot be entirely pursued.

诗歌翻译的态度Attitude of Poetry Translation • 辜正冲先生: 全可译因素(translatable)、半可译因素(half-translatable)和不可译因素(untranslatable) • 如卡特福特所言:原文的文本和单位不是绝对意义上的能翻译或不能翻译的问题，而是在一定程度上是可能翻译的，只是翻译的可能性有时很大,有时则不甚理想。 J.Catford: SL texts and items are more or less translatable rather than absolute or untranslatable) • 胡塞尔：知其不可译而译之

诗的翻译策略与原则Translation strategies of Poetry Ezra Pond 在Guido’s relations一文中,庞德全面展示了自己的翻译理论。relations一词,主要是指译作与原作之间的关系,这种关系是“部分的、不完整的,而且倾向于译者的兴趣”。 • 庞德曾言：“翻译可以为自己的诗歌艺术和诗歌语言提供借鉴，其魔力之大就如同给鬼魂注入血液一样，故欲兴一国之文学必先兴一国之翻译。”1913 庞德的翻译革新主张: 一是认为要抛弃维多利亚时期那种虚饰做作、生僻古涩的翻译措词; 二是主张译文是对原文的“再创作(rewrite)”; 三是认为可以运用节奏对等来实现对原文的忠实（loyalty）。

庞德的《华夏集》(Cantos)共收录了19首古诗,其中《江上别》译自李白的一首送别诗:《黄鹤楼送孟浩然之广陵》庞德的《华夏集》(Cantos)共收录了19首古诗,其中《江上别》译自李白的一首送别诗:《黄鹤楼送孟浩然之广陵》 • 故人西辞黄鹤楼，烟花三月下扬州。 • 孤帆远影碧空尽，唯见长江天际流 • Ko-jin goes west from ko-kaku-ro, • The smoke-flowers are blurred over the river. • His lone sailblots the far sky, • And now I see the river, the Long Kiang, reaching heaven.

许渊冲：以诗译诗（Poetry for poetry） 译诗三美，即形美、音美、意美 (beautiful form，voice&meaning) best words in best order; the later, the more important 竞赛论：译作可以胜过原作(Translated poems can be better than original ones; they two compete) 吕叔湘：以散文体译诗(Prose for poetry) 宋颖豪：意求其真，形见其似，神化其活(True meaning, similar form, lively spirit) 入于诗，出于诗，只见诗，不见人(from the poem, beyond it)

汪榕培：“传神达意” “传神”就是传达原作的神情，包括形（form），语气（tone），意象（image），修辞（figure of speech）等等； “达意”就是表达原作的意义，尤其是深层意义（deepmeaning），尽量照顾表层意义（surface meaning）。 • 这四个字不是并列结构（“传神”和“达意”不是并重的）而是偏正结构（“传神”是“达意”的状语，即“传神地达意”）。

总结Conclusion • 形式上的变通 flexbility in form • 思想感情的融通 emotional accomodation • 深层文化上的沟通 cultural communication

翻译鉴赏篇Translation Evaluation I 春晓传眠不觉晓，处处闻啼鸟。夜来风雨声，花落知多少。 --孟浩然

1. Spring Mornings (Tr. 徐忠杰) One slumbers late in the morning in spring, Everywhere, one hears birds warble or sing. As the night advances, rain spatters; winds moan, How many flowers have dropped? Can that be known? 2. The Spring Dawn(Tr. 吴钧陶) Slumbering, I know not the spring dawn is peeping, But everwhere the spring birds are cheeping. Last night I heared the rain dripping and wind weeping, How many flowers are now on the ground sleeping?

3. A Spring Morning(Tr. 许渊冲) (1) This morn of spring in bed I’m lying, Not woke up till I hear birds crying. After one night of wind and showers, How many are the fallen flowers! (2) In drowsy spring I slept until daybreak, When the birds cry here and there, I awake. Last night I heard a storm of wind and rain, How many blossoms have fallen again? 4. One Morning in Spring (Tr. 翁显良) Late, this spring morning as I awake I know. All round me the birds are crying, crying. The storm last night, I sensed its fury. How many, I wonder, are fallen, poor dear flowers!

5. A Spring Morning (Tr. Witter Bynner) I awake light-hearted this morning of spring, Everywhere round me the singing of birds- But now I remember the night, the storm, And I wonder how many blossoms were broken. 6. Spring Dawn (Tr. 孙大雨) Feeling not when cometh th’ peep of spring dawns, Everywhere birds’ songs I hear in my slumber. Through the sounds of wind and rain all th’ night long, Know I not how many th’ flowers fall in number.

以《春晓》为例Take Chun Xiao as an Example • 通览以上七篇译文，不难发现，无论是形式、文采、韵律、意思或其它方面，可以说特色不一，各有千秋。 • 整体意境(poetic imagery)来看，翁译侧重表现诗人惜春伤春的情怀，然首句中“一声叹息”未免太过直白浅露，与原诗的委婉含蓄之风格不符。Fury, poor, dear几词的使用也过于平直，诗人情感一览无遗，缺乏曲径通幽，含不尽之意于言外的的韵味。(to be continued)

形式上(form)，除了第四首翁显良译文是散文体外，其余都是以诗译诗，可见诗歌翻译形式之大势所趋。明显地，散文体韵律全无，诗行长短不一，缺乏音乐感和节奏感，有损诗意的传达。形式上(form)，除了第四首翁显良译文是散文体外，其余都是以诗译诗，可见诗歌翻译形式之大势所趋。明显地，散文体韵律全无，诗行长短不一，缺乏音乐感和节奏感，有损诗意的传达。 • 韵律上(metre)，许、吴译均采用较为严格的抑扬格；徐、孙基本采用抑扬格。 • 节奏上(rhythm)，许渊冲的首个译本节奏最快，吴译最慢。 • 押韵方面(rhyme)，原诗以aaba式押韵，译诗中以Bynner稍逊，其余均分别以aaba, aabb,aaaa, abab式押韵（翁除外），音韵整齐。 • To be continued

上邪！ 我欲与君相知长命无决衰山无棱江水为竭冬雷震震夏雨雪天地合乃敢与君绝 The Pledge Oh heaven high! I will love him Forever till I die. Till mountains crumble, Rivers run dry. In winter thunder rumbles, In summer snow fall far and high. And the earth mingle with the skies, Not till then will my love die. 翻译鉴赏篇Translation Evaluation II

水调歌头-明月几时有 （苏东坡）明月几时有？把酒问青天。不知天上宫阙，今夕是何年？我欲乘风归去，又恐琼楼玉宇，高处不胜寒。起舞弄清影，何似在人间？转朱阁，低绮户，照无眠。不应有恨，何事长向别时圆？人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。翻译鉴赏篇Translation Evaluation III

The Mid-autumn Festival Tune: “Prelude to Water Melody”By X.Y.Z. How long will the full moon appear?Wine cup in hand, I ask the sky.I do not know what time of the year'Twould be tonight in the palace on high.Riding the wind, there I would fly,Yet I'm afraid the crystalline palace would beToo high and cold for me.I rise and dance, with my shadow I play.On high as on earth, would it be as gay?The moon goes round the mansions redThrough gauze-draped window soft to shedHer light upon the sleepless bed.Why then when people part, is she oft full and bright?Men have sorrow and joy; they part or meet again;The moon is bright or dim and she may wax or wane.There has been nothing perfect since the olden days.So let us wish that manWill live long as he can!Though miles apart, we'll share the beauty she displays.

舒婷 <致橡树>我如果爱你——绝不像攀援的凌霄花，借你的高枝炫耀自己；我如果爱你——绝不学痴情的鸟儿，为绿荫重复单纯的歌曲也不只像泉源，常年送来清凉的慰藉；也不止像险峰，增加你的高度，衬托你的威仪。甚至日光。甚至春雨。 .不，这些都还不够！我必须是你近旁的一株木棉，作为树的形象和你站在一起。根，紧握在地下，叶，相触在云里。每一阵风过，我们都互相致意但没有人听懂我们的言语。你有你的铜枝铁干像刀，像剑，也像戟；我有我红硕的花朵，像沉重的叹息，又像英勇的火炬。我们分担寒潮、风雷、霹雳；我们共享雾蔼、流岚、虹霓，仿佛永远分离，却又终身相依。 .这才是伟大的爱情，坚贞就在这里： :爱——不仅爱你伟岸的身躯，也爱你坚持的位置，足下的土地。翻译鉴赏篇Translation Evaluation IV

To an Oak If I loved you,I would be absolutely unlike the trumpet creeper climbing upon your bodywith lofty branches for a display.If I loved you,I would absolutelynot follow a silly bird wayto the green shadow repeatedly singing an old story;And also not just like a fountain,Yearly contributing you with cooling fan;And still not like a peak of dangerto have you higherin an awe-inspiring manner;Or even to flaunt your daylight,Or your raining at spring night.No, not enough with the above lines!I must be like kapok standing nearby,Along together with you as a tree, not as a vine.My root must penetrate into the ground tight; My leaves reach the clouds under the sky.

With a gust of wind, we must say helloas a respected manner, but no humans knowWhat we are going to show.You have your trunk with branches strong as iron, or like spear, sword you sharpenand also halberd weapon.I have rich red flowers tiedseemingly with a deep sigh,And also like a heroic torchlight. We should bear cold air, tempest, and thunder;We should share fog, haze, and rainbow together,as if we were never separated from each other,depending on each other forever.That’s a great love,The so-called inflexible virtue must be like this:Love Not only love your great body but your heart,And still the firm ground as an organ part.

翻译实践篇Translation Practice 1.白居易《长相思》 • 汴水流, • 泗水流, • 流到瓜洲古渡头, • 吴山点点愁。 • 思悠悠, • 恨悠悠。 • 恨到归时方始休。 • 月明人倚楼。

参考译文（Reference Version） 1. See the Bian River flow • And the Si River flow! • By Ancient Ferry, mingling waves, they go; • The Southern hills reflect my woe. • My thought stretches endlessly; • My grief wretches endlessly. • Oh, when will my beloved come back tome? • Alone I lean on moon lit balcony.

2.张继《枫桥夜泊》 月落乌啼霜满天，江枫渔火对愁眠。姑苏城外寒山寺，夜半钟声到客船。 3.杜牧《江南春》千里莺啼绿映红，水村山郭酒旗风。南朝四百八十寺，多少楼台烟雨中。翻译实践篇Translation Practice

参考译文（Reference Version） • 2. A Night-Mooring Near Maple BridgeMoon going down, Crow cawing, frost filling all over the sky,Maple-trees near the river and torch in the fisher opposite the sleeping anxiety.From the temple on Cold Mountain out of Suzhou,The midnight ding touches my boat.

参考译文（Reference Version） 3. Spring Comes to Jiangnan Red against green, and a huge troupe of warblers singing;Hillside, riverside hamlets, with blue flags fluttering. The Southern Dynasties had four hundred eighty Building temples;How many towers and terraces are wrapped in misty drizzles?

4.再别康桥徐志摩 轻轻的我走了，正如我轻轻的来；我轻轻地招手，作别西天的云彩。那河畔的金柳，是夕阳中的新娘，波光里的艳影，在我的心头荡漾。软泥上的青荇，油油的在水底招摇；在康河的柔波里，我甘做一条水草! 那榆阴下的一潭，不是清泉，是天上虹揉碎在浮藻间，沉淀着彩虹似的梦。寻梦？撑一支长篙，向青草更青处漫溯，满载一船星辉，在星辉斑斓里放歌。但我不能放歌, 悄悄是别离的笙箫；夏虫也为我沉默，沉默是今晚的康桥！悄悄的我走了，正如我悄悄的来；我挥一挥衣袖，不带走一片云彩. 翻译实践篇Translation Practice

4. Goodbye Again, Cambridge! I leave softly, gently, Exactly as I came. I wave to the western sky, Telling it goodbye softly, gently. The golden willow at the river edge Is the setting sun‘s bride. Her quivering reflection Stays fixed in my mind. Green grass on the bank Dances on a watery floor In bright reflection. I wish myself a bit of waterweed Vibrating to the ripple. Of the River Cam. That creek in the shade of the great elms Is not a creek but a shattered rainbow, Printed on the water And inlaid with duckweed, It is my lost dream. Hunting a dream? Wielding a long punting pole I get my boat into green water, Into still greener grass. In a flood of starlight On a river of silver and diamond I sing to my heart‘s content. But now, no, I cannot sing With farewell in my heart. Farewells must be quiet, mute, Even the summer insects are silent, Knowing I am leaving. The Cambridge night is soundless. I leave quietly As I came quietly. I am leaving Without taking so much As a piece of cloud. But with a quick jerk of my sleave I wave goodbye. 参考译文（Reference Version）

汉诗歌英译