雨霖铃翻译成对话

雨霖铃翻译成对话篇一
《《雨霖铃》原文及翻译讲解》

《雨霖铃》原文及翻译讲解 原文

寒蝉凄切，对长亭晚，骤雨初歇。都(dū)门帐饮无绪，（方）留恋处，兰舟催发。执手相看泪眼，竟无语凝噎。念去去，千里烟波，暮霭沉沉楚天阔。

多情自古伤离别，更那（nǎ）堪，冷落清秋节，今宵酒醒何处？杨柳岸，晓风残月。此去经年，应是良辰美（好）景虚设。便纵有千种风情，更与何人说？

翻译

秋后的蝉叫得是那样地凄凉而急促，面对着长亭，正是傍晚时分，一阵急雨刚停住。在京都城外设帐饯别，却没有畅饮的心绪，正在依依不舍的时候，船上的人已催着出发。握着手互相瞧着，满眼泪花，直到最后也无言相对，千言万语都噎在喉间说不出来。想到这回去南方，这一程又一程，千里迢迢，一片烟波，那夜雾沉沉的楚地天空竟是一望无边。

自古以来多情的人最伤心的是离别，更何况又逢这萧瑟冷落的秋季，这离愁哪能经受得了！谁知我今夜酒醒时身在何处？怕是只有杨柳岸边，面对凄厉的晨风和黎明的残月了。这一去长年相别，（相爱的人不在一起），我料想即使遇到好天气、好风景，也如同虚设。即使有满腹的情意，又再同谁去诉说呢？![1]

注释

1．此调原为唐教坊曲。相传避安禄山乱入蜀，时连日，栈道中听到铃声。为悼念杨贵妃，便采作此曲，后柳永用为词调。又名《雨霖铃慢》。上下阕，一百零二字，仄韵。这首词选自《全宋词》，雨霖铃又作《雨淋铃》。这首词是他离开都城汴京（现在河南开封）时写的，抒发了跟情人难分难舍的感情。

2．寒蝉：蝉的一种，又名（tiáo）。

3．对长亭晚：面对长亭，正是傍晚时分。长亭：古代供远行者休息的地方（类似于今天的公交车站)

4.骤雨：阵雨。

5．都门帐饮：在京都郊外搭起帐幕设宴饯行。都门：京城门外。

6．兰舟：据《》载，鲁班曾刻木兰树为舟。后用作船的美称。

7．凝噎：悲痛气塞，说不出话来。即是“”。

8．去去：重复言之，表示行程之远。 烟波：水雾迷茫的样子。

9．暮霭："霭"读aǐ,傍晚的云气。

10．沉沉：深厚的样子。

11．楚天：南天。古时长江下游地区属楚国，故称。

12．清秋节：萧瑟冷落的秋季。

13．经年：经过一年或多年，此指年复一年。

14．千种风情：形容说不尽的相爱、相思之情，风情：情意。情，一作“流”。

15．无绪：没有心思，心情不好。

16．更：一作“待”

1. 骤雨：阵雨。

2. 留恋处： 一作“方留亦处”

雨霖铃翻译成对话篇二
《雨霖铃翻译》

雨霖铃

秋蝉的叫声好凄清，来到十里送别亭，急雨刚刚停，沉沉暮色满苍穹。城外设下饯行帐，无心饮酒意怅怅。两情依依不忍别，船夫解缆催得忙。手拉手，四目相对泪汪汪。心中的话儿长又长，这时候、竟无一语诉衷肠。极目西南望。千里之外荆楚地，水波渺渺，暮烟茫茫。

从古到今，多情人离别总忧愁。谁又能承受，在这苍凉的秋色里，一对情人、活生生地分了手！今夜酒醒后，船在何处留？想必是，拂晓的秋风冷飕飕，岸边的杨柳颤悠悠，天边的残月弯如钩。这一去，长年累月漫漂流，即便是、良辰美景天天有，也没心思去享受。纵然是、柔情蜜意前重厚，还能够、向何人去把心迹剖？ 念奴娇.赤壁怀古

长江朝东流去，千百年来，所有才华横溢的英雄豪杰，都被长江滚滚的波浪冲洗掉了。那旧营垒的西边，人们说那是三国时周郎大破曹兵的赤壁。 陡峭不平的石壁插入天空，惊人的巨浪拍打着江岸，卷起千堆雪似的层层浪花。祖国的大好河山啊，那时有多少英雄豪杰！ 遥想当年周公瑾，小乔刚刚嫁了过来，他的姿态多么的雄峻： 手里拿着羽毛扇，头上戴着青丝帛的头巾。谈笑之间，曹操的无数战船在浓烟烈火中烧成灰烬。神游于三国战场，该笑我太多愁善感了，以致过早地生出白发。人生就像做了一场大梦，还是把一杯酒献给江上的明月，和我同饮共醉吧！

永遇乐 京口北固亭怀古

大好江山永久地存在着，（但是）无处去找孙权那样的英雄了。当年的歌舞楼台，繁华景象，英雄业迹都被历史的风雨吹打而随时光流逝了。（如今）夕阳照着那草木杂乱、偏僻荒凉的普通街巷，人们说这就是（当年）寄奴曾住过的地方。回想当时啊，刘裕率兵北伐，武器竖利，配备精良，气势好象猛虎一样，把盘踞中原的敌人一下子都赶回北方去了。

南朝宋文帝（刘裕的儿子）元嘉年间兴兵北伐，想要再封狼居胥山，建功立业，由于草率从事，结果只落得自己回顾追兵，便仓皇失措。四十三年过去了，（现在）向北遥望，还记得当年扬州一带遍地烽火。往事真不堪回想，在敌占区里后魏皇帝佛狸的庙前，香烟缭绕，充满一片神鸦的叫声的社日的鼓声！谁还来问：廉颇老了，饭量还好吗？

雨霖铃翻译成对话篇三
《雨霖铃翻译》

雨霖铃

柳永

寒蝉凄切，

对长亭晚，

骤雨初歇，

都门帐饮无绪，

留恋处，

兰舟催发。

执手相看泪眼

竟无语凝噎，

念去去，

千里烟波，

暮霭沉沉楚天阔。

多情自古伤离别，

更那堪冷落清秋节。

今宵酒醒何处？

杨柳岸，晓风残月。

此去经年，

应是良辰好景虚设。

便纵有千种风情，

更与何人说？

Bells In the Rain

Liu Yong(Song)

Translated by Liu Guoshan

A violent shower has barely come to a lull.

And parting pavilions look so dull at dusk.

Cicadas‟ chirping sounds a chilling complaint.

Just having had some joyless drinks in the tent,

Beside the city gate in vain we are delaying,

When the boatman urges: ”time for sailing! ”

Both tearful, face to face and hand in hand,

Our words all chocked in sobbing, silent we stand.

Ahead for me are boundless waves to plough,

While mists at sunset bear on horizon remote!

Departure‟s all the times been cruel for the tender-hearted.

„Tis worse in frosty, forlorn autumnal days to be parted.

O where‟ll I be when waking up from inebriate dreams?

By a willowy bank, the moon declining in daybreak breeze.

Long years will be vainly elapse, though glorious season be there----

And what my shame for my myriad sentiments with none to share!

Bells Ringing In the Rain

Liu Yong（Song）

Translated by Xu Yuanchong

Cicadas chill

And drearily shrill,

We stand face to face at an evening hour

Before the pavilion, after a sudden shower.

Can I care for drinking before we part?

At the city gate

Where we are lingering late,

But the boat is waiting for me to depart.

Hand in hand, we gaze at each other‟s tearful eyes

And burst with words congealed on our lips.

I‟ll go my way

Far far away

On miles and miles of misty waves where sail the boats,

Evening clouds hang low in boundless southern skies.

Parting lover would grieve as of old.

How could I stand this clear autumn day so cold!

Where shall I be found at day‟s early break

From wine awake?

Moored by a riverbank planted with willow trees

Beneath the waning moon and in the morning breeze.

I‟ll be gone for a year.

In vain would good times and fine scenes appear!

However gallant I am on my part,

To whom can I lay bare my heart?

Bells Ringing in the Rain

Liu Yong（Song）

Translated by Lin Jingyi

The shower barely to a lull

Cicadas twitter faintly for the chill,

With the scarlet setting sun on the west

In the pavilion at the city gate.

Face to face, we let cups alone

And lingering late

But the boatman urges to depart.

Tearfully, hand in hand and eyes gazing eyes,

Thousands of words come to be sobs.

I‟ll go my way

Far far away

On a boat growing fainter above vast expense of misty waves,

Beneath the cloud covered dusk fell and boundless southern sky.

Parting lovers would grieve as of old,

How could I stand this clear autumnal day so cold!

Where I‟m I ?

Waking from the drunk night .

Between banks and willows,

Beneath the waning moon and in the morning breeze.

I‟ll be gone foe a year,

In vain would romantic scene appear!

However gallant I am on my part,

To whom can I lay bare my heart?

Comparison of Three English Versions of “Bells Ringing in the Rain”

With an attitude of respect, I received this task from mr. Dai, and determined to do a good job. Considering song poetries are pearls in traditional literature and is what my interests in therefore I chose English versions of song poetries as the subject to comment and attempted to find some poem translating rules or criterions. But finally failed. Reading through the references borrowed from library, such as “psychology and Translation”, “science of fuzzy thinking, and a decade of poetry translation versions by Xu Yuanchong, Liu Guoshan, Tang Yihe, Zhang Tingchen, Chen Junpu, Zhou Ji, and Huang Guoquan. I found that most poetry translation rules and criterions I realized had been mentioned

tremendous times, for instance, the criterion of “three merits”, and “fuzzy method”(beauty of sense, beauty of form, beauty of rhyme). And Theoretically this should be fine, we can follow it. But that need fortune and inspiration. After some practices taking me all a day, I really learned that Chinese classical poetry translation is really a tough job which requires literature accumulation and inspiration, it is a long way to go for me.

However, not in vain. To be frank , somehow, this reading and practicing strengthened my self-confidence. Some published works are so awful that to be a wholly shit.. For example, “Pearls of Tang and Song Poetry” by Zhou Ji, Shanghai Culture Publishing House. In addition, I found two criterion of myself for poetry translation.

first, ignore grammar rules if necessary. Every language has a history over thousands of years and has its own sets of rules. Different language reflects different mode of thinking. English is a logical language being efficient at collecting and calculating, on the contrary, Chinese is a perceptual language being efficient at diverging and emotion expressing. Thus in nature, Chinese possesses the better quality than English in poetry creation.

In the translation of “长相思”， Xu Yuanchong completed two versions---- The early one was published in 1986 by the Commercial Press. The first line(吴山青，越山青) was translated as “the northern hill is so green, the southern hill is so green”. in later one published by China Press Group, It was improved by “northern hills green, southern hills green.” The later one breaked English grammar rules of object and predict and became

much better than the early one in terms of rhyme and image. Therefore we shouldn”t always abide English grammar rule at the cost of lose beauty of artistic conception.

Second, not only a matter of being faithful translation on structure, but line length can affect the image description and information delivery. I will illustrate this point following.

For its splendid image and emotion description, “Bells Ringing in the Rain “ has been best-known from ancient times till nowadays and drive many translators to conduct it. The most authoritative two are translated by Xu Yuanchong And Liu Guoshan. Taking them as models, imitate and improve by the two criterions having found by myself, I got mine. This three versions would be taken as the subject for comparing and evaluating.

雨霖铃翻译成对话篇四
《雨霖铃,翻译》

雨霖铃翻译成对话篇五
《宋词《雨霖铃》英文翻译》

雨霖铃翻译成对话篇六
《《雨霖铃》的英译》

[Abstract] Chinese poem translation is a difficult task. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. It is difficult to translate the original meaning, the atmosphere and the charm completely. The English versions of many outstanding Chinese

classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. This thesis first points out that artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. It is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader. The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in words and expressions. This thesis then takes the version of Bells Ringing in the Rain for example to analyze the difficulty of the conveyance of the poem briefly. In the point of the author‟ view, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. The author narrates three ways through the comparison of the two versions of “bells ringing in the rain” and other examples for further explanation. At the end, the author points out that they are only three effective ways but not the absolute means.

[Key Words] Chinese poetry; artistic conception; Bells Ringing in the Rain; solution

【摘 要】 汉诗英译是否成功就在于能否成功的传达意境。要成功的传达意境是不容易的，许多好的汉语诗歌翻译成英语后总是会失去原作的艺术魅力、本文首先指出：意境是通过形象化的情景交融的艺术描写，能够把读者引入到一个想象的空间的艺术境界，意境传达的困难在于中西方存在着诸多差异，不同的历史文化，风俗习惯和思维定势都使汉语诗歌的意境传达成为一个难题，本文以《雨霖铃》的译文为例，分析了这首诗歌意境传达的困难，接着通过《雨霖铃》的两种译文对比提出了意境传达的三种有效方式：传情达意，挖掘意象，激发联想。最后作者提出，这只是三种有效的方式，而不是绝对的方式。

【关键词】汉诗英译；意境；《雨霖铃》；方式

1. Introduction

"Poetry is a super art of language.”[1] A well-known statement is made by Robert Frost “Poetry is what gets lost in translation”.[2] Poetry translation is a difficult task and it is especially true in the Chinese poetry translation. “Indeed, poetry translation is a creative task.”[3] Burton Raffel says, “The translated poem should first be a new poem, a good one, and should be the favor of life, instead of lifeless academic accuracy.”[4] The English versions of many outstanding Chinese classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. Many famous sayings and beautiful lines, which enjoy great popularity during hundreds of years, make the Chinese readers have a deep sympathetic chord. But foreign readers cannot understand them actually, or they may even feel bewildered and the most important reason is that the translation of Chinese poetry is lack of the conveyance of artistic conception. The success of translation of Chinese poems depends on whether it can approximately

transmit artistic conception of Chinese poems and lead the readers into a space of imagination. China‟s poet as well as literary and theoreticians mostly think that the greatest achievement of poetry creation lies in artistic conception .It is the soul of poetry. Then what on earth is artistic conception of poetry?

1.1 The definition of artistic conception

Artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. The blend of situation and emotion is the basic component of artistic

conception, which is involved in two aspects, one is the objective of images in life, the other is the ideal subjective creation of the poet, we call the former one as “jing”, and the later one as “yi”. Therefore, artistic conception is the unified entity of the two aspects. [5]

Artistic conception is one of the most important aesthetic conceptions in ancient China, which can be traced back to Tang Dynasty. In his The Style of Poetry poet Wang Changlin firstly put forward artistic conception together with “物境”“情境” (two of three levels like artistic

conception used to describe respectively the object and the circumstances of a poem).[6] Although he proposed the three levels together, he didn‟t point out the relationship. Jiaoran, a poet and a monk as well, once pointed out the relations between Yi (image) and Jing (situation). He thought that the feelings of a reader to a poem start from its situation.[7] Liu Yuxi who carried on

Jiaoran‟s theory advanced that we can say in Tang Dynasty, the Aesthetic School---the leading school of poetry which analyzes poem with artistic conception, was formed.[8] And in Qing Dynasty, Wang Guowei gave a deeper research on the connotation and creation of artistic conception. As he says in his “Comments on ci Poetry”, “Not only can literature motivate the writer himself, but also it can touch the hearts of others.”[9] Mao Dun then thought the

connotation of the literature translation is the transmission of the ideal condition .He said "the literature translation is to transmit the artistic ideal condition of the original work in another language and make reader be inspired equally, affected and get the beautiful feeling when they read the original work. [10]

1.2. The difficulties of the conveyance of artistic conception

For many years, lots of Chinese scholars as well as foreign researchers put their effort to do the arduous work to translate classical Chinese poems into English. And among their works, there is no lack of excellent translation. As a matter of fact, just through the wonderful translation of some excellent translator, a lot of famous classical Chinese poems have won their world reputation. However, as a kind of artistic appreciation, we usually have a little pity that the translation of

Chinese poetry still cannot express artistic conception when we read as the Chinese readers, lots of Chinese classical poems have lost their original romantic charm, complete information,

three-dimensional effect, and the state that can lead the readers into a indefinite imagination. It is not surprised to see that many scholars consider the translation of Chinese ancient styled poetry to be an unsuccessful field so far. We can see that even if some translations display the content of poetry, they fail to transmit, interpret the mood, the image, and the situation of poetry. Because of the huge divergence between the East and the West, it is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader.

The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in the aspect of words and expressions.

The renowned translator Mr. Yang Xianyi has said:" There are many other factors constituting certain meanings in original text .It is simply not impossible to transmit these meanings for the persons under different cultures. [11] For example: the Chinese readers have some association spontaneously with weeping willow in a Chinese poetry, it is impossible to cause this kind of association naturally if it is translated into another language. In many poems the terminology (poem language) often has their cultural historical background causing the reader to associate sufficiently. [12] There is no final translation for any translation is partial since it is hardly

possible for any translator to seek balance between various requirement.[13] Of course it contains the conveyance of artistic conception.

2. The analysis of Bells Ringing in the Rain

Here, the author will probe how to transmit artistic conception in the translation of Chinese poetry by the English version of Bells Ringing In The Rain.

2.1 The comment of Bells Ringing In The Rain

LiuYong‟ poems are good at description of details, and written in a pithy style . This poem expresses the parting feelings and describes the scene of parting and the painful mood. The emotion is also very sentimental. This poem is of Liu Yong‟s representative works. The first stanza describes the parting scene, the author describes the cicada chillily, and two loves were parting in the roadside shelter. The boat was urging. They were reluctant to part, hand in hand with tearful eyes, sobbing without a word. The misty waves in the great distance and the distant sky also appeared so heavy. In the second stanza, the author sighed woefully: parting lets the

human be sad since the old times. The longer they part, the sadder they feel. Even if there is bright days and beautiful scenery, the poet still cannot cheer up.

“The cicada”, “the roadside shelter”, “the sudden downpour”, “the national capital” “the boat”, “the misty wave” and “the southern sky”----- these images composed the departure picture of gloomy color, brim with the thick deep sorrow. The Chinese reader can feel the author's sad mood after they read and produce the sympathetic chord, but as a result of the cultural environment and the background difference, foreign readers may not have similar feeling, nor can they induce to this dignified atmosphere. the Chinese reader could carry on the very natural association to above these images, form a series of pictures in the brains, but the foreign reader possibly can not be able to understand this completely. In the second stanza, what is the relation between “多情” and “自古”? How to translate “晓风残月”? what is“良辰好景虚设” on earth? It is very difficult to describe the painful mood and the deep sorrow faithfully to the foreigners.

2.2 The difficulties of the conveyance of artistic conception of Bells Ringing in the Rain

It is not completely possible to translate the original poem, the mood and the atmosphere，which is also an extremely big difficult problem, such as:

Firstly, It is difficult to convey the emotion in the poem: the emotion here is not presented explicitly but implied in the description of the images. It is hard to convey the connotation and association significance of images to the foreigners. In addition, the Chinese poems usually consist of several images, the poet can display some pictures in front of the readers through the depiction of the images. In Bells Ringing in the Rain, “ the pavilion” “evening clouds” “willow trees” “waning moon”---these images constitute a scene of sorrow departure in dreary Autumn. It is not easy to select proper words to convey the images as well as suitable words to connect them

in the process of translation. Finally, In Bells Ringing in the Rain, Chinese readers can associate the waving willow trees and waning moon to the reluctance of departure. It is hard to bring the similar fantasy to readers in English version, because some image cannot arouse the same association to the foreigners. There is also one point that we should notice: the conveyance of artistic conception is a common problem, sometimes even if the version embodies the charm of the original poem, the foreigners may not understand it completely because of the cultural

differences. Just as the foreigners cannot understand the love of Liang Shanbo and ZhuYingtai, Here, the author only would like to discuss the ways to convey artistic conception.

3. Three strategies to convey artistic conception

To be exact, Zhao Zecheng‟s artistic conception includes three aspects: Qing (emotion), Jing (situation), and imagination. To counter these three aspects, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. [14]

3.1 Express feelings and ideas

When doing the translation of Chinese poems, we should firstly make clear the main idea of the original poem, the situation set in the poem and ideas and feelings that the author wants to express, otherwise, we do not translate but create poetry.

In ancient China, there are the sayings like “ideal can be conveyed by poetry, and „poetry is stemmed from emotions.”[15] Wang Guowei, an aesthete in modern times, indicates that „only when a poet is able to reflect the real life and express his real feelings by his poem has he reached a higher level of poetry creation.‟[16] In his opinion, the simple natural scenery, such as birds‟ singing, flowing water, flowers‟ blossom and drifting clouds cannot consist of „Artistic

conception‟ by their poems. The famous literary theoretician in Qing Dynasty, Ye Xie thought that emotion from the bottom of heart is one of the indispensable conditions in the creation of artistic conception, and whether artistic conception can be conveyed successfully by the translations or not depends on whether the translator is able to transmit the feelings between the lines, and

understand poet‟ mind. [17] As Eveing says in his „Translation and Sentiment‟, translator should not only translate the „tears‟, the „laughter‟, the „anger‟, the readiness to give life on the battlefield and the visible things, but also the grief, the happiness, the indignation, the utter devotion and the invisible sentiment. [18] For instance, here is several verses of Bells Ringing In The Rain. A is translated by Rewi Alley, and B is translated by Xu Yuanchong.

“都门帐饮无绪”

A We drink to each other

B Can we care for drinking before we part

“饮”“无绪”the two words add anxiety to the parting, people usually would drink wine when parting in ancient time. The poet was so sad that he would not like to drink at all. „Drink to each other‟ in Alley‟s translations does not show this kind of mood. Xu Yuanchong translates the words into „Can we care for drinking before we part‟ reflect a kind of disconsolateness，So,

XuYuangchong‟ s translation is better. If the poem embodies the poet‟ emotion, the version should indicate it. Let us look at another verse:

执手相看泪眼，竟无语凝噎

A we clasp hands, faces wet

with tears; unable to say anything

B Hand in hand we gaze at each other‟s tearful eyes

And burst into sobs with words congealed on our lip

To translate the emotion in these two verses，we must grasp the psychological condition of the poet. Looking at each other „s tearful eyes with hand connecting, they would like to say something, yet speechless for sobbing finally. “执手”“相看”“泪眼”“无语凝噎” are a succession of words describing the hero‟s sorrow and the grief, Xu Yuanchong uses„gaze at‟and„tearful eyes‟to

describe the mood, and transmit the emotion, „burst into‟ indicates the eruption of his preserved sentiment, „congealed‟ vividly manifest the sadness. Obviously, in version A „wet with tears‟ greatly weakens the emotion and cannot transmit artistic conception of the original poem. Obviously, it is inadequate to only display the content, we also should express the feelings between the lines properly. For example:

多情自古伤离别，更那堪、冷落清秋节

That is to say, people always feel sad when parting since the ancient times. How does a lonely person live in this chilly autumn? Here the poet is displaying a kind of disconsolate mood.

A ever have people hated

leaving there friends, and now

the cold autumn with its sadness

on top of it all;

B Lovers would grieve at parting as of old.

How could you stand this clear autumn day so cold

Compared with „hated‟, „grieve‟in B indicates that the poet feels brokenhearted, the rhetorical question corresponds the original poem expressing the psychology of sad feeling in the lonely autumn, which conformed to the artistic conception of the original poem. Obviously, B is more successful in transmitting artistic conception.

雨霖铃翻译成对话篇七
《虞美人 念奴娇 雨霖铃 翻译》

【虞美人】解释：

上阕:：一年一年的消磨时光什么时候终了，往事随着时光流逝谁知有多少？昨夜汴京小楼上又吹来东风，故国往事凄迷不忍回忆，尤其在皎洁的月色中。 下阕：那里雕花的围栏、玉石的亭台应该还在，只是当年年轻的俊美容颜已经全改。问你能有多少哀愁，那过往的哀愁好象一江春水浩浩荡荡地流走了。

【雨霖铃】翻译：

上阕:：秋后的知了叫得是那样地凄凉悲切，面对着和亭，正是傍晚时候，一阵急雨刚住。在汴京城门外饯行的帐蓬里喝着酒，没有好心绪，正在依依不舍的时候，船上人已催着出发。握着手互相瞧着，满眼泪花，直到最后也无言相对，千言万语都噎在喉间说不出来。想到这回去南方，这一程又一程，千里迢迢，一片烟波，傍晚的云雾笼罩着南天，深厚广阔，不知尽头。 下阕：自古以来多情的人最伤心的是离别，更何况又逢这冷落凄凉的秋天，这离愁哪能经受得了！谁知我今夜酒醒时身在何处？怕是只有杨柳岸边，凄厉的晨风和黎明的残月了。这一去长年相别，（相爱的人不在一起，）我料想即使遇到好天气、好风景，也如同虚设。就纵然有满腹的情意，又再同谁去诉说呢？

【念奴娇 赤壁怀古】 译文

上阕:：长江朝东流去，千百年来，所有才华横溢的英雄豪杰，都被长江滚滚的波浪冲洗掉了。那旧营垒的西边，人们说：那是三国时周郎大破曹兵的赤壁。陡峭不平的石壁插入天空，惊人的巨浪拍打着江岸，卷起千堆雪似的层层浪花。祖国的江山啊，那一时期该有多少英雄豪杰！

下阕：遥想当年周公瑾，小乔刚刚嫁了过来，周公瑾姿态雄峻。 手里拿着羽毛扇，头上戴着青丝帛的头巾，谈笑之间，曹操的无数战船在浓烟烈火中烧成灰烬。神游于故国（三国）战场，该笑我太多愁伤感了，以致过早地生出白发。人的一生就象做了一场大梦，还是把一杯酒献给江上的明月，和我同饮共醉吧

【永遇乐·京口北固亭怀古】译文

上阕:：大好江山永久地存在着，却无处去找孙权那样的英雄了。当年的歌舞楼台，繁华景象，英雄业迹都被历史的风雨吹打而随时光流逝了。夕阳照着那草木杂乱、偏僻荒凉的普通街巷，人们说这就是寄奴曾住过的地方。回想当时啊，刘裕率兵北伐，武器竖利，配备精良，气势好象猛虎一样，把盘踞中原的敌人一下子都赶回北方去了。

下阕：南朝宋文帝（刘裕的儿子）元嘉年间兴兵北伐，想要再封狼居胥山，建功立业，由于草率从事，结果只落得自己回顾追兵，便仓皇失措。四十三年过去了，向北遥望，还记得当年扬州一带遍地烽火。往事真不堪回想，在敌占区里后魏皇帝佛狸的庙前，香烟缭绕，充满一片神鸦的叫声的社日的鼓声！谁还来问：谦颇老了，饭量还好吗？

雨霖铃翻译成对话篇八
《翻译赏析 雨霖铃 --柳永》

雨霖铃翻译成对话篇九
《英语论文-从《雨霖铃》的译文谈汉诗英译的意境传达》

从《雨霖铃》的译文谈汉诗英译的意境传达 [Abstract] Chinese poem translation is a difficult task. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. It is difficult to translate the original meaning, the atmosphere and the charm completely. The English versions of many outstanding Chinese classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. This thesis first points out that artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. It is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader. The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in words and expressions. This thesis then takes the version of Bells Ringing in the Rain for example to analyze the difficulty of the conveyance of the poem briefly. In the point of the author‟ view, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. The author narrates three ways through the comparison of the two versions of “bells ringing in the rain” and other examples for further explanation. At the end, the author points out that they are only three effective ways but not the absolute means.

[Key Words] Chinese poetry; artistic conception; Bells Ringing in the Rain; solution

【摘 要】 汉诗英译是否成功就在于能否成功的传达意境。要成功的传达意境是不容易的，许多好的汉语诗歌翻译成英语后总是会失去原作的艺术魅力、本文首先指出：意境是通过形象化的情景交融的艺术描写，能够把读者引入到一个想象的空间的艺术境界，意境传达的困难在于中西方存在着诸多差异，不同的历史文化，风俗习惯和思维定势都使汉语诗歌的意境传达成为一个难题，本文以《雨霖铃》的译文为例，分析了这首诗歌意境传达的困难，接着通过《雨霖铃》的两种译文对比提出了意境传达的三种有效方式：传情达意，挖掘意象，激发联想。最后作者提出，这只是三种有效的方式，而不是绝对的方式。

【关键词】汉诗英译；意境；《雨霖铃》；方式

1. Introduction

"Poetry is a super art of language.”[1] A well-known statement is made by Robert Frost “Poetry is what gets lost in translation”.[2] Poetry translation is a difficult task and it is especially true in the Chinese poetry translation. “Indeed, poetry translation is a creative task.”[3] Burton Raffel says, “The translated poem should first be a new poem, a good one, and should be the favor of life, instead of lifeless academic accuracy.”[4] The English versions of many outstanding Chinese classical poems which are gently beautiful, vigorous and deep usually cannot present the original taste and flavor of the poetry. Many famous sayings and beautiful lines, which enjoy great popularity during hundreds of years, make the Chinese readers have a deep sympathetic chord. But foreign readers cannot understand them actually, or they may even feel bewildered and the

most important reason is that the translation of Chinese poetry is lack of the conveyance of artistic conception. The success of translation of Chinese poems depends on whether it can approximately transmit artistic conception of Chinese poems and lead the readers into a space of imagination. China‟s poet as well as literary and theoreticians mostly think that the greatest achievement of poetry creation lies in artistic conception .It is the soul of poetry. Then what on earth is artistic conception of poetry?

1.1 The definition of artistic conception

Artistic conception is a kind of ideal artistic state, which can lead readers into the situation and emotion of a poem. The blend of situation and emotion is the basic component of artistic

conception, which is involved in two aspects, one is the objective of images in life, the other is the ideal subjective creation of the poet, we call the former one as “jing”, and the later one as “yi”. Therefore, artistic conception is the unified entity of the two aspects. [5]

Artistic conception is one of the most important aesthetic conceptions in ancient China, which can be traced back to Tang Dynasty. In his The Style of Poetry poet Wang Changlin firstly put forward artistic conception together with “物境”“情境” (two of three levels like artistic

conception used to describe respectively the object and the circumstances of a poem).[6] Although he proposed the three levels together, he didn‟t point out the relationship. Jiaoran, a poet and a monk as well, once pointed out the relations between Yi (image) and Jing (situation). He thought that the feelings of a reader to a poem start from its situation.[7] Liu Yuxi who carried on

Jiaoran‟s theory advanced that we can say in Tang Dynasty, the Aesthetic School---the leading school of poetry which analyzes poem with artistic conception, was formed.[8] And in Qing Dynasty, Wang Guowei gave a deeper research on the connotation and creation of artistic conception. As he says in his “Comments on ci Poetry”, “Not only can literature motivate the writer himself, but also it can touch the hearts of others.”[9] Mao Dun then thought the

connotation of the literature translation is the transmission of the ideal condition .He said "the literature translation is to transmit the artistic ideal condition of the original work in another language and make reader be inspired equally, affected and get the beautiful feeling when they read the original work. [10]

1.2. The difficulties of the conveyance of artistic conception

For many years, lots of Chinese scholars as well as foreign researchers put their effort to do the arduous work to translate classical Chinese poems into English. And among their works, there is no lack of excellent translation. As a matter of fact, just through the wonderful translation of some excellent translator, a lot of famous classical Chinese poems have won their world reputation. However, as a kind of artistic appreciation, we usually have a little pity that the translation of

Chinese poetry still cannot express artistic conception when we read as the Chinese readers, lots of Chinese classical poems have lost their original romantic charm, complete information,

three-dimensional effect, and the state that can lead the readers into a indefinite imagination. It is not surprised to see that many scholars consider the translation of Chinese ancient styled poetry to be an unsuccessful field so far. We can see that even if some translations display the content of poetry, they fail to transmit, interpret the mood, the image, and the situation of poetry. Because of the huge divergence between the East and the West, it is impossible to express completely the primary taste and artistic conception of Chinese poetry to every reader.

The reason is that the different historical culture connotations and different habits and customs as well as different thinking methods are formed in the aspect of words and expressions.

The renowned translator Mr. Yang Xianyi has said:" There are many other factors constituting certain meanings in original text .It is simply not impossible to transmit these meanings for the persons under different cultures. [11] For example: the Chinese readers have some association spontaneously with weeping willow in a Chinese poetry, it is impossible to cause this kind of association naturally if it is translated into another language. In many poems the terminology (poem language) often has their cultural historical background causing the reader to associate sufficiently. [12] There is no final translation for any translation is partial since it is hardly

possible for any translator to seek balance between various requirement.[13] Of course it contains the conveyance of artistic conception.

2. The analysis of Bells Ringing in the Rain

Here, the author will probe how to transmit artistic conception in the translation of Chinese poetry by the English version of Bells Ringing In The Rain.

2.1 The comment of Bells Ringing In The Rain

LiuYong‟ poems are good at description of details, and written in a pithy style . This poem expresses the parting feelings and describes the scene of parting and the painful mood. The emotion is also very sentimental. This poem is of Liu Yong‟s representative works. The first stanza describes the parting scene, the author describes the cicada chillily, and two loves were parting in the roadside shelter. The boat was urging. They were reluctant to part, hand in hand with tearful eyes, sobbing without a word. The misty waves in the great distance and the distant sky also appeared so heavy. In the second stanza, the author sighed woefully: parting lets the

human be sad since the old times. The longer they part, the sadder they feel. Even if there is bright days and beautiful scenery, the poet still cannot cheer up.

“The cicada”, “the roadside shelter”, “the sudden downpour”, “the national capital” “the boat”, “the misty wave” and “the southern sky”----- these images composed the departure picture of gloomy color, brim with the thick deep sorrow. The Chinese reader can feel the author's sad mood after they read and produce the sympathetic chord, but as a result of the cultural environment and the background difference, foreign readers may not have similar feeling, nor can they induce to this dignified atmosphere. the Chinese reader could carry on the very natural association to above these images, form a series of pictures in the brains, but the foreign reader possibly can not be able to understand this completely. In the second stanza, what is the relation between “多情” and “自古”? How to translate “晓风残月”? what is“良辰好景虚设” on earth? It is very difficult to describe the painful mood and the deep sorrow faithfully to the foreigners.

2.2 The difficulties of the conveyance of artistic conception of Bells Ringing in the Rain

It is not completely possible to translate the original poem, the mood and the atmosphere，which is also an extremely big difficult problem, such as:

Firstly, It is difficult to convey the emotion in the poem: the emotion here is not presented explicitly but implied in the description of the images. It is hard to convey the connotation and association significance of images to the foreigners. In addition, the Chinese poems usually consist of several images, the poet can display some pictures in front of the readers through the depiction of the images. In Bells Ringing in the Rain, “ the pavilion” “evening clouds” “willow

trees” “waning moon”---these images constitute a scene of sorrow departure in dreary Autumn. It is not easy to select proper words to convey the images as well as suitable words to connect them in the process of translation. Finally, In Bells Ringing in the Rain, Chinese readers can associate the waving willow trees and waning moon to the reluctance of departure. It is hard to bring the similar fantasy to readers in English version, because some image cannot arouse the same association to the foreigners. There is also one point that we should notice: the conveyance of artistic conception is a common problem, sometimes even if the version embodies the charm of the original poem, the foreigners may not understand it completely because of the cultural

differences. Just as the foreigners cannot understand the love of Liang Shanbo and ZhuYingtai, Here, the author only would like to discuss the ways to convey artistic conception.

3. Three strategies to convey artistic conception

To be exact, Zhao Zecheng‟s artistic conception includes three aspects: Qing (emotion), Jing (situation), and imagination. To counter these three aspects, artistic conception can be effectively transmitted to readers by the following three means: first, to express amorous feelings and ideas; second, to unearth images; finally, to stimulate imagination. [14]

3.1 Express feelings and ideas

When doing the translation of Chinese poems, we should firstly make clear the main idea of the original poem, the situation set in the poem and ideas and feelings that the author wants to express, otherwise, we do not translate but create poetry.

In ancient China, there are the sayings like “ideal can be conveyed by poetry, and „poetry is stemmed from emotions.”[15] Wang Guowei, an aesthete in modern times, indicates that „only when a poet is able to reflect the real life and express his real feelings by his poem has he reached a higher level of poetry creation.‟[16] In his opinion, the simple natural scenery, such as birds‟ singing, flowing water, flowers‟ blossom and drifting clouds cannot consist of „Artistic

conception‟ by their poems. The famous literary theoretician in Qing Dynasty, Ye Xie thought that emotion from the bottom of heart is one of the indispensable conditions in the creation of artistic conception, and whether artistic conception can be conveyed successfully by the translations or not depends on whether the translator is able to transmit the feelings between the lines, and

understand poet‟ mind. [17] As Eveing says in his „Translation and Sentiment‟, translator should not only translate the „tears‟, the „laughter‟, the „anger‟, the readiness to give life on the battlefield and the visible things, but also the grief, the happiness, the indignation, the utter devotion and the invisible sentiment. [18] For instance, here is several verses of Bells Ringing In The Rain. A is translated by Rewi Alley, and B is translated by Xu Yuanchong.

“都门帐饮无绪”

A We drink to each other

B Can we care for drinking before we part

“饮”“无绪”the two words add anxiety to the parting, people usually would drink wine when parting in ancient time. The poet was so sad that he would not like to drink at all. „Drink to each other‟ in Alley‟s translations does not show this kind of mood. Xu Yuanchong translates the words into „Can we care for drinking before we part‟ reflect a kind of disconsolateness，So,

XuYuangchong‟ s translation is better. If the poem embodies the poet‟ emotion, the version should indicate it. Let us look at another verse:

执手相看泪眼，竟无语凝噎

A we clasp hands, faces wet

with tears; unable to say anything

B Hand in hand we gaze at each other‟s tearful eyes

And burst into sobs with words congealed on our lip

To translate the emotion in these two verses，we must grasp the psychological condition of the poet. Looking at each other „s tearful eyes with hand connecting, they would like to say something, yet speechless for sobbing finally. “执手”“相看”“泪眼”“无语凝噎” are a succession of words describing the hero‟s sorrow and the grief, Xu Yuanchong uses„gaze at‟and„tearful eyes‟to

describe the mood, and transmit the emotion, „burst into‟ indicates the eruption of his preserved sentiment, „congealed‟ vividly manifest the sadness. Obviously, in version A „wet with tears‟ greatly weakens the emotion and cannot transmit artistic conception of the original poem. Obviously, it is inadequate to only display the content, we also should express the feelings between the lines properly. For example:

多情自古伤离别，更那堪、冷落清秋节

That is to say, people always feel sad when parting since the ancient times. How does a lonely person live in this chilly autumn? Here the poet is displaying a kind of disconsolate mood.

A ever have people hated

leaving there friends, and now

the cold autumn with its sadness

on top of it all;

B Lovers would grieve at parting as of old.

How could you stand this clear autumn day so cold

Compared with „hated‟, „grieve‟in B indicates that the poet feels brokenhearted, the rhetorical question corresponds the original poem expressing the psychology of sad feeling in the lonely autumn, which conformed to the artistic conception of the original poem. Obviously, B is more successful in transmitting artistic conception.

A does not display the emotion, therefore it fails in the transmission of artistic conception, but, XuYuanchong fully comprehends the poet‟s emotion of Bells Ringing In The Rain, and carries on the poet‟s sorrow by choosing the words. Finally he succeeds in the transmission of artistic conception. Transmission of artistic conception is closely linked with the emotion transmission. So we can make conclusion from the examples above, the transference of artistic conception is incomplete, if there is emotion in an original poem, but the translation fails to manifest the feelings in the verses,. In order to further the understanding the importance of emotion expression in translation, the author would like to give more examples: “晓镜但愁云鬓改，夜吟应觉月光寒。” （To One Unnamed） by Li Shangyin）The poem describes the immortal love: he cannot help thinking of his beloved for his deep love to her so that he does not see his image but that of his beloved while looking into the mirror. The two lines selected in the poem describe the feeling: the poet worries about his beloved‟s gray hair on head but not his own when he is looking into the mirror, he does not feel the chill of moonlight, but he worries that she will feel cold when he is crooning verse at night. The following are two kinds of translations of Innes Herdan(A) and Xu Yuanchong(B)

雨霖铃翻译成对话篇十
《柳永 雨霖铃综述 原文 译文 赏析》

柳永（约987年—约1053年），北宋著名词人，婉约派代表人物。汉族，崇安（今福建武夷山）人，原名三变，字景庄，后改名永，字耆卿，排行第七，又称柳

七。宋仁宗朝进士，官至屯田员外郎，故世称柳屯田。他自称“奉旨填词柳三变”，以毕生精力作词，并以“白衣卿相”自诩。其词多描绘城市风光和歌妓生活，尤长于抒写羁旅行役之情，其中慢词独多，铺叙刻画，情景交融，语言通俗，音律谐婉，在当时流传极其广泛，有“凡有井水饮处，皆能歌柳词”之说。柳永作为婉约派最具代表性的人物之一，对宋词的发展有重大影响，代表作有 《雨霖铃》、《八声甘州》、《凤栖梧》等[1],现存有大量诗篇。

雨霖铃综述

《雨霖铃》(寒蝉凄切)是宋代词人柳永的作品。此词上片细腻刻画了情人离别的场景，抒发离情别绪；下片着重摹写想象中别后的凄楚情状。全词遣词造句不着痕迹，绘景直白自然，场面栩栩如生，起承转合优雅从容，情景交融，蕴藉深沉，将情人惜别时的真情实感表达得缠绵悱恻，凄婉动人，堪称抒写别情的千古名篇，也是柳词和婉约词的代表作。

雨霖铃

寒蝉凄切⑴，对长亭晚，骤雨初歇⑵。都门帐饮无绪⑶，留恋处，兰舟催发⑷。执手相看泪眼，竟无语凝噎⑸。念去去⑹，千里烟波，暮霭沉沉楚天阔⑺。

多情自古伤离别，更那堪冷落清秋节！今宵酒醒何处⑻？杨柳岸，晓风残月。此去经年⑼，应是良辰好景虚设。便纵有千种风情⑽，更与何人说？[1]

白话译文

秋后的蝉叫得是那样地凄凉而急促，面对着长亭，正是傍晚时分，一阵急雨刚停住。在京都城外设帐饯别，却没有畅饮的心绪，正在依依不舍的时候，船上的人已催着出发。握着手互相瞧着，满眼泪花，直到最后也无言相对，千言万语都噎在喉间说不出来。想到这回去南方，这一程又一程，千里迢迢，一片烟波，那夜雾沉沉的楚地天空竟是一望无边。

自古以来多情的人最伤心的是离别，更何况又逢这萧瑟冷落的秋季，这离愁哪能经受得了！谁知我今夜酒醒时身在何处？怕是只有杨柳岸边，面对凄厉的晨风和黎明的残月了。这一去长年相别，相爱的人不在一起，我料想即使遇到好天气、好风景，也如同虚设。即使有满腹的情意，又能和谁一同欣赏呢？[

赏析

词的上片写一对恋人饯行时难分难舍的别情。起首三句写别时之景，点明了地点和节序。《礼记·月令》云：“孟秋之月，寒蝉鸣。”可见时间大约在农历七月。然而词人并没有纯客观地铺叙自然景物，而是通过景物的描写，氛围的渲染，融情入景，暗寓别意。时当秋季，景已萧瑟；且值天晚，暮色阴沉；而骤雨滂沱之后，继之以寒蝉凄切：词人所见所闻，无处不凄凉。加之当中“对长亭晚”一句，句法结构是一、二、一，极顿挫吞咽之致，更准确地传达了这种凄凉况味。

前三句通过景色的铺写，也为后两句的“无绪”和“催发”设下伏笔。“都门帐饮”，语本江淹《别赋》：“帐饮东都，送客金谷。”他的恋人在都门外长亭摆下

酒筵给他送别，然而面对美酒佳肴，词人毫无兴致。可见他的思绪正专注于恋人，所以词中接下去说：“留恋处、兰舟催发”。这七个字完全是写实，然却以精炼之笔刻画了典型环境与典型心理：一边是留恋情浓，一边是兰舟催发，这样的矛盾冲突何其尖锐！林逋《相思令》云：“君泪盈，妾泪盈，罗带同心结未成，江头潮欲平。”仅是暗示船将启碇，情人难舍。刘克庄《长相思》云：“烟迢迢，水迢迢，准拟江边驻画挠，舟人频报潮。”虽较明显，但仍未脱出林词窠臼。可是这里的“兰舟催发”，却以直笔写离别之紧迫，虽没有他们含蕴缠绵，但却直而能纤，更能促使感情的深化。于是后面便迸出“执手相看泪眼，竟无语凝噎”二句。语言通俗而感情深挚，形象逼真，如在眼前。寥寥十一字，真是力敌千钧！后来传奇戏曲中常有“流泪眼看流泪眼，断肠人对断肠人”的唱词，然却不如柳词凝炼有力。那么词人凝噎在喉的是什么话呢？“念去去”二句便是他的内心独白。词是一种依附于音乐的抒情诗体，必须讲究每一个字的平仄阴阳，而去声字尤居关键地位。这里的去声“念”字用得特别好。清人万树《词律发凡》云：“名词转折跌荡处，多用去声，何也？三声之中，上、入二者可以作平，去则独异。„„当用去者，非去则激不起。”此词以去声“念”字作为领格，上承“凝噎”而自然一转，下启“千里”以下而一气流贯。“念”字后“去去”二字连用，则愈益显示出激越的声情，读时一字一顿，遂觉去路茫茫，道里修远。“千里”以下，声调和谐，景色如绘。既日“烟波”，又日“暮霭”，更曰“沉沉”，着色可谓浓矣；既曰“千里”，又曰“阔”，空间可谓广

矣。在如此广阔辽远的空间里，充满了如此浓密深沉的烟霭，其离愁之深，令人可以想见。

上片正面话别，到此结束；下片则宕开一笔，先作泛论，从个别说到一般，得出一条人生哲理：“多情自古伤离别”。意谓伤离惜别，并不自我始，自古皆然。接以“更那堪冷落清秋节”一句，则为层层加码，极言时当冷落凄凉的秋季，离情更甚于常时。“清秋节”一辞，映射起首三句，前后照应，针线极为绵密；而冠以“更那堪”三个虚字，则加强了感情色彩，比起首三句的以景寓情更为明显、深刻。“今宵”三句蝉联上句而来，是全篇之警策，后来竟成为苏轼相与争胜的对象。据俞文豹《吹剑录》云：“东坡在玉堂日，有幕士善歌，因问：‘我词何如柳七？’对日：‘柳郎中词，只合十七八女郎，执红牙板，歌“杨柳岸晓风残月”。学士词，须关西大汉，（执）铜琵琶，铁绰板，唱“大江东去”。’”这三句本是想象今宵旅途中的况味：一舟临岸，词人酒醒梦回，只见习习晓风吹拂萧萧疏柳，一弯残月高挂杨柳梢头。整个画面充满了凄清的气氛，客情之冷落，风景之清幽，离愁之绵邈，完全凝聚在这画面之中。比之上片结尾二句，虽同样是写景，写离愁，但前者仿佛是泼墨山水，一片苍茫；这里却似工笔小帧，无比清丽。词人描绘这清丽小帧，主要采用了画家所常用的点染笔法。清人刘熙载在《艺概》中说：“‘多情自古伤离别，更那堪冷落清秋节。今宵酒醒何处？杨柳岸、晓风残月。’上二句点出离别冷落，‘今宵’二句乃就上二句意染之。点染之间，不得有他语相隔，隔则警句亦成死灰矣。”也就是说，这四句密不可分，相互烘托，相互陪

衬，中间若插上另外一句，就破坏了意境的完整性，形象的统一性，而后面这两个警句，就将失去光彩。

“此去经年”四句，构成另一种情境。因为上面是用景语，此处则改用情语。他们相聚之日，每逢良辰好景，总感到欢娱；可是别后非止一日，年复一年，纵有良辰好景，也引不起欣赏的兴致，只能徒增帐触而已。“此去”二字，遥应上片“念去去”；“经年”二字，近应“今宵”，在时间与思绪上均是环环相扣，步步推进，可见结构之严密。“便纵有千种风情，更与何人说”，益见钟情之殷，离愁之深。而归纳全词，犹如奔马收缰，有住而不住之势；又如众流归海，有尽而未尽之致。其以问句作结，更留有无穷意味，耐人寻绎。

耆卿词长于铺叙，有些作品失之于平直浅俗，然而此词却能做到“曲处能直，密处能疏，鼻处能平，状难状之景，达难达之情，而出之以自然”（冯煦《六十一家词选例言》论柳永词）。像“兰舟催发”一语，可谓兀傲排鼻，但其前后两句，却于沉郁之中自饶和婉。“今宵”三句，寄情于景，可称曲笔，然其前后诸句，却似直抒胸臆。前片自第四句起，写情至为缜密，换头却用提空之笔，从远处写来，便显得疏朗清远。词人在章法上不拘一格，变化多端，因而全词起伏跌宕，声情双绘，付之歌喉，亦能奕奕动人