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接受美学理论确立了读者的中心地位。把研究重心从作者和作品转移到读者的研究方法不仅对文学研究有很大的影响,而且对诗歌翻译也带来了新的启示。本文从接受美学理论的两位主要创始人伊瑟尔和姚斯的意义不确定性理论和期待视野理论入手评析《如梦令·昨夜雨疏风骤》的两种英译文。笔者认为不同时代应该有不同的声音,不同译者(同时是读者)应该有不同的译本。译者应该在充分传递原诗信息的基础上发挥主体性和创造性。而诗歌中的诸多未定性的点和意义空白召唤读者(译者)展开联想,读者(译者)期待视野的差异性又使这些联想各不相同,这样不同的译本如同白花争艳,各有千秋。
Aesthetic theory accepted the reader’s central position. The research methods that shift the research focus from author and work to reader not only have a great influence on literary studies, but also bring new revelations to the translation of poetry. This essay starts from the two theories of Uncertainty of Uncertainty and Horizon of Expectations, which are the two main founders of aesthetic theory. I think different times should have different voices, different translators (also readers) should have different versions. The translator should exert subjectivity and creativity on the basis of full transmission of the original poem information. However, many unrealistic points in poetry and the call for readers to uncover the gap call for readers, and the differences between readers’ expectations and horizons make these associations different. As a result, different versions of translations have their own merits and demerits.