基于功能對等的英文歌曲漢譯研究畢業(yè)論文

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NORTHCHINAUNIVERCITYOFSCIENCE畢業(yè)論文GRADUATETHESIS論文題目：基于功能對等的英文歌曲漢譯研究學(xué)生姓名：專業(yè)班級：11英語2班學(xué)院：外國語學(xué)院指導(dǎo)教師：2015年05月30日Chapter1Introduction1.1BackgroundoftheResearchAsanartisticform,songbroadlyexistsinourdailylife.Withit,ourlifebecomesrelaxedandenjoyable.InChina,song’sdevelopmentexperiencedaquitelongperiodoftime.ThefirstvolumeofsongstartedfromChina’sfirstcollectionofpoems--Shijing,whichisregardedastheheadstreamofChineseromanticliterature.ThereisnodoubtthatChinesesongshaveaverylonghistory.Peopleoftensaythatthereisnoboundformusic.Asanimportantmeansofculturalcommunication,songtranslationbecomesnecessaryandinevitable.1.2PurposeoftheResearchChinesescholarshavepaidmuchlessattentiontothetheoreticalstudyofthesongtranslationthantothesongtranslationactivityitself.Therefore,itisnecessarytomakeastudyonChinesetranslationofEnglishsongsfromanewperspective.ThisthesistriestoconductastudyontheChinesetranslationofEnglishsongsfromatheoreticalperspective.Nida’sFunctionalEquivalenceTheorywillbeusedinthisthesis.Atthesametime,someoftheexcellenttranslatedEnglishsongsarecitesinthisthesis.Bydoingso,theauthorhopestoexploresomeunderlyingprinciplesofChinesetranslationofEnglishsongsandtoprovetheapplicabilityofNida’sFunctionalEquivalenceTheorytoEnglish-Chinesesongtranslation.1.3SignificanceoftheResearchThereisnodoubtthatsongtranslationisadifficultresearchsubjectbecauseitcombinestranslatologywithmusicology.However,wecan’tgiveituponlybecausethatitisdifficult.Onthecontrary,sinceitisaveryimportantpartoftheculturalcommunicationbetweenChineseandwesterncountries,ascientificandsystematicstudyonitwillsurelybehelpfulforpeopletobetterappreciateEnglishsongs,tofeelthetruebeautyofEnglishsongs,andtoconsummateamoresystematictheoreticalframefortheChinesetranslationofEnglishsongs.1.4TheResearchMethodologyThemainpurposeofthisresearchistotestifytheapplicabilityofNida'sFunctionalEquivalenceTheorytoChinesetranslationofEnglishsongs.So,thevalidityofthistheorywillbeexploredindetailwithexamples.Ananalyzinganddescriptivemethodwillbeusedinthisthesis.Meanwhile,somewide-spreadEnglishsongswillbecitedandanalyzedonebyone.Bydoingthis,someunderlyingtruthsaboutChinesetranslationofEnglishsongsmaybefound,whichmayshowwhetherNida'sFunctionalEquivalenceTheorycanguideChinesetranslationofEnglishsongs.1.5TheStructureoftheThesisThisthesiscontainsfivechapters.Chapteroneisintroduction.Itmainlystatesbackgroundoftheresearch,purposeofthisresearch,significanceoftheresearch,theresearchmethodologyandthestructureofthethesis.Chaptertwoisliteraturereview.Itcoversrelatedstudiesofsongtranslationfromhomeandabroadconductedbyfar.Chapterthreemainlyincludesthedefinitionofsong,themainfeaturesofEnglishsongs,FunctionalEquivalenceTheory,andprinciplesforproducingfunctionalequivalenceandadjustments.Chapterfouristhemostimportantpart.InthisparttheauthorattemptstoexplorehowtorealizefunctionalequivalenceandwhatroledoestheFunctionalEquivalenceTheoryplayduringtheprocessoftranslatingEnglishsongsintoChinese.Chapterfivedrawsaconclusion.Chapter2LiteratureReview2.1ResearchesAbroadThewesternscholarsaremuchmoresuperiortoourChinesescholarsinthisarea.Inwesterncountries,songtranslationhasalreadybeenstudiedbysuchscholarsasFox-Strangways,SigmundSpaeth,Lewis,DentandPeyser.However,inthisfield,mostoftheworktendedtofocusontranslatingotherlanguagesintoEnglish.Westernscholarshaven’tdonemanyeffortsontranslatingEnglishintoChineseuntilnow.2.2ResearchesinChinaTheactivityofsongstranslationinChinahassomeimportantstagesindifferentperiods.SongstranslationinChinabeganinthelastdecadeoftheQingDynasty.Atthattime,thetranslatorsinChinapreferredrecreatingthelyricsintothetraditionalpoeticversestotheoriginalmusicthantranslatingtheoriginallyricsintoChinese.During1920s,agreatnumberofRussiasongsbegantobepopularinChina.Then,RussiansongsbegantobedeeplyrootedinChinesepeople'sheartsandinfluencedChinesegenerationaftergeneration.However,largenumbersofsongsarestillrecreatedworks.DuringtheAnti-JapaneseWar,RussiansongswereincreasinglyintroducedintoChinainordertoprovidemoreinspirationtooppressedChinesepeople.What’smore,someChinesemusiciansalsotranslatedsomeotherforeigncountries’songs,includingAmericansongs,EuropeansongsandJapanesesongs.Asoneofthemostfamousmusiciansatthattime,QianRenkangintroducedalotofEuropeanandAmericanclassicalsongstoChina,Schubert'sErevShelShoshanimandDerLindenbaumincluded.However,Russiansongswerestillmostpopular.The1950swasaprosperousperiodinthehistoryofChinesetranslationofEnglishsongs.In1952,TheSong,editedbyChinaMusicianAssociationwaspublished.Sincethen,avarietyofforeignsongswereintroducedintoChina,includingfolksongs,art-songs,aswellasrocksongs.Besides,thetranslatorsbegantopaymoreattentiontotranslatingforeignsongs.Duringthisperiod,mostoftheworkscanbecalledtranslations,andthelyricstranslatorsbegantoattachmoreimportancetothetechniquesofintegratinglyricsintomusic.Meanwhile,agreatnumberofexcellenttranslators,suchasXueFanandDengYingyi,wereengagedinEnglishsong’stranslationintoChinese,andcreatedalotofexcellentartisticworksofsongtranslation.TheExplorationandPracticeofSongTranslationwrotebyXueFancanberegardedasrelativelycomplete.Inthisbook,hemainlydiscussedtheinnerproblemsofthesongtranslationfromtheperspectiveofitscharacteristics.Healsomadeacomprehensiveresearchonthetechnicalproblemsofthesongtranslation,suchashowtouserhymes,tone,andsoon.From1978,withthepolicyofopening-up,thetypesoftranslatedEnglishsongswerediversified.AlmostalltypesofEnglishsongshavebeenmoreorlesstranslated.In1982,SelectedAmericanFolkSongs,whichwaspublishedbyForeignLanguageandResearchPress,contained28songs.Singing,publishedin1983，contained122songs.AndEnglishGoldenSongs,publishedin1992，contained55songs.However,mostofthesongsinthosebookswerejusttranslatedoutthemainideasloosely．Furthermore,100EnglishNewSongsandLikeRockandRoll，publishedin1994byXi’AnJiaoTongUniversityPress，hadnoChinesetranslation，orjusthadoccasionaltranslationsofsomeparts．ThequantityandqualityofChinesetranslationofEnglishsongsarestillnotenough.2.3TheCurrentResearchFromwhathasbeendiscussedabove,thereisnodoubtthatscholarshavemadesomeexplorationsonsongtranslation.Inspiteofalltheirachievements,therearestillalotofrelatedissuesstillleftuntouchedorjusttouchedalittle.Theresearcheswhichhavebeenconductedinthisfieldarestillfarawayfrommature,andneedmoreinquiry.ResearchonChinesetranslationofEnglishsongsisbadlyinneedofnewperspectiveandnewtheory-basedview.ThisthesisisintendedtomakeafurtherstudyaboutChinesetranslationofEnglishsongsbasedonthe

Functional

Equivalence

Theory.Theauthorwillgivesomepracticalsuggestions,andhopesthatthisthesismayhelppeopleknowmoreaboutEnglishsongsandtheirtranslationandinspiresomeotherscholarsforfurtherstudyinthisfield.Chapter3EnglishSongsandFunctionalEquivalenceTheory3.1TheDefinitionofSongSongisdefinedas"ashortmusicalcompositionmadeupofmutuallydependentwordsandmusicwhichtogetherproduceauniqueaestheticresponse"inWebster'sThirdNewInternationalDictionary(1976:2172).Thereareavarietyofclassificationsofsongs.Intermsoffunction,songscanbeclassifiedasCountrysongs,RockandRoll,Sportssongs,Filmsongs,Christmassongs,andsoon.Intermsoftimes,songscanbeclassifiedasclassicalsongs,popsongs,andsoon.However,nomatterwhatcategoryasongbelongsto,itcannotseparateitselffromthetwocloseelements--lyricsandmusic,whichmustsynchronizeperfectlyasthesonggoeson.AsChinesesongwriterFuLin(付林2003:4)putit:"Lyricsshouldbesingable,itiscloselyattachedtothemusic.”Whenoutstandinglyricsarecombinedwithexcellentmelody,itwillbefarsuperiortopuremusicorsinglewords.Lyricscanshowthecontentofthemusicmorespecificallyanddirectly,whilemusicwillmatchthelyricswithmorelivelyartisticexpression.3.2FeaturesofEnglishSongsEnglishsongshavesomeobviousfeatures.Thisthesiswillintroducesometypicalonesinthefollowingpart.3.2.1SimpleandRefinedLanguageFromthispointofview,Englishsongshavethesamecharacteristicsassongsofotherlanguages.Asweallknow,asongmustexpressitsspiritorthemewithinonlyafewminutes.Meanwhile,asongisdesignedtobeperformedforaudiences.Therefore,thelyricitusesshouldbeunderstandableaswellassuitableforsinging.Usingobscurewordswillsurelymakesingersandaudiencesfeelstrangeandtired.Itobviouslydoesnothinggoodforthespreadofasong.3.2.2ClearandRegularSentencePatternswithRegularRhythmsandRhymesJustlikepoetry,clearandregularsentencesareoftenusedinEnglishsongs,suchasparallelsentences,antitheticalsentences,andsoon.Rhymesrefertoaregularcorrespondenceofsounds,especiallyattheendsoflines.Thefunctionofrhymesistointegratethesporadicsoundsintoawholetune.Therhythminasongiscloselyconnectedtothelines,syllables,antithesis,rhymes,andcannotbeseparatedfromthepitch,intensityofsoundandmodulationintone.3.2.3Polysyllabic,withOneSyllableFittingOneMusicalNoteAsweallknow,Chinesecharactersaremonosyllabic.InChinesesongs,onesingleChinesecharacterusuallyfitsonemusicalnote,whileinEnglishsongs,asEnglishwordsusuallycontainsmorethanonesyllable,itisalmostimpossibletomakeonewordfitonemusicalnote一ifso,thesongcannotbesung.Accordingtotheauthor'sobservation,Englishsongwritersoftenmakeonesyllablefitonenote.ThatisanotherreasonwhysentencepatternsofEnglishsongsaresuccinctandshort.3.2.4SimpleStructureandShortLengthLimitedbytimeandspace,acommonsongusuallyconsistsofonlyseveralsentences,andeachsentenceisrelativelyshort.Thestructureisverysimpleandrepeatedsentencesareoftenused.3.2.5AbundantFiguresofSpeechFigureofspeechisanexpressionthatuseslanguageinanon-literalway,suchasametaphororsynecdoche,orinastructuredorunusualway,suchasanaphoraorchiasmus,orthatemployssounds,suchasalliterationorassonance,toachievearhetoricaleffect.Usingfiguresofspeechcanmakesongsmorelivelyandvivid,thereforecanenhancetheartisticeffect.Accordingtotheauthor'sdata-collecting,variousfiguresofspeechareusedinEnglishsongs,including:simile,metaphor,alliteration,repetition,pun,metonymy,personification,hyperbole,andrhetoricalquestion,ofwhichsimile,metaphor,repetitionandpersonificationaremostwidelyused.3.3FunctionalEquivalenceTheoryInthefieldoftranslation,Nida’sfunctionalequivalencetheoryisquiteinfluential.Thepredecessorof“functionalequivalence”isa“dynamicequivalence”,whichwasputforwardbyEugeneA.NidainTowardaScienceofTranslatingin1964.Hestatesinthebookthat“Insuchatranslationoneisnotsoconcernedwithmatchingthereceptorlanguagemessagewiththesource-language,butwiththedynamicrelationship,thattherelationshipbetweenreceptorandmessageshouldbesubstantiallythesameasthatwhichexistedbetweentheoriginalreceptorsandthemessage”(Nida,2004:159)Heemphasizesonthereconstructionofinformationnotonlytheadjustmentoflanguagestructure,andthe“equivalence”shouldbestandingonthepointofmeaningandspiritoftheoriginallanguagenotonlythecompletecorrespondencetothelanguageorlanguagestructure.Meanwhile,consideringthereceptors’status,Nidapointsoutthatthequalityofthetranslatedtextshouldbejudgedbythereceptor-languagereadersforwhichthetranslationservesforthem.Actually,Nida’s“dynamicequivalence”isfromthestartingpointofthereadersofthetargetlanguage,sothetranslatorsareinfluencedbythedifferencesofthelanguageandculturebetweentwocountriesinevitably,andasaresult,itisdifficulttoobtainthecompleteequivalenceasNidasays.Inthe1980’s,Nidafurthermodifiedtheprevioustheory.Hechangestheterm“dynamicequivalence”into“functionalequivalence”inFromOneLanguagetoAnotherin1986.Hefurtherexplainsthat“equivalencecannotbeunderstoodinitsmathematicalmeaningofidentity,butonlyintermsofproximity,i,e.onthebasisofdegreesofclosenesstofunctionalidentity”(Nida,1993:117)Thoughthetermsaredifferent,“dynamicequivalence”and“functionalequivalence”arethesameinessence,whichboth“aimatcompletenaturalnessofexpression,andtrytorelatethereceptorstomodesofbehaviorrelevantwithinthecontextofhisownculture;itdoesnotinsistthatheunderstandtheculturalpatternsofthesource-languagecontextinordertocomprehendthemessage.”(Nida,2004:159)Becauseofhistoricalandculturaldifferences,Nidadividestheequivalenceintotwolevels,themaximalandminimalequivalence.Hedefinesthemaximalandidealfunctionalequivalenceas“Thereadersoftranslatedtextshouldbeabletounderstandandappreciateitinessentiallythesamemannerastheoriginalreadersdid”(Nida,1993:118)Fortheminimalandrealisticfunctionalequivalence,hedefinesas“Thereadersofatranslatedtextshouldbeabletocomprehendittothepointthattheycanconceiveofhowtheoriginalreadersofthetextmusthaveunderstoodandappreciateit.”(Nida,1993:118)Theclosertomaximalfunctionalequivalenceis,thebetterthetranslationis.Recently,manyscholarsstillwonderhowtorealizethegoalofequivalence?InthebookofTheTheoryandPracticeofTranslation,EugeneA.NidaandCharlesR.Taberstate“Translatingconsistsinrespondinginthereceptorlanguagetheclosestnaturalequivalentofthesourcelanguagemessage,firstlyintermsofmeaningandsecondlyintermsofstyle.”(NidaandTaber,1969:13)EugeneA.NidaandCharlesR.Taberpointoutthattheessenceoftranslationis“beingequivalent”,andtheyplaceemphasisfirstonthe“meaning”aspect,second“beingclosest”and“beingnatural”torealizethegoaloftranslation“tobeequivalent”.Tosumup,FunctionalEquivalenceisoneofNida'smostimportantcontributionstotranslationtheory.Itemphasizes"thepriorityofcontents,translationmeanscommunication,theclosestnaturalequivalenceandreaders'response"etc.ItisapplicabletoguideChinesetranslationofEnglishsongs.Thereareseveralreasons:Firstly,thedifferencesoflanguagestructures,thedifferentrhythmsandrhymeschemesbetweenEnglishsongsandChinesesongsmakeitimpossibletomakeaword-for-wordtranslationbetweenEnglishandChinese.Secondly,songissimilartopoetry,thepurposeofsongisthecommunicationoffeeling,thetranslatormustreproducethesimilarfeelingtotheoriginal.Thirdly,theartisticpeculiarityofsongtranslationdeterminesthatitisworkofartcreation.Thetransferenceofthemeaningandthatofaestheticeffectisveryimportant,whichsatisfythecriteriaofFunctionalEquivalence--priorityofmeaningandreader'sresponse.Chapter4ChineseTranslationofEnglishSongsintheLightofFunctionalEquivalenceTheoryThischapterwillmakeastudyonChinesetranslationofEnglishsongs.Ashasbeenmentionedinthepreviouschapter,thepurposeofsongtranslationistoreproduce,inthetargetsong,theclosesteffectofunderstanding,singingandappreciationoftheoriginalsong.BecauseofthecharacteristicsofEnglishsongs,theauthorofthethesisthinksthattheprocessofsongstranslationismainlyabouttheprocessofrealizingfunctionalequivalenceofrhythm,formsandmeanings.Thefollowingofthethesismainlydiscussesaboutthetransformationsofvariouselementsconcerningrhythm,formandmeaningwithexamples,soastoseehowthefunctionalequivalenceofrhythm,formandmeaningcanberealized.4.1TheRealizationofFunctionalEquivalenceinRhythmGuoMoruoeversaid,"Rhythmisthelifeofapoem.Thereisnopoemwhichhasnorhythms".Sincesongsaresimilartopoetry,andrhythmisoneofimportantelementstoembodythebeautyofsound,wecansaythesongwhichhasnorhythmcannotbecalledasong:Thefollowingpartswilldiscussthetransformationofrhythm,whichusuallyincludestheadjustmentoffeetandrhymeschemeinsongtranslation.4.1.1TheAdjustmentofFeetItisclearthatEnglishwordsconsistofvowelsandconsonants;anEnglishwordhastwoormorethantwosyllables;itmusthavestressedandunstressedsyllables."onestressedsyllableandseveralunstressedsyllablesbandtogethertobuildupaunitofrhythm"(薛范2002:78)，whichiscalledafoot.InChinese,footiscalleddun,whichoftenreferstonaturalcharacter-groupbasedonmeanings.Thedunsofthetranslatedversionshouldaccordwiththeoriginalpauses,otherwisethesemanticgrouporharmonywillbeblemished.Forexample,Love'slikeabutterfly,(5syllables,3feet)愛情/像/小蝴蝶，(3duns)assoftandgentleasasight.(7syllables,3feet)它/飛來飛去/多敏捷(3duns)Themulticoloredmoodoflove,(6syllables,3feet)它/千姿百態(tài)/色彩鮮，(3duns)Ilikeitssallowwings.(5syllables,3feet)我/愛它/雙翅葉。(3duns)(Love'sLikeaButterfly.一300EnglishSongs,2004:355)Fromtheabove,itisobviousthateachsentenceoftheoriginalsonghas3feetandtheChineseversionhascorresponding3dunsaccordingtothemeaningunits.Thatistosay,thenumberoffeetintheEnglishsongandthepausesofitsChineseversionareusuallythesame.Ifthesongaboveistranslatedword-for-wordlikethis:“愛情/像/一只/蝴蝶，就像/一聲/嘆息/既柔軟/又溫柔，”notonlythefeetoftheoriginalsongarecompletelybroken,butonecanfind,inthesecondsentence,onenotehastocorrespondwith2or3characters.Thus,itcannotbesungeasilyandtheaestheticeffectoftheoriginalsongwillbedestroyed.4.1.2TheAdjustmentofRhymeSchemeTheadjustmentofrhymeschemeusuallyinvolvestheadjustmentofstressedwordsandpauseoftranslatedlyrics.Generallyspeaking,rhythmsofasongconsistofstrongorweakbeats,longorshortvalues,andpauses,etc.Sofarasthetypesofbeatsareconcerned,thepatternsmaybeduple,tripleorquadrupleandsoon.Thepatternsofthebeatsarerespectively:strong一weak(duple);strong一weak--weak(triple);strong一weak一sub-strong一weak(quadruple).Usually,whenwritingasong,thewritercomposesmusicfirstandlyricssecond.Asongwriterwillorganizethelyricsreasonablyaccordingtoitsmusicbeats;inotherwords,theyoftenmakethelogicalstressedwordsofthelanguagecorrespondtothestrongbeatsofthemusic.Otherwise,thesmoothnessofthesongwillbebroken,andevenproducemisunderstanding.Thereby,whenatranslatorconductsarelatedtranslation,heshouldnotignoretheoriginalmusicalrhythms.Tobespecific,"thenotionalwordsorstressedwordsintranslatedversionshouldaccordwithstrongbeats,andformwordsorunstressedwordsfallonweakbeats."(楊瑞慶2000:376)."Whenasongwritersetslyricstothemusic,hemustputthestressedsyllablesonthestrongbeatsortherelativestrongbeats"(薛范2002:79)."Theaccentedvowelsorlongsyllablesmustmatchcorrespondinglyemphasizednotesinthemusic."(Nida,2004:177)4.2TheRealizationofFunctionalEquivalenceinFormForminasongisveryimportant.Itusuallyreferstoitsmusicalform,whiledistinguishedfromthatofpureliteratureworks.Withoutform,asongcannotbesung,notmentionedaestheticeffect.Therealizationoffunctionalequivalenceinformusuallyincludesthetransformationofrhymes,theadjustmentofwordstructuresandtheadjustmentofsentencestructures.4.2.1TheTransformationofRhymesEnglishsongsandChinesesongscandatebacktoclassicalpoems,andtherhymesofsongsaresimilartopoems.RhymesinEnglishandChinesesongsaredifferent.However,theyhavesimilarfunctiontoembodythebeautyofmusic."Itispossibletomaketheequivalenceinrhymes.Ifthetypesofrhymesarenotequivalent,atleastrhymingispossible,whichcanpreservethebeautyofrhymesoftheoriginal."(劉必慶2005:101)Rhymereferstotheregularcorrespondenceofsounds,especiallyattheendofeachline.Thatistosay,therearethesameorsimilarsoundsattheendofeachline.ForEnglishpoems,thefeetindicatetheendofaline,butnotdefinitelytheendofasentence.ForChinesepoems,afootalwaysmeanstheendofasentence.Forexample：TheTigerTiger!Tiger!burningbrightIntheforestsofthenightWhatimmortalhardoreyeCouldframethyfearfulsymmetry?Inthispoem,therhyme[ait]in"bright"and"night"indicatetheendofthelinetheybelongto,butnottheendofthesentence.WhileinChinese,itisdifferent.Forexample,《贈別》多情卻似總無情，唯覺尊前笑不成。蠟燭有心還惜別，替人垂淚到天明。Inthispoem,therhyme[ing]isattheendofthefirst,secondandthelastline,whichindicatestheendofasemanticsentence.AccordingtoNida,functionalequivalencetheoryisbasedonreceptors'response;andnaturally,thepurposeofChinesetranslationofEnglishsongistoserveChinesesingersandaudience.Therefore,anexperttranslatorshouldtakethecustomofaestheticstandardsofChinesepeopleintoconsideration.Secondly,sincesongsareanartofauditorysensation,andthelengthoflyricsisusuallyveryshort,iftherhymesinasongarechangedtoofrequently,itsoundslikethereisnotrhymeatall,whichcannotbeacceptedbyChinesepeople.Onthecontrary,theuseofonlyonerhymecanproduceanintegrateeffectofmusic.However,usingonlyonerhymefromtheverybeginningtotheenddoesn'tmeanrhymingallthesentences.Thereisarule:“Putthesecond,thefourth,andthesixthlinesintorhymewithoutconsideringthefirst,thethird,thefifthlines."(薛范2002:87)Thisrulecanbeextendedasthis:puttingtheevenlinesintorhymewithoutconsideringoddlines.Forexample:RobinAdair《羅賓·阿代》這小鎮(zhèn)太沉悶羅賓已離開再沒有什么事令人愉快歡樂煙消云散過去的天堂不再來歡樂都跟隨你遠(yuǎn)去羅賓阿代(300EnglishSongs,2004:528)4.2.2TheAdjustmentofWordsStructuresAsmaintainedbyNida(2004:167)inhisbookTowardAScienceofTranslating:"Anaturaltranslationinvolvestwoprincipalareasofadaptation,namely,grammarandlexicon.Ingeneralthegrammaticalmodificationscanbemadethemorereadilysincemanygrammaticalchangesaredictatedbytheobligatorystructuresofthereceptorlanguage.Thatistosay,oneisobligedtomakesuchadjustmentsasshiftingwordorder,usingverbsinplaceofnouns,andsubstitutionnounsforpronouns."Insongtranslation,numerouswordsmustbeadjustedtomakethelyricssemanticallyclear,andmeettherequirementsofmusicandrhymes.Theadjustmentofwordstructuresusuallycoversthetransformationofpartofspeech,repetitionofwords,addition,subtraction,andtheapplianceofreduplicatedwords,etc.4.2.2.1TheTransformationofPartofSpeechofWordsThetransformationofpartofspeechofwordsincludes:changingpropositionintoverb,changingnounintoverb,changingadjectiveintoverb,andchangingnounintoadjective.Forexample:Be-holdthesunlight,inallitssplendor.你看那陽光，多燦爛輝煌。(RomanticClassicalSongsinEnglish,2003:78)Inthisexample,theword"splendor"isanoun,means"grandbeauty",andthecorrespondingChinesemeaningis“壯觀”(謝文英&何欣際1992:1176).Thetranslatorchangesitintoanadjectiveinhistranslationwiththepurposeofmeetingtherequirementoftherhyme.Evidently,thetwosentencessharethesamerhyme[uang].4.2.2.2TheRepetitionofWordsAsEnglishwordsarepolysyllabicandChinesecharactersaremonosyllabic,inordertomaketheversionaccordwiththemusicorexpressthebeautyofrhythm,thetranslatorusuallymakessomelyricsrepeated.Forexample:Notashirtonmyback,我沒有一件襯衫，notapennytomyname.我也沒有一分錢，Lord,Ican’tgobackhome,叫我怎么把家還啊thisaway.把家還？(300EnglishSongs,2004:198)Therepetitionusedhereistoaccordwiththeoriginalmusic;besides,itexpressesarhythmicbeauty.4.2.2.3TheAdditionofWordsAsweknow,EnglishisquitedifferentfromChineseincustomofexpression,languagestructureandthewayoflanguage'scombination.WhenitistransferredintoChinese,someadditionsofwordsareoftennecessarytomakeasmooth,vividandunderstandablestatementofthetargetlanguage.Forexample,IfIhadasongthatIwouldsingforyou,如果有首歌，我能為你演唱，I'dsingasongtomakeyoufeelthisway.我愿此歌讓你同樣歡暢。(RomanticClassicalSongsinEnglish,2003:33)Additionusedhereistomeettherequirementofrhyme[ang].4.2.2.4TheApplicationofReduplicatedWordsReduplicatedwordsinChineseareaspecialformofphrases,theapplicationofwhichcanenhancetheexpressingeffectandtheimpactofthelanguageintranslation.Seethefollowingexamples:1)Mavourneen,Mavourneen,mysadtearsarefalling.Thenwhyareyousilent.我親愛的姑娘啊，我熱淚滾滾，你為何默默無言。(English-ChinesebilingualSongsPamphlet,2001:48)2)Fare-welltothemountains,highcoveredwithsnow.再見座座高山，你白雪茫茫。(RomanticClassicalSongsinEnglish,2003:72)4.2.3TheAdjustmentofSentenceStructuresGenerallyspeaking,duetothedifferencesofexpressingcustomsbetweenEnglishandChinese,theshiftsofsentenceordersandtheexchangesofactivestructuresandpassivestructuresofsentencesbecomenecessaryintranslation.Thepurposeofadjustmentstowardsentencestructureismainlytoaccordwithrhymesinadditiontothenecessityofexpressing.4.2.3.1TheShiftofSentenceOrdersTherearesomanyexampleslikethisintranslatedsongsfromEnglishtoChinese.Forexample:Imaginethere'snoheaven.It'seasyifyoutry.試著想像沒天堂，試一試很容易。Nohellbelowus,aboveusonlysky.頭上有天空