用白话翻译古诗文,我的具体办法是采用“加三字重组词句”的手段,把原诗文的句子融进成白话句子,让其意义进一步明朗。这样不再随便增减字数,就与原诗的章篇大体相似,可以不丢古诗、律诗、绝句、乐府的基本形态,留有原来的平仄、粘对、韵脚、对仗的余影,如此挂靠住原诗,既不是注解式的散文,也不是截然不同的现代新诗。英诗常有分一句为两行或两行以上的情况,这同中国古诗相译配,不免有失衡之憾。我想在这方面下点功夫努力避免。本文的目的之一就是要呼吁学习外语(比如英语)的中国学生(包括本硕博)应当储备自己祖国的文化传统知识,加强与国际的交流;同时,本文也希望能提供一个新的视角,帮助这些学生了解中国诗歌最为灿烂时期的最为优秀的诗歌作品;最后,本文当然也希望有意了解唐诗的外国友人,能够读懂一些,纠正一些。诚如此,我的努力则没有白费。 Using vernacular to translate ancient poetry, my specific approach is to use the words “reorganization of words and phrases” to fuse the sentences of the original poems into vernacular sentences, so as to further clarify its meaning. In this way, it is no longer necessary to increase or decrease the number of words. It is roughly similar to the chapter of the original poem. You can not lose the basic forms of ancient poetry, legal poetry, quatrains, and Yuefu, and leave behind the original shadows, stickiness, rhythm feet, and the shadows of confrontation. Living in original poetry is neither an annotation-style prose or a completely different modern poetry. The English poetry is often divided into two or more lines. This is translated into Chinese ancient poetry and it is regrettable that there is an imbalance. I want to work hard in this area to avoid it. One of the aims of this article is to appeal to Chinese students (including Benbo) who are learning foreign languages ​​(such as English) to reserve their own cultural and traditional knowledge of the motherland and to strengthen international exchanges. At the same time, this article also hopes to provide a new perspective. Help these students understand the most outstanding poetry works of the most brilliant period of Chinese poetry; finally, of course, this article also hopes that foreign friends who are interested in understanding Tang poetry can read and correct some of them. So, my efforts have not been wasted.