【正文】 。王夫之《姜齋詩話》的“以樂景寫哀，以哀景寫樂，一倍增其哀樂”和劉熙載《藝概》的“雅人深致，正在借景言情”，已成為詩家口頭禪。今我來思，雨雪霏霏”，被稱為《三百篇》中最佳詩句之一?！恫赊薄?，似可稱為千古厭戰(zhàn)詩之祖?！拔倚膫?，莫知我哀”，全詩在這孤獨(dú)無助的悲嘆中結(jié)束。一別經(jīng)年，“靡使歸聘”，生死存亡，兩不可知，當(dāng)此回歸之際，必然會(huì)生發(fā)“近鄉(xiāng)情更怯，不敢問來人”的憂懼心理?！靶械肋t遲，載渴載饑”，加之歸路漫漫，道途險(xiǎn)阻，行囊匱乏，又饑又渴，這眼前的生活困境又加深了他的憂傷。絕世文情，千古常新?！边@是寫景記事，更是抒情傷懷。“昔我往矣，楊柳依依?；蛟S是突然大作的霏霏雪花驚醒了戍卒，他從追憶中回到現(xiàn)實(shí)，隨之陷入更深的悲傷之中。因此，是極自然的。這與詩意不符。將士們天天嚴(yán)陣以待，只因?yàn)楂N狁實(shí)在猖狂，“豈不日戒，玁狁孔棘”，既反映了當(dāng)時(shí)邊關(guān)的形勢，又再次說明了久戍難歸的原因。最后，由戰(zhàn)斗場面又寫到將士的裝備：“四牡翼翼，象弭魚服。君子所依，小人所腓?！边@概括地描寫了威武的軍容、高昂的士氣和頻繁的戰(zhàn)斗。接著圍繞戰(zhàn)車描寫了兩個(gè)戰(zhàn)斗場面：“戎車既駕，四牡業(yè)業(yè)。這兩章同樣四句一意，可分四層讀。寫出了軍容之壯，戒備之嚴(yán)，全篇?dú)鈩轂橹徽瘛Ｆ鋵?shí)，這也構(gòu)成了全詩的情感基調(diào)，只是思?xì)w的個(gè)人情和戰(zhàn)斗的責(zé)任感，在不同的章節(jié)有不同的表現(xiàn)。這樣，一方面是懷鄉(xiāng)情結(jié)，另一方面是戰(zhàn)斗意識(shí)?！边@可視為《采薇》之作的時(shí)代背景。匈奴傳》說：“(周)懿王時(shí)，王室遂衰，戎狄交侵，暴虐中國。其根本原因，則是“玁狁之故”。戍地不定，是因?yàn)閼?zhàn)事頻頻。這對時(shí)時(shí)有生命之虞的戍卒來說，不能不“憂心烈烈”。“薇亦作止”、“柔止”、“剛止”，循序漸進(jìn)，形象地刻畫了薇菜從破土發(fā)芽，到幼苗柔嫩，再到莖葉老硬的生長過程，它同“歲亦莫止”和“歲亦陽止”一起，喻示了時(shí)間的流逝和戍役的漫長。邊關(guān)士卒的“采薇”，與家鄉(xiāng)女子的“采蘩”、“采?！笔遣豢赏鞯摹Ｒ蜣辈丝墒?，戍卒正采薇充饑。而隨著時(shí)間的一推再推，這種心情越發(fā)急切難忍。前三章為一層，追憶思?xì)w之情，敘述難歸原因。全詩六章，可分三層。此詩就是三千年前這樣的一位久戍之卒，在歸途中的追憶唱嘆之作。此刻，他遙望家鄉(xiāng)，撫今追昔，不禁思緒紛繁，百感交集。道路崎嶇，又饑又渴。我心傷悲，莫知我哀!《詩經(jīng)今我來思，雨雪霏霏。 四牡翼翼，象弭魚服。駕彼四牡，四牡骙骙。 戎車既駕，四牡業(yè)業(yè)。憂心孔疚，我行不來!彼爾維何?維常之華。曰歸曰歸，歲亦陽止。我戍未定，靡使歸聘。曰歸曰歸，心亦憂止。不遑啟居，玁狁之故。曰歸曰歸，歲亦莫止。小雅采薇》賞析《詩經(jīng)行道遲遲，載渴載饑。今我來思，雨（y249。四牡翼翼，象弭(mǐ)魚服。君子所依，小人所腓(f233。駕彼四牡，四牡骙(ku237。戎車既駕，四牡業(yè)業(yè)。憂心孔疚，我行不來！彼爾維何？維常之華。曰歸曰歸，歲亦陽止。我戍未定，靡(mǐ)使歸聘。曰歸曰歸，心亦憂止。不遑啟居，玁狁之故。)止。采薇采薇采薇，薇亦作止。Today when I e back, Snow flies in the is so long and hard, That I feel hungry and one could read my sorrow Just in my is a proselike version without meter or first two sentences adapt the same syntactical structure which is the similar style to the original conveys the meaning of the poem, but lacks the beauty of rhythm and artistic two adjectives “hungry” and “thirsty” merely describe the situation and state facts, andcannot pare with Legge’s “hunger and thirst”.This is only the author’s personal opinion, if it has any unreasonable point, please oblige the author with your valuable Translating poetry could face a lot of trouble in forms, and this is , the real perfect translations could throw all restraints, and show the original poetry’s verve and a translation could be read thousands of times by readers, this is certainly a good translating poetry, one should grasp the poetry’s artistic conception and meter, and use all skills flexibly, thus convey the poetry’s beauties to a maximum Cited Bake, Mona, Encyclopedia of Translation : Shanghai Foreign Language Education Press，, Xiaofeng.[丁小風(fēng)], 《小雅” into “l(fā)ong, long the way。Who on earth will ever Wang Rongpei This version bines meaning and rhythm ingeniously, using [?u] as the expresses a feeling of sorrow and is in accordance with the difficult version is closest to original poem in terms of “three beauties”, and is identical with the theory “closest natural equivalence” put forward by Nida, a famous western I left there, Willow shed came back now, Snow bends the , long the way。we shall hearts are wounded with grief, And no one knows our James Legge James Legge was born at Huntly, Aberdeenshire, and educated at Aberdeen Grammar School and then Kings College, studying at the Highbury Theological College, London, he went in 1839 as a missionary to China, but remained at Malacca three years, in charge of the AngloChinese College College was subsequently moved to Hong Kong, where Legge lived for nearly thirty Chinese Christian, Keuh Agong acpanied Legge when he moved in returned home to Huntly, Aberdeenshire, in 1846–7, taking with him three Chinese and the students were received by Queen Victoria before his return to Hong Kong.(Wikipedia)“這首譯詩忠實(shí)地再現(xiàn)了原文的字面意義，使譯文讀者易于直接體會(huì)到詩的意境, 有‘身臨其境’之感”(“This version faithfully expresses the meaning of original poem, and let the readers know the artistic conception of the poem, and they could also have an immersed sense”)(Ding 50).Legge’s version is the representative of prosestyletranslation of version was the first translation of shijing published in Hong Kong in were detailed notes and ments apart from the translation, and it became the basis of the later ago, when we started, The willows spread their that we turn back, The snow flakes march before us is long, We are thirsts and hearts are stricken with sorrow, But no one listen to our Arthur Waley This version is based on iambus, but not very are no metrical feet, but more rhythmical than Legge’ many translations include A Hundred and Seventy Chinese Poems(1918), Japanese Poetry: The Uta(1919), The No Plays of Japan(1921), The Tale of Genji(published in 6 volumes from 192133), The Pillow Book of Sei Shōnagon(1928), The Kutune Shirka(1951), Monkey(1942, an abridged version of Journey to the West), The Poetry and Career of Li Po(1959)and The Secret History of the Mongols and Other Pieces(1964).Waley received the James Tait Black Memorial Prizefor his translation of Monkey, and his translations of the classics, the Analects of Confucius and The Way and its Power(Tao Te Ching), are still regarded highly by his poet used poems from A Hundred and Seventy Ch