上海海事大学
SHANGHAI MARITIME UNIVERSITY
硕 士 学 位 论 文
MASTER’S DISSERTATION
论文题目： 试论汉语叠词的翻译
学位专业：外国语言学及应用语言学
On The Translation Of Chinese Reduplicated Words
By Wang Ning
Under the Supervision of
Professor Han Zhonghua
A Thesis
Submitted to the College of Foreign Languages
of Shanghai Maritime University
in Partial Fulfillment of
the Requirements for MA Degree
Shanghai Maritime University
May 2009
Acknowledgements
It is none but Professor Han Zhonghua who deserves my heartfelt thanks and respect for his continued support, precious suggestions and painstaking modifications during the writing of this dissertation. I could not have done it without him.
There are many other people who contributed to this dissertation in many respects. First, I would like to thank Yao Qiang, Postgraduate classmate at Foreign Languages college of Shanghai Maritime University, for being so easy to work with. I want to thank him especially for his patience and constructive advice to perfect my dissertation.
Second, I would like to extend thanks to my friends Xu Huimin and Zhang Ge for teaching me some computer skills to revise my dissertation. I am also indebted to them for their unwavering encouragement.
Last but not least, I am extremely grateful to my parents for their emotional support and care over the years.
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4、研究方法的科学性；技术线路的可行性；设计
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3、论文（设计说明书）所体现的整体水平
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摘 要
叠词作为一种使用普遍的特殊词汇现象，对于研究语言文化的差异，对于先进文化的交流和传播，对于翻译方法的不断丰富和完善有着非比寻常的意义。对叠词一味的直译甚至死译，其效果是难以想象的。应该在认识到中英文化差异的基础上，结合其共有或相似的语言形式和因素寻求叠词科学的翻译方法。
基于上述一点，本文在翻译理论的指导下，结合大量的应用实例，对汉语叠词进行系统的分析归纳，探求其翻译的可能性和最佳方法。全文共分五个章节，希望通过对汉语叠词及其具体翻译方法的分析，为语用及英汉语言文化的对比研究提供一定的依据。
第一章为汉语叠词概述，包括叠词的定义、源由、词性和意义变化及其功能。
第二章对纷繁复杂的汉语叠词根据其形式进行完整具体的分类总结。
第三章主要探讨研究汉语叠词翻译的必要性和可能性。
第四章通过实例分析，结合奈达的功能对等理论探讨汉语叠词的翻译方法。
第五章对汉语叠词翻译过程中存在的局限进行探讨。
最后对全文内容加以总结。
经过研究可以发现，汉语叠词种类繁多，根据重叠形式或词性的不同都可以对其进行详细的归类，本文正是按前者的
标准
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将叠词进行系统完整的分类。汉语叠词的应用广泛性及其在汉语词汇以及句法方面独到的特点和作用又决定了研究其翻译的必要性。通过理论的指引和实例的总结，本文研究得出了汉语叠词的翻译的基本方法。值得一提的是，文章同时也阐述出叠词翻译的局限性，认识到其翻译在字词特点，声音形象，句法结构和感情表达完全体现的难度甚至不可译性。
关键词：汉语叠词; 翻译方法; 局限
ABSTRACT
Reduplication, as a special but widely used lexical phenomenon has an immense influence on the study of language disparities and advanced culture transmission. As for translation, it also plays an unusual role for the improvement of translating methods. Mere literal translation of reduplicated words might result in obscure texts. Therefore translators should both recognize the disparities between English and Chinese, and meanwhile research the common or similar language forms and elements, thus finding out the scientific translating methods of Chinese reduplicated words.
Based on the above-mentioned point, this paper aims at searching the optimal translating methods of Chinese reduplicated words through the theoretical guidance and considerable illustrations. The paper contains five chapters in all:
The first chapter is a brief introduction to Chinese reduplicated words, including its definition, origin, variations of part of speech and meaning as well as its functions.
The second chapter provides a detailed classification of Chinese reduplicated words according to the differences in form.
The third chapter mainly introduces the necessity and possibility in researching Chinese reduplicated words’ translation.
Under the guidance of functional equivalence by Eugene A. Nida, the fourth chapter makes the discussion focusing on the translating methods with a combination of concrete examples.
The fifth chapter analyzes the limitations existing in the translation of Chinese reduplicated words.
The last part is a systematic conclusion of the whole paper.
The study shows that Chinese reduplicated words have various forms, which can be classified according to both literal forms and part of speech. This paper makes a systematic and complete classification in the light of the previous standard. In addition, Chinese reduplicated words have extensive applications and unique features in Chinese lexicon and syntax, making the research of their translating methods of great necessity. It deserves to be mentioned that this paper also expounds the limitations of Chinese reduplicated words’ translation, revealing the difficulties in reproducing their characteristics in word, sound, structure and emotion. Even there might be a matter of Untranslatability.
Key words: Chinese reduplicated words; translating methods; limitations
Table of Contents
Acknowledgements………………………………………………………………..ⅰ
摘要…………………………………………………………………………………..ⅱ
Abstract……………………………………………………………………………...ⅲ
Preface………………………………………………………………………..….……1
Chapter 1 Introduction…………………………………………………………2
1.1Definition………………………………………………...........................2
1.2 Origin of reduplication………………………………………………………..2
1.3 Variations of reduplication………….…………………………………………..4
1.3.1 Variations of part of speech…………………………..…………………….4
1.3.2 Variations of meaning. ………………………………………………..……5
1.4 Functions of reduplication………………………………………………………6
1.4.1 Aesthetic function……………………..……………………………..…6
1.4.1.1 The beauty in sound………………………………………………...……6
1.4.1.2 The beauty in form……………………………………………………….7
1.4.1.3 The beauty in sense………………………………………………………8
1.4.2 Emotional function…………………………………………………...….10
Chapter 2 Patterns of Chinese reduplication…………………………………….12
2.1 Complete reduplication……………………………………………………….12
2.1.1 Single reduplication……………………………………………………...12
2.1.1.1 “AA” pattern……………………...……………………………..….…..12
2.1.1.2 “AAA” pattern………………..………………………………………13
2.1.2 Double reduplication……………………………………………………14
2.1.2.1 “AABB” pattern………………………………………………...…….14
2.1.2.2 “ABAB” pattern…………….…..………………………….…………15
2.2 Partial reduplication…………………………………………………16
2.2.1 Initial reduplication…………………………………………………...…..17
2.2.1.1 “AAB” pattern ………………………………………………………….17
2.2.1.2 “AABC” pattern…………………………………………………..……17
2.2.2 Reduplication of the termination …………………………………………18
2.2.2.1 “ABB” pattern………………………………………………….……….18
2.2.2.2 “ABCC” pattern……………………………………………….………..20
2.2.3 Reduplication at intervals…………………………………………………20
2.2.3.1 “ABA” pattern…………………………………………………..………21
2.2.3.2 “ABAC” pattern…………………………………………….…………..21
2.2.3.3 “ABCB” pattern………………………………………………………...22
Chapter 3 Necessity and possibility in researching Chinese reduplicated words’ translation……………………………………………………………………..24
3.1 Necessity………………………….……….……………………………24
3.2 Possibility……………..…………………………….......................25
3.3 Summary………………………………..………………………………...29
Chapter 4 Methods of translating Chinese reduplicated words……………….31
4.1 Approximation…………………………………………………………32
4.1.1 English reduplication……………………..…………………………32
4.1.2 Transliteration…………..……………………..………………………34
4.1.3 Phonetic rhetoric…………………………………………………….34
4.1.3.1 Onomatopoeia………..……………………………………..………35
4.1.3.2 Alliteration……………..………………………………………….37
4.1.3.3 Other rhyming patterns………………………………………….38
4.1.4 Repetition…………….………………………………………………39
4.1.5 Parallelism…………………….……………………………………41
4.2 Transformation…………………………………………………..…………41
4.2.1 Fixed structures……………………………..……………………….42
4.2.1.1Plural forms…………………………………………………………42
4.2.1.2 “Verb +a+ noun” structure………………………………………..……..44
4.2.1.3 “Nice (good, fine) + and + adjective” structure……………...44
4.2.2 Adoptions of specific modifiers……………………………………..45
4.2.3 Imagery translation…………………………………………………..47
4.2.4 Combination of methods and other methods……………………49
4.3 Summary……………………………………..…………………………51
Chapter 5 Limitations in the translation of Chinese reduplicated words….….53
5.1 Loss in aesthetic effect……………………………………………….………53
5.2 Uncertainty…………………………………………………………………….55
5.3 Untranslatability……………………………………………………………...57
Conclusion……………………....……………………………….……................60
Bibliography………………………………………………………….......................62
PREFACE
This dissertation focuses on the discussion of the translation of Chinese reduplicated words. As a special but common lexical phenomenon, reduplication, as well as its translating methods, deserves a detailed and systematic discussion.
Before the research of translating methods, this dissertation makes an introduction to reduplication of many aspects with relevant convincing examples provided.
Then in the light of functional equivalence, this dissertation makes an analysis on the necessity and possibility of Chinese reduplicated words’ translation. And with the theoretical support, the translating methods are fully illustrated from two aspects: approximation and transformation.
In the next chapter, the discussion goes to the limitations of Chinese reduplicated words’ translation. It is certain that there are great cultural disparities between English and Chinese, being an obstacle for the translation. Nevertheless, it is still believed that the common translating methods available for most reduplicated words can be concluded, thus attaining the “closest natural equivalence” as Eugene. A. Nida puts it.
In addition, the author hopes that this dissertation can contribute a bit to the research on language, culture and translation.
CHAPTER 1 INTRODUCTION
1.1 Definition
Reduplication, as a special lexical phenomenon and a commonly used rhetorical device of languages, refers to “the repetition of a syllable, a morpheme, or a word” (Richards, 1998:389). The similar explanation can also be seen in the Linguistic Dictionary of English, “reduplication is a pattern where the double or multiple occurrence of a sound string, syllable, morpheme, or word within a larger syntagmatic unit”. The creation of new words through reduplication mainly depends on affixing a copy of all or part of the base word. According to Chen Hongwei, Chinese reduplication is the reduplicated use of two words with the same sound, form and meaning so as to increase the vividness of language (Chen Hongwei, 1997:107). Compared with English, Chinese reduplication has an extensive and frequent application in both oral and written forms. Just as Professor Wang Li puts it, “An extensive use of Chinese reduplicated words to denote various meanings is a distinctive feature of Chinese”(Wang Li, 1984:36).
1.2 Origin of reduplication
From the perspective of history, human beings have gone through a history of recognizing nature and changing nature, thus promoting the progress of society. The emergence of newborn things and phenomenon results in new experience and new viewpoints, which requires new phonetic forms to achieve better expressions. Such a great need directly gives rise to the birth of reduplication. On one hand, the application of reduplication boosts the development of linguistics and lexics; on the other hand, social environment provides a large scope for the birth of various reduplicated words.
From the language aspect, due to the specific characteristics of its sounds and words, the use of reduplication tends to be more frequent in Chinese than any other language. Chinese belongs to Sine-Tibet family with most of its words single syllable. I.e., one word represents one syllable, which is prone to make reduplication. In addition, the beauty of balance is a distinctive feature of Chinese with antithesis a typical example. Consequently, a monosyllabic word is usually connected with a monosyllabic one while a disyllabic word with a disyllabic one in Chinese, which sounds rhythmical and writes symmetrical and smooth. Such a feature makes reduplication naturally come into being.
From the perspective of its application in literature works, reduplication has been universally adopted in many literature works throughout history till today. In Chinese it has its very origin in Shijing and acquires quite good artistic effect. Take the following text from it as an example:
(1) 惜我往矣，杨柳依依。今我来思，雨雪霏霏。
行道迟迟，载饥载渴。我心伤悲, 莫知我哀。
When me left home
The willows were softly swaying;
Now as we turn back
Snowflakes fly.
Our road is a long one
And we thirst and hunger,
Our hearts are filled with sorrow;
But who knows our misery? (Translated by Yang Xianyi)
The above eight lines are the last two stanzas from “采薇”(We Gather Vetch), in which there are in all four reduplicated words(依依,霏霏, 迟迟,载饥载渴). Such kind of word formation in Chinese not only makes the lines more readable and structurally symmetrical, but also gives the words new sense and emotion. The above example also fully shows the long history of its application.
1.3 Variations of reduplication
In modern literature, reduplication is adopted in a broader way with its forms diversified. However, compared with a single word, reduplicated words usually vary in both part of speech and meaning. Such variations make the expressions accurate and flexible. What is more, the variations of reduplication make the sentence patterns more diversified.
1.3.1 Variations of part of speech
Generally speaking, single verbs usually change into adjectives or adverbs after being reduplicated in the form of “AABB”. For example, the verbs “吞” and “吐” in Chinese, after being reduplicated as “吞吞吐吐”, may be used as adjectives such as “他十分讨厌吞吞吐吐的人。” There are many such words in language application such as “勾勾搭搭”, “恭恭敬敬” and “偷偷摸摸”. Take a look at the following sentences:
(2) 她十分讨厌拖拖拉拉的孩子。
(3) 来来往往的人把整个商场挤得满满的。
(4) 看他偷偷摸摸的样就知道他不是好人。
Another case is that reduplicated adjectives or adverbs may change into verbs in the form of “ABAB”. For example, “痛快” in Chinese is definitely used as an adverb such as “喝个痛快”, but when reduplicated in the form of “ABAB” (痛快痛快), it is used as a verb, such as “难得相聚，大家都痛快痛快。” More examples are provided below:
(5) 放寒假了，同学们潇洒潇洒一番。
(6) 待会儿人齐了，大家伙都高兴高兴。
(7) 为了取得最后的胜利，战士们都辛苦辛苦。
1.3.2 Variations of meaning
Chinese words, after being reduplicated, usually vary in meaning. Such variations of meaning include three aspects: meaning augment, meaning strengthening and meaning weakening.
Meaning augment: Reduplicated nouns and quantifiers tend to increase their original meanings such as “个个”, “件件”, “人人”, “天天”. Compared with “个”, “件”, “人” and “天”, reduplication endows the words with new meanings of “many(much)” or “every”.
Meaning strengthening: “Chinese reduplication functions as a way of highlighting the clou, deepening the emotion, strengthening the rhythm and increasing the beauty of phonology”(Chen Hongwei, 1998:107). Reduplicated adjectives, adverbs and quantifiers, can strengthen the meaning and deepen the extent such as “酸酸(的)”, “刚刚”, “一步一步”. Reduplicated verbs in the form of “A阿（呀）A”, “A着A着”, “” or “A里AC” or “ABAB” as adjectives or adverbs also have the above-mentioned effect such as “笑阿笑”, “跑着跑着”, “糊里糊涂” or “兢兢业业”. Such a variation of reduplication makes the expressions more precise.
(8) 爱情在他们心里噗噗地跳。
Love pit-a-patted in their heart.
(9) 他走着走着忽然想起刚才的事来。
He was walking when he thought of what had just happened.
Meaning weakening is mainly realized by the reduplication of verbs, which makes the tones mild and euphemistic. Especially when verbs are reduplicated in the form of “ABA” and “ABAB”, the degree of its original meaning weakens to denote one-off or tentative actions such as “问一问”, “想一想”, “聊一聊”, “尝试尝试”, “考虑考虑” or “活动活动”.
(10) 你们只可以吓一吓他，可别把他打伤了。
You may well give him a fright but be sure not wound him.
1.4 Functions of reduplication
Reduplication functions as an important way of enriching Chinese lexicon and conveying the meaning. Therefore lexically and semantically speaking, reduplication plays an irreplaceable role mainly by creating beauty in sound, beauty in form as well as that in sense. In addition, reduplication exerts a profound influence on emotional expressions.
1.4.1 Aesthetic function
Words are the combinations of sounds and meanings. The harmonic matching between sounds and meanings is helpful to the expressions and the use of reduplicated words is an effective way to serve such an aesthetic function. The reduplicated words have the features of audio musicality and formal tidiness, and naturally they can produce the beauty both in sound and in form and furthermore produce the beauty in sense. Therefore, the discussion of its aesthetic function will be made from the above three aspects.
1.4.1.1 The beauty in sound
One obvious feature of reduplicated words is that they have strong sense of rhythm with their harmonic sounds appealing to ears. Even though sounds do not have natural connection with meanings, however, they are indeed used as an effective way of reinforcing the meanings. “Chinese reduplication is used to enhance the language sense by means of the reduplication of sounds, to enhance the harmony in tone by means of harmony in sound”(Chen Wangdao, 1979:175). Moreover, sounds provide a large scope for the readers’ imaginations by vividly presenting the scenes to be described, making the image more understandable. Take the following text as an example:
(11) 听着鞭炮劈劈啪啪的响着，水兵们高呼着向岸上的同伴告别时，我的眼眶润湿了…(郑振铎《离别》)
Firecrackers were cracking and spluttering, and sailors shouting goodbye to their buddies on the shore…(Zhang Peiji, 1999:273)
Needless to say, it seems to present the real sound of firecrackers to ears the moment one reads “劈劈啪啪”. The most direct effect of Chinese reduplicated word lies in its beauty in sound. And the following poem written by Du Fu is also quite convincing:
(12) 车辚辚，马萧萧, 行人弓箭各在腰。(杜甫《兵车行》)
Chariots rumble，
And horses grumble.
The conscripts match with bow and arrows at the waist. (Xu Yuanchong, 1988：41)
In this poem, the realist poet Du Fu respectively adopted the sounds of rolling wheels “辚辚” and the sound of neighing horses“萧萧” to show a living scene that the soldiers all got ready to go up to the battlefield，giving the readers strong impact and sensation of sound.
1.4.1.2 The beauty in form
The harmony Chinese always emphasizes not only lies between sounds and meanings, but also between words and structures. This feature often results in the tendency of reduplication, which is a positive rhetorical device and necessary grammatical means to make the structure balanced and the meanings stressed. Although the form of reduplicated words diversifies, however, each form has the common feature---tidiness and symmetry. The cumulative use of reduplicated words makes the words themselves and the sentence structures simplified, ordered and shapely, thus giving birth to the beauty in form. The following poem is a typical example:
(13) 无边落木萧萧下，不尽长江滚滚来。(杜甫《登高》)
The boundless forest shed its leaves shower by shower,
The endless River rolls its waves hour after hour. (Xu Yuanchong，1988:45)
Antithesis is a distinctive feature of Chinese poems, and this rhetorical device itself can show the structural beauty of Chinese. Each word of the poem matches so perfectly with the limelight in the use of reduplicated words “萧萧” and “滚滚”, which not only demonstrates a vivid picture in front of eyes but also gives rise to immense beauty in form, giving the readers a rather balanced feeling. With the application of reduplicated words, the beauty in form of poems is furthermore demonstrated.
The following poem “Shengshengman” outweighs all the others in presenting the beauty in form and best explains this point:
(14) 寻寻觅觅，
冷冷清清，
凄凄惨惨戚戚。(李清照《声声慢》)
I seek but seek in vain,
I search and search again:
I feel so sad, so drear,
So lonely，without cheer. (Xu Yuanchong, 1988:87)
The unique usage of reduplication is artistic and innovative, fully showing Chinese reduplicated words’ incomparable beauty in form. Meanwhile, the continuous use of seven pairs of reduplicated words pushes the author’s loneliness and sadness to the peak. The expression of emotion through such a symmetrical and balanced form is unprecedented, showing the immense charm of Chinese characters and giving the target readers great enjoyment of sight.
1.4.1.3 The beauty in sense
In addition to the beauty in sound and that in form, reduplicated words never fail to present to the readers a beautiful and vivid picture of the image, which enables the readers to grasp the information the moment they read those lines and further give full play to their imaginations. The description long remains in mind even if the words disappear. This is the semantic beauty of reduplication. Take the following prose as an example:
(15) 曲曲折折的荷塘上面，弥望的是田田的叶子，叶子出水很高，象亭亭的舞女的裙。层层的叶子中间，零星的点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的……(朱自清《荷塘月色》)
The four reduplicated words “曲曲折折”, “田田”, “亭亭” and “层层” in this prose present a vivid picture of the lotus pool in front of eyes as if the readers were appreciating the beautiful scene in the appealing atmosphere themselves. It can be seen that reduplication is so effective in description, fully conveying the beauty in sense of Chinese reduplication.
The following poem from Old Nineteen Poems also provides a convincing example:
(16) 青青河畔草，
郁郁园中柳。
盈盈楼上女，
皎皎当窗牖。
娥娥红粉妆，
纤纤出素手。(《古诗十九首·青青河畔草》)
Green, green spreads the bank—side grass;
Lush, lush grows the garden willows.
Fine, fine stands the upstairs lass
Fair, fair her shape behind the windows.
Bright, bright beams her rouged face;
Soft, soft are her pale-skinned hands. (Translated by Wang Rongpei)
Semantically speaking, the six reduplicated words “青青”, “郁郁”, “盈盈”, “皎皎”, “娥娥” and “纤纤”, directly or indirectly, all tend to show the beauty of the heroine from different perspectives. The expression is so appropriate that one cannot help but imagine the incomparable appearance and the irresistible charm of the heroine. What is more, such musical expressions give the readers a double enjoyment of both sound and sight. All those lifelike expressions attribute to the application of reduplicated words.
1.4.2 Emotional function
Still reduplicated words can be used to convey personal feelings. Besides the literal meaning, what emotion an author intends to express or what position he stands for also can be obtained through the analysis on reduplicated words. The emotion can be either positive or negative, either commendatory or derogatory, either direct or indirect. For example:
(17) 我赤裸裸地来到这世界，转眼间也将赤裸裸的回去罢?(朱自清《匆匆》)
I have come to this world stark naked, and in the twinkling of an eye, I am to go back as stark naked as ever. (Zhang Peiji, 1999:76)
The reduplicated word “赤裸裸” describes the depression of the author for his loss at what to do and where to go. It can be tangibly felt from the repeated reduplicated word “赤裸裸” that the author completely falls into the abyss of confusion and holds a negative attitude towards life.
Take another text from A Dream of Red Mansions as an example:
(18) 机关算尽太聪明，反算了卿卿性命。生前心已碎，死后性空灵。家富人宁，终有个家亡人散各奔腾。枉费了，意悬悬半世心，好一似，荡悠悠，三更梦。呼喇喇似大厦倾，昏惨惨似灯将尽。呀！一场欢喜忽悲辛。叹人世，终难定！
Too shrewd by half, with such finesse you wrought that your own life in your own toils was caught;
But long before you died your heart was slain, and when you died your spirit walked in vain.
Fall of the great house once so secure in wealth, each scattered member shifting for himself.
After half a lifetime’s anxious schemes, proved no more than the stuff of dreams.
Like a great building’s tottering crash, like flickering lamp wick burned to ash,
Your scene of happiness concludes in grief: for worldly bliss is always insecure and brief. (Translated by David Hawks)
The application of the reduplicated word “卿卿”, together with the other four “ABB” pattern “意悬悬”, “荡悠悠”, “呼喇喇” and “昏惨惨”, racily demonstrates Wang Xifeng’s difficult situation. Meanwhile the application of reduplicated words conveys the author’s mercy to her, making a strong sarcastic effect. There is no doubt that it is the application of reduplicated words that highlights the emotion implied behind the words. This is the emotional function of reduplication.
CHAPTER 2 PATTERNS OF CHINESE REDUPLICATION
Chinese reduplicated words range from nouns, verbs, adjectives, and adverbs to quantifiers, onomatopoeias etc. Although it has various forms and part of speech, it still can be classified in a systematic way. According to the differences of reduplicated forms in a fixed phrase or expression, Chinese reduplicated words can be divided into the following two patterns.
2.1 Complete reduplication
In a certain phrase or expression, if each morpheme or character contained is unexceptionally of repetitive use, the word formation is complete reduplication, which may be either a single-character reduplicative expression or a four-character reduplicative one (usually an idiom).
2.1.1 Single reduplication
Single reduplication, which refers to the reduplication of a single syllabic character, can be classified into “AA” pattern and “AAA” pattern with the former one more commonly used.
2.1.1.1 “AA” pattern
For “AA” pattern, the reduplications of nouns and quantifiers convey the meaning of “many” or “every” such as “人人”, “年年”, “家家” “个个”, “层层”；The reduplication of verbs denotes the repetition or continuity of the action such as “谈谈”, “瞧瞧”, “尝尝”, “摸摸”, “试试”; And the reduplication of adjectives represents the strengthening or weakening of the extent such as “小小”, “甜甜”, “高高”, “长长”, “细细”.
(19) 绿化祖国，人人有责。
It’s everybody’s duty to make our motherland green.
(20) 山林炊烟缕缕上升。
Wisps of smoke rose continuously from the mountain village chimneys.
(21) 我能听见远处小溪的潺潺流水声。
I could hear the murmur of distant brook.
Such kind of pattern also wins great favor among many Chinese poets and writers. For example:
(22) 苍苍竹林寺，杳杳钟声晚。(刘长卿《送刘澈》)
Green, green the temple’mid bamboo,
Late, late bells ring out the evening. (Xu Yuanchong, 1988:56)
The following example written by general Chen Yi is more classical and representative:
(23) 行行过太行，迢迢赴延安
细细问旧故，星星数鬓斑。(陈毅《赴延安留别华中诸同志》)
On and on past Taihang we walk,
By and by to Yanan we make our way.
Again and again with old friends we talk,
One by one we count our hairs grey. (Translated by Xu Yuanchong)
The use of four reduplicated words “行行”, “迢迢”, “细细” and “星星” fully shows the hardship the revolutionary predecessors went through and the indelible years they devoted to Chinese revolutionary cause.
2.1.1.2 “AAA” pattern
“AAA”pattern is rarely used in practical writing. In most literature works, this pattern is usually the reduplication of onomatopoeia or is used to strengthen the emotion. For example, in A Dream of Red Mansions by Cao Xueqin, there are two following lines:
(24) 一个蚊子哼哼哼.
两个苍蝇嗡嗡嗡.
A mosquito hums and hums.
Two flies drone and drone. (Lv Ruichang, 1983:125)
Here, the adoption of “AAA” pattern “哼哼哼” and “嗡嗡嗡” demonstrate to the readers a vivid picture and an audio impact. In modern prose, “AAA” pattern is occassionally adopted by the writers. For example:
(25) 怕只怕三杯下肚，豪情大发，嘟嘟嘟，来个瓶底朝天……(陆文夫《快乐的死亡》)
The safety is after three cups of alcohol he will get wild and unrestrained and end in gulping down a whole bottle. (Zhang Peiji, 1999:378)
2.1.2 Double reduplication
Double reduplication is the repeated use of both of the characters in a four-character idiom. This pattern contains two different forms “AABB” and “ABAB”.
2.1.2.1 “AABB” pattern
“AABB”, as a widely used reduplicated pattern, can be the reduplications of nouns such as “风风雨雨”, “世世代代”, “男男女女”,“日日夜夜”，of verbs such as “摇摇晃晃” , “吵吵嚷嚷”, “躲躲闪闪”, “进进出出”，of adjectives such as “花花绿绿”, “匆匆忙忙”, “零零落落”,“干干净净”, of quantifiers such as “千千万万”, “三三两两” and the reduplication of onomatopoeias such as “丁丁当当”, “吱吱嘎嘎”, “哼哼叽叽”, “噼噼啪啪”.
In translation, “AABB” pattern is quite readable, strengthening the sense of rhythm. What’s more, it makes the translating version more exact in both tones and emotion. For example:
(26) Books contain the history of our race, the discoveries we have made, the accumulated knowledge and experience of ages.
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了我们人类的历史，记录了我们的新发现，也记录了我们世世代代积累的知识和经验。
(27) The road was packed with a noisy crowd of men and women, who were selling and buying all kinds of things.
路上挤满了男男女女，他们熙熙攘攘，正在卖各种各样的东西。(Lian Shuneng, 1993:191)
(28) Winter comes and the ant is comfortably provided for, but the grasshopper has an empty lander.
冬天来了，蚂蚁有食物吃舒舒服服，而蚂蚱的储藏室里却空空荡荡。
(29) He heard himself stammering, he felt that his whole bearing had become drooping and abject. His master was talking swiftly and the other man was looking at him in an embarrassed, stealthy, and pleading manner: his eyes seem to be apologizing for having supplanted him---so he mumbled ‘Good day, sir,’ and stumbled out.
他听见自己结结巴巴地说了些什么，他感到他整个举止是泄气而卑微的。老板在匆匆地说着，而另外的那个人则以一种尴尬的、偷偷的、恳求的目光瞅着他。他的目光似乎在为取代了他而表示歉意，于是他咕咕哝哝地说了句‘日安，先生’，就跌跌撞撞地走了出来。(Huang Puxicai, 1998:106)
In example (29), the translator creatively adopts three “AABB” reduplicated words, “结结巴巴”, “咕咕哝哝”and“跌跌撞撞” sound rather smooth and fully describe “his” embarrassed, timid mood.
“AABB” pattern plays an irreplaceable role in both colloquial and written Chinese. Its wide application not only makes the sentence structure quite balanced but also gives the expressions strong rhythm and musicality.
2.1.2.2 “ABAB” pattern
“ABAB” pattern is the other form of double reduplication, which is also quite frequently used in translation. In practical use, “ABAB” pattern mainly contains the reduplication of quantifiers such as “一步一步”, “一颗一颗”, “一次一次”, of verbs such as “考虑考虑”, “收拾收拾”, “准备准备”, “休息休息”, of adjectives such as “冰凉冰凉”, “笔直笔直”, “雪白雪白”, “通红通红” and the reduplication of onomatopoeias such as “咕噜咕噜”, “咯吱咯吱”, “哗啦哗啦”, “咔嚓咔嚓”. Besides, “A着A着” is a fixed “ABAB” pattern in Chinese such as “说着说着”, “听着听着”, “数着数着”.
In practical writing and translation, “ABAB” pattern provides the image and sound with lifelike description, making the information to be conveyed more concrete and precise. For example:
(30) The shutters went flip-flop against the window.
百叶窗撞在窗户上发出啪嗒啪嗒的响声。
(31) 他们听着听着不觉大笑起来。
As they listen they burst into laughter.
(32) 少年是艺术的，
一件一件地创作；
壮年是工程的，
一座一座地建筑；
老年是历史的，
一页一页地翻阅。(刘大白《旧梦之群》)
Youth is for the artist
To create piece by piece;
Manhood for the architect
To build structure upon structure;
Old age for the historian
To read page after page. (Zhang Jian, 1997:119)
The above three examples are respectively the application of “ABAB” pattern as adjectives, verbs and quantifiers, which may fully demonstrate the various functions and wide use of this pattern in Chinese.
2.2 Partial reduplication
Comparatively speaking, the combination of Chinese words is free and agile, so unlike “AABB” and “ABAB” pattern, not all the words are possibly and necessarily reduplicated in three-character expressions and four-character idioms in practical use. In this case the reduplication is regarded as partial reduplication. Either the reduplication of the initial or termination or the reduplication at intervals is called partial reduplication, which is characterized by the reduplication of only partial characters of a phrase with the others not reduplicated. Such outwardly unbalanced structures, though not as perfect of double reduplication, also play a very important role in Chinese expressions and syntax.
2.2.1 Initial reduplication
Initial reduplication literally can be understood as the reduplication of the initial word in a three-character expression or a four-character idiom. It can be classified into “AAB” pattern and “AABC” pattern.
2.2.1.1“AAB” pattern
“AAB” pattern, formed by one reduplicated morpheme and a syllable, has a rich variation of part of speech. It can act as nouns such as “毛毛雨”, “哈哈镜”, “拉拉队”, adjectives such as “飘飘然”, “高高儿”，verbs such as “招招手”, “说说话”, “散散心”, “咬咬牙”, “狠狠心” as well as either verbs or its complement such as “呱呱叫”, “团团转”, “步步高”, “蒙蒙亮”. The following texts are typical examples of the application of “AAB” pattern:
(33) People think his work is going on tiptop.
人们认为他的工作干得呱呱叫。
(34) 太阳它有脚啊，也轻轻悄悄地挪移了；我也茫茫然跟着旋转。(朱自清《匆匆》)
The sun has feet too, edging away softly and stealthily. And, without knowing it, I am already caught into its revolution. (Zhang Peiji, 1999:76)
2.2.1.2“AABC” pattern
“AABC” pattern gets widely used in both oral and written Chinese and it plays different roles in expression. Some can be used to describe appearance such as “栩栩如生”, “翩翩起舞”, “楚楚可怜”, some to imitate sound such as “朗朗上口”, “喋喋不休”, “振振有词”, some to denote quantity such as “步步高升”, “斤斤计较”，and others to express extent such as “愤愤不平”, “脉脉含情”, “孜孜不倦”. It can be seen that “AABC” pattern is usually a fixed Chinese idiom.
The vividness of “AABC” pattern can be clearly exemplified in the following texts:
(35) Adams needed to be neat and kept everything shipshape.
亚当母斯讲究整齐，他把一切安排得井井有条。
(36) 离愁渐远渐无穷，迢迢不断如春水。
Far he wanders, his great grief at parting,
Like a long river in springtime, flowing endlessly.
It can be concluded that the reduplicated part in “AABC” pattern mainly plays a function as modifier or complement for further explanation.
2.2.2 Reduplication of the Termination
Sometimes the reduplication only appears at the end of a phrase. It is the reduplication of the termination, which falls into the two forms---“ABB” pattern and “ABCC” pattern.
2.2.2.1 “ABB” pattern
“ABB” pattern is formed by a morpheme and a reduplicated syllable. Generally speaking, “AAB” pattern is mainly used as modifiers before nouns with the part of speech different nevertheless. First, it can be used as quantifiers to modify nouns such as “一桩桩”, “一朵朵”, “一道道”, “一阵阵” with its semantic emphasis on the meaning of “many”, “much” or “every”. Second, it is mainly used as adjectives to describe images such as “水汪汪”, “笑眯眯”, “白茫茫”, “羞答答”, “亮晶晶”, “硬邦邦”. The following two texts, together with their translation are the typical application of “ABB” pattern as quantifiers:
(37) 一幢幢摩天大楼迅速出现在市中心。
Skyscrapers have sprouted in the heart of the city.
(38) 我们将一步步地解决这个问题。
We will solve the problem step by step.
The following three examples demonstrate the application of “AAB” pattern used as adjectives:
(39) 小棚屋乱糟糟地挤在一起。
Tiny hoves piled higgledy-piggledy against each other.
(40) 隔壁牢房的铁锁响了一声，接着，传来推开铁门的哗啦啦的巨响。（罗广斌《红岩》）
A lock rattled and there was a loud clank as the door of the next cell was flung open. (Lv Ruichang, 1983:127)
(41) 她是那么圆滚滚, 矮墩墩的, 我感到奇怪她怎么能动作迅速地捉到小鸟。
She was so round and roly-poly. I used to wonder how she ever moved fast enough to catch hold of a bird. (Zhou Dubao, 1999:28)
In example (41), the reduplicated words “圆滚滚” and “矮墩墩” form a sharp contrast with “her” agile actions, making a good expressive effect.
In E-C translation, the adoption of this pattern can make a fine expressive effect, and the following text translated by professor Zhu Shenghao is a typical example:
(42) Anon come Pyramus, sweet youth, and tall, and finds his trusty Thisby’s mantle slain; whereat, with blade, with bloody blameful blade, He bravely broach’d his boiling bloody breast…
隔了不久，皮拉摩斯，那个高个儿的美少年，也来了，一见那忠实的提斯柏的外套躺在地上死了，便赤愣愣地一声拔出一把血淋淋的该死的剑来，对准那热辣辣的胸脯里豁拉拉地刺了进来。(Wang Guoping, 2003:34)
In this text, the repetition of the initial consonance (alliteration) clearly imitates the clish-clash of metals. In translation, “赤愣愣” “血淋淋” “热辣辣” and “豁拉拉” are respectively used to reach an equally rhetorical effect, making the description concrete and lifelike.
2.2.2.2“ABCC” pattern
Similar to “AABC” pattern, in “ABCC” pattern, the reduplicated part is also used as complement to explain the image or state in detail. What is different is that the reduplicated part is put after the headword such as “忧心忡忡”, “风雨潇潇”, “烈火熊熊”, “衣冠楚楚”, “白发苍苍”, “虎视眈眈”. To be the same with “AABC” pattern, “ABCC” reduplicated words are usually fixed idioms or expressions too.
The use of “ABCC” pattern is very common in ancient Chinese poems. Take the following one as an example:
(43) 晴川历历汉阳树，芳草萋萋鹦鹉洲。(崔颢《黄鹤楼》)
By sun-lit river trees can be counted one by one.
On parrot Islet sweet green grass grows fast and thick. (Xu Yuanchong, 1988:65)
In E-C translation, the use of “ABCC” pattern visualizes the image or state that is to be described. For example:
(44) Huge, riven and blazing wrecks that only minutes before had been majestic aircraft carriers settled into the glittering Pacific.
几分钟前，这些航空母舰还是那么威风凛凛,不久就变成豁裂残断, 烈火熊熊的庞大残骸, 渐渐沉入了波光粼粼的太平洋.(Lian Shuneng, 1993:127)
In this example, the wonderful adoption of the three reduplicated words of “ABCC” pattern is so natural and appropriate that it pictures the lifelike image of the aircraft carriers.
2.2.3 Reduplication at intervals
Sometimes, reduplication does not happen successively but at intervals. “ABAB” pattern is a typical example of reduplication at intervals. However, in partial reduplication, not each character is reduplicated like “ABAB” pattern. Here the reduplicated part tends to be either the first and the third character or the second and the fourth one with the others not reduplicated. In this sense, reduplication at intervals contains the following three patterns:
2.2.3.1 “ABA” pattern
“ABA” pattern is usually seen in the form of a coordinate structure to denote the repetition or lightness of an action. It can be the coordination of verbs linked by “一” such as “看一看” “瞧一瞧”, by “了” such as “笑了笑”, “想了想”, by“阿（呀）” such as “游阿(呀)游”, “跑阿(呀)跑” or by “就”such as “去就去”, “走就走”. It can be seen that such a combination is quite flexible. Besides this form, it also can be the coordination of nouns or pronouns such as “我是我”, “面对面”, “手拉手” or “肩并肩”, “心连心”.
Coincidently in English there are some similar structures semantically correspondent with the Chinese “ABA” pattern such as “face to face”, “hand in hand” “neck and neck”. Therefore, in translation, the adoption of such a structure makes the information to be reproduced more exact and formally matched. For example:
(45) 走呀走，走了很久，孩子们才走到目的地。
The children walked on and on. It was after a long walk that they arrived at the destination.
(46) 我走进房间，面对面地碰上了他。
I went into the room and found myself face to face with him.
(47) 他们手拉手走进了教室。
They went into the classroom hand in hand.
(48) 叶子本身肩并肩密密地挨着，这便宛然有了一道凝碧的波痕。(朱自清《荷塘月色》)
The leaves, jostling and overlapping, produced as it were, a wave of deep green. (Translated by Wang shusheng)
2.2.3.2 “ABAC” pattern
“ABAC” pattern is usually the coordination of two similar or opposite semantic units such as “蹑手蹑脚”, “难兄难弟”, “疑神疑鬼”, “毕恭毕敬”, “患得患失” “善始善终”. In addition, there is one special but frequently used form of “ABAC” pattern----“A里AC” such as “糊里糊涂”,“啰里啰唆”, “傻里傻气”.
The following two examples show the superiority of “ABAC” pattern in practical writing:
(49) 土阶边的水泡儿，泛来泛去的乱转。(冰心《笑》)
Beside the earthen doorstep, bubbles in puddles of rainwater were whirling about like mad. (Zhang Peiji, 1999:126)
(50) 有喜有忧，有笑有泪，有花有实，有香有色，既须劳动，又长见识，这就是养花的乐趣。(老舍《养花》)
Joy and sorrow, laughter and tears, flowers and fruit, fragrance and color, manual labor and increased knowledge---all these make up the joy of flower cultivation. (Zhang Peiji, 1999:192)
The following text is the detailed application of “ABAC” pattern in translation:
(51) But now I only aware of higgledy-piggledy lumps and bumps in various shades of black, white and gray.
但是现在我只知道各种各样黑色、白色和灰色的杂七杂八的团团块块。(Han Qiyi, 2001:70)
It can be concluded that “ABAC” pattern has a great flexibility and variety in wording as well as part of speech, which makes it extensively used with its elements in sentences diversified. It translation, the application of “ABAC” reduplicated words also makes very good expressive effect.
2.2.3.3 “ABCB” Pattern
“ABCB” pattern is another form of reduplication at intervals with the reduplicated part the second character and the fourth one such as “以牙还牙”, “爱理不理”, “好说歹说”, “以毒攻毒”, “将心比心”. Although the number of “ABCB” reduplicated words is less than that of many others, yet this pattern also can make a lifelike effect in expression. For example:
(52) 在这一段道路上，实在亦有一种奇绝壮绝的境致，使我们经过此段道路的人，感到一种壮美的趣味。(李大钊《艰难的国运与雄健的国民》)
Nevertheless, there is also in this section the spectacle of enormous magnificent that inspires in us passers-by a delightful sensation of splendor. (Zhang Peiji, 1999:4)
(53) He had a look with his head back, and then he broke into a zigzag run.
他回头看了看，然后突然左拐右拐地跑了起来。
In example (52), the adoption of “奇绝壮绝” extends the author’s exclamation to the magnificent scene. In example (53), the adjective “zigzag” is converted into the adverb in Chinese “左拐右拐”. The adoption of “ABCB” pattern strengthens the intuitionistic sense, vividly showing “his” running posture.
CHAPTER 3 NECESSITY AND POSSIBILITY IN RESEACHING CHINESE REDUPLICATED WORDS’ TRANSLATION
3.1 Necessity
Economic globalization, frequent multicultural exchanges and extensive corporations in vast fields result in a large demand of translation talents. However, the distinct differences among cultures endow their languages with unique cultural elements, word-building and grammatical features, which brings great difficulties to the translation work.
In Chinese, due to its specific language characteristics, reduplication, as a special lexical phenomenon, is widely and abundantly used in practice with the forms varied. Meanwhile, reduplication, either in Chinese or in English, is applied widely for different purposes. According to Zhang Yunfei, “The common uses of reduplicatives are (1) to imitate sounds, as in tick-tick (of a watch); (2) to suggest alternating movements, as in seesaw (up-and-down or to-and-fro motion); (3) to express one’s contempt of the character, appearance and behavior of a person, as in clever-clever; (4) to disparage by suggesting that something is in disorder, or of small value or of inferior quality, as in fiddle-faddle ‘trifling matters’; (5) to show one’s approval, as in super-duper ‘extremely great, impressive’”(Zhang Yunfei, 1987:134). In consideration of so many functions reduplication plays in context, it should be used with care and great efforts should be made in its translation. In cultural exchanges and international corporations, only by maximizing the accuracy of the translated reduplication can the target readers grasp the source information and the emotions behind in a short time. Therefore, the research on reduplication translation is quite necessary.
What is more, the effective research on Chinese reduplicated words’ translation is helpful for foreign countries to get to know Chinese culture as well as the characteristics of its language, thus promoting Chinese culture to the whole world and accelerating mutual exchanges in each field. In this sense, researching the translation of Chinese reduplicated words is also of great necessity.
3.2 Possibility
Although English is an intonation language with the syllables of words uneven, yet reduplication, the special lexical phenomenon also exists in this language. “Reduplication is a minor type of word-formation by which a compound word is created by the repetition (1) of one word like go-go; (2) of two almost identical words with a change in the vowels such as pingpong; (3) of two almost identical words with a change in the initial consonance, as in teewnyweeny. Most of reduplicatives are informal”(Zhang Yunfei, 1987:133). Therefore it can be concluded that English reduplicated words, different from Chinese, mainly rely on the reduplication of syllables. Some are complete reduplicatives of monosyllable or disyllable such as “bonbon”, “murmur”, “girly-girly”, and “buddy-buddy”; some are partial such as “cookbook”, “slipslop”, “wigwag”, and “mingle-mangle”. In addition, there are some other reduplicated words of special forms linked by conjunctions, prepositions or verbs such as “half-and-half”, “mouth-to-mouth”, “dog-eat-dog”. Besides these English reduplications, there are still some figures of speech, which can reach the same expressive effect such as onomatopoeia (e.g. Chicken cheep; ducks quack; geese gaggle.), alliteration (e.g. frothing and fragrant) etc. Therefore the similarities between English and Chinese make the translation of reduplicated words possible. In language application there are such a great number of reduplicated words as well as rhetorical devices coming into being in English, which can be directed adopted to match their Chinese counterparts in E-C translation and vice versa. For example,
(54) They have fiddle-faddled aver a trifle like this. It was really much ado about nothing.
他们为这种小事而倞惊怪怪，这的确是小题大做。
(55) How the pretty ladies talk---
Tittle tattle, tittle tattle!
Like their patters when they walk---
Pattle pattle, pattle pattle. (Erasmus Darwin)
漂亮小姐怎样闲话---
叽叽喳喳，叽叽喳喳！
恰似她们步履轻盈---
劈嘀啪嗒，劈嘀啪嗒。(Yu Lianjiang, 2004:17)
As is mentioned above, in C-E translation, it is also feasible. For example,
(56) 天空更暗了，接着来的是豆大的雨点，啪达啪达落在地上。(周而复《上海的早晨》，第1部)
The sky was becoming darker still, then large heavy drops of rain began pitter-pattering on the ground.
(57) 我买一只小小的花篮，杜陵人手编的蓝花的蓝。(徐志摩《小花篮》)
I bought a teeny-weeny gaily-decorated basket, a blue basket woven by the hands of the Dulingese.
What is more, some specific English words and expressions in use can precisely reproduce the Chinese reduplicated words in spite of the forms not as ordered and symmetrical as the latter. For example,
(58) 有时间请一定到我们这里来聊聊。
Do come to us to have a chat when you are free.
(59) 家家有本难念的经。
Every family has a skeleton in the cupboard.
This point will be further discussed in Chapter 4 in detail. It can be concluded from the above listed illustrations that such similarities pave a possible way for the translation of Chinese reduplicated words.
If the similar languages points make the translation of Chinese reduplicated words possible in practical use, then functional equivalence especially a set of priorities in the process of transfer Eugene. A. Nida proposes no doubt provides a theoretical support for the research.
“In the process of translation, one is constantly faced by a series of polar distinctions which force him to choose content as opposed to form, meaning as opposed to style, equivalence as opposed to identity, the closest equivalence to any equivalence, and naturalness as to formal correspondence. In order to choose meaningfully between these opposing sets of defining features, it is necessary to set up fundamental criteria for guidance in the process. That is to say, one must establish a set of priorities, which can define translating from different perspectives: the perspectives of form and comprehensibility” (Eugene. A. Nida & Charles. R. Taber, 2004:14).
1. At all cost, the content of the message must be transferred with little loss or distortion as possible. It is the referential, conceptual burden of the message that has the highest priority.
The first point just emphasizes the importance of meaning or the content. Translation is a process of communication; therefore it must go beyond the lexical structures to make the messages understood by the intended readers. To translate Chinese reduplicated words, the reproduction of meaning is also fatally important. Due to the particularity of reduplication in sound and form, it is difficult even impossible to retain them completely in English. It is better if a close formal translation is universally understandable and accepted. Otherwise, necessary adjustments should be made to reproduce the accurate meaning of Chinese reduplicated words. This point provides a basic theoretical support for the translation of Chinese reduplicated words. I.e., it is not a must to reproduce each of their features, especially the beauty in sound and that in form. It is the semantic accuracy that actually makes sense. When discussing the principles of producing functional equivalence, Eugene. A. Nida also states the point:
“If a close, formal translation is likely to result in serious misunderstanding of the associative meanings of the source text or in a significant loss in a proper appreciation for the stylistic values of the source text, it is important to make such adjustments as are necessary to reflect the associative values of the source text.” (Eugene. A. Nida, 2001:93)
2. It is very important to convey as well as possible the connotation, the emotional flavor and impact, of the message. This is harder to describe than the first, and even harder to accomplish, but it is very important.
This statement gives highlight to the style. Although the original style is secondary, it is nevertheless very important. Under the premise of semantic equivalence, translators should try to keep the style corresponding with the original one. There are a number of reduplicated words applied in ancient Chinese poems and modern prose; one should not translate poetry as it were prose.
“The extent of adjustments in order to match the stylistic or rhetorical values of the source text depends largely upon the kind of discourse which is involved. The fully adequate translation of a lyric poem normally requires almost a ‘new poem’ on the same theme, especially if the source and target cultures are distinct. In fact, the translation of a poem into something which is not a poem is not a functionally equivalent translation. Even a translation of a letter which falsifies the emotive extent of the source can not be regarded as a legitimate translation” (Eugene. A. Nida, 2001:94)
Here, a lyric poem Eugene. A. Nida explains is extremely close to reduplication because a poem containing reduplicated words is definitely a lyric poem. The meaning is the highest priority but the style should by no means go far beyond the original one. Otherwise, it is not functionally equivalent with the source text. In the process of translating Chinese reduplicated words, Attention also should be paid to this point and it is totally feasible.
3. If, in transferring from one language to another the content and connotation of the message, one can also carry over something of the form, one should do so. But under no circumstances should the form be given priority over the other aspects of the message.
It is true that some readers want a strictly literal translation so as to know something about the formal features of the original text. For Chinese reduplication, the beauty in form is a distinctive feature of it. Translators should try to present it as possible when the meaning can be well reproduced. But just at Eugene. A. Nida mentions that form should not be given priority. This statement makes the translation of Chinese reduplicated words even possible as long as the translated text is functionally equivalent to the original one.
All in all, with corresponding theoretical support and detailed analysis on the wide applications of Chinese reduplicated words, we can naturally come to the conclusion that there is great possibility of Chinese reduplicated words’ translation.
3.3 Summary
All in all, researching the translation of Chinese reduplicated words is by all means necessary and possible. On one hand, there are considerable reduplicated words used in both English and Chinese. The accurate transformation of the source language not only helps to achieve better understandings but also brings on one’s imagination by presenting lifelike descriptions. Moreover effective translations make the target readers get to know the sentence patterns and grammatical features of both English and Chinese. On the other hand, in some cases though translators have to discard the beauty in form so as to achieve the semantic accuracy, however in most cases ordered and symmetrical words can be adopted to reach effective expressions and the corresponding vivid wording makes the translation possible and feasible. For example,
(60) 这位祖母般的、矮矮胖胖的女人，架着一幅大眼镜，也是路易斯维尔本地人。
The grandmotherly roly-poly woman with big eyeglasses was also a native of Louisville.
This example draws a picture of a stout woman in advanced years. Indiscriminate wording may fail to draw the figure of the woman especially the translation of “矮矮胖胖”, which is a crucial point in this sentence. However a precise English reduplicated word “roly-poly” perfectly applied here manages to kill two birds with one stone. In practical translation, translators may not always find such effective words for all Chinese reduplicated ones. Nonetheless it is still possible to deal with them in other ways. For example,
(61) 世事茫茫难自料，春愁黯黯独成眠。(韦应物《寄李儋元锡》)
The world’s ways---dim and distant, hard to foretell; spring grieves---dull and dark, I sleep alone. (Translated by Burton Watson)
At the first sight of the example above, translators may find it difficult even impossible to find such reduplicated words to reproduce “茫茫” and “黯黯”. However the ordered and tidy translation is also possible because of the similar rhetorical device (alliteration) skillfully adopted here. As a result, “dim and distant” and “dull and dark” succeed in maintaining the equivalence both in form and in meaning.
For the purpose of cultural understanding and transmission, the research on the translation of reduplicated words is necessary. Translators should try to find out the most feasible way by means of a comprehensive contrast and flexible language application, thus making the translated texts more natural and fluent and universally accepted. Based on all the above analysis and with the support of functional equivalence, we can safely arrive at the conclusion that a research on the translation of Chinese reduplicated words is both necessary and possible.
CHAPTER 4 METHODS OF TRANSLATING CHINESE REDUPLICATED WORDS
In consideration of the importance and frequent use of Chinese reduplicated words, the effective methods of translation are to be discussed systematically in this chapter.
Traditionally the adequacy of translations has been judged on the basis of the correspondence in lexicon and grammar between the source and target languages. However according to Eugene A. Nida, “Judging the validity of a translation can not stop with a comparison of corresponding lexical meanings, grammatical classes, and rhetorical devices. What is important is the extent to which receptors correctly understand and appreciate the translated text”(Eugene A. Nida, 2001:86). Chinese reduplication, as a special lexical phenomenon, is comparatively more difficult to be translated and further to be understood. In this sense, the translation of reduplicated words is not only a matter of reproducing the ideas, but rather of conveying the emotions and imparting the beauty in sound, form and meaning as approximately as possible. Only in this way can the target readers understand the text and comprehend the emotions behind faster and better, thus improving the validity of the translated text.
However, as is mentioned, Chinese reduplication is a special lexical phenomenon and rhetorical device with many cultural elements involved. It is not always possible to find out ideal English expressions with the “three beauties” all maintained in correspondence with their Chinese counterparts. Therefore, sometimes it is necessary to transform the source information at the expense of the beauty in sound or that in form even both of them to maintain the faithfulness of the translation to the source text.
To summarize the above-stated two points, the methods of translating Chinese reduplicated words can be discussed from the following two aspects: approximation and transformation.
4.1 Approximation
Generally speaking, Chinese reduplicated words mainly play a role of imitating sounds, describing things, expressing feelings and emphasizing or weakening effects. “Chinese reduplicated words are natural and harmonious in sound, clear in organization and easy to understand in sense” (Chen Wangdao, 1979:35). Although for each Chinese reduplicated word it is difficult to find its totally corresponding counterpart in translation, it is possible to maximize the accuracy by fully bringing into play the characteristics of English itself, making the translation furthest match the source text literally and semantically. As is mentioned in Eugene A. Nida’s functional equivalence, “If a more or less literal correspondence is functionally equivalent in both designative and associative meaning, then obviously no adjustments in form are necessary”(Eugene A. Nida, 2001:92). In addition, with a good conformity of the translating tactics or rhetorical devices similar to reduplication such as iteration, alliteration, etc., the reproduced text may also be formally acceptable and pleasant to ears. All these practical and effective methods to be discussed hereinafter are generalized to be one---approximation, which tends to fulfill the reproduction of the “three beauties”.
4.1.1 English reduplication
“Reduplicatives are characterized by being rhymed or alliterated, such as willy-nilly “willingly or unwillingly”; wishy-washy “sloppy; feeble”; dilly-dally “dawdle” and shilly-shally “hesitate” (Zhang Yunfei, 1987:134). It is a shortcut and an ideal way to translate Chinese reduplicated words because it is a complete and perfect copy of the “three beauties”. Although English reduplication has its certain limits in word-building and applicable scope, yet proper adoption in C-E translation may make the translated text fluent, natural and beautiful. The same with Chinese, a considerable number of English reduplicated words are used to imitate sounds. Therefore they are both English reduplicated words and onomatopoeia of special forms. The following examples show the wonderful matching between English and Chinese:
(62) 街上除了他们沉重的军用靴子的通通声外，一切都是静悄悄的。
The streets were silent except for the clop-clop of their heavy military boots.
(63) 门被大风吹得砰砰直响。
The door flip-flopped in the strong wind.
(64) 那年偏又多雨，淅淅沥沥， 打窗飘瓦，常常扰乱我看书的情绪。(唐弢《故乡的雨》)
As it happened to be a rainy year, I was often disturbed by the pitter-patter of rain beating down against the window and roof. (Zhang Peiji,2003:247)
In the first example, the reduplicated word “clop-clop” vividly imitates the sound of military boots, setting off the grisly atmosphere during wartime while in the second example, “flip-flop” makes the readers seemingly hear the clashing sound of the door. And in example (64), “pitter-patter” passes the appealing sound of a fine spring rain into ears. In addition to imitating sound, English reduplicated words still can be used to describe things in translation. For example,
(65) 曲曲折折的荷塘上面，弥望的是田田的叶子。
All over this zigzag stretch of water, what meets the eyes is a silken field of leaves.(Liu Hongzhen, 2002:67)
(66) 他看见一顶花轿摇摇晃晃地从一个山坡下闪了出来。(格非《青黄》)
He caught sight of a bridal sedan chair dodging out, teeter-tottered, at the foot of a hill.
(67) 他尚未决定是否接受这个职位，他心里对此事至今还是犹犹豫豫的。
He hasn’t decided whether he will accept the position or not; he is still shilly-shally about it in his mind now. (Zhao Ming, 1997:83)
In these three examples, “Zigzag” and “teeter-tottered” are respectively adopted to describe the image of lotus pool and the bridal sedan chair whereas the use of “shilly-shally” full shows “his” state of being hesitant. The description of either concrete or abstract things fully conveys the meanings and keeps down the aesthetic effect.
In conclusion, it can be seen that English reduplicated words, complete or partial, concrete or abstract, for the purpose of imitation or description, can effectively reproduce the messages and demonstrate the beauties contained in them. Such wonderful equivalence makes the translation of Chinese reduplicated words both harmonic and authentic.
4.1.2 Transliteration
Transliteration is mainly used in sound translation. Translators usually adopt this method when there is no correspondent echo-word in the target language. Although the adoption may be carried out at the expense of meaning, the sound effect still remains. This method, however, is rarely adopted and should not be advocated, because it is obviously against the priority of meaning. It is often used in the translation of ancient Chinese poems, in which the reduplicated words are hardly to be reproduced in other forms. For example,
(68) 风萧萧兮易水寒…(《易水歌》)
Winds cry xiao-xiao…(Translated by Burton Watson)
(69) 坎坎伐檀兮，
置之河之干兮。
Kan-kan go his blows on the sandal trees,
And he places what he hews on the river’s bank. (Translated by James legge)
Neither any onomatopoeia nor reduplication can effectively present the chopping sound, in which case “Kan-kan” is properly adopted. Certainly transliteration is never panacea in translation and not applicable for all Chinese reduplicated words. Therefore it by no means can be abused.
4.1.3 Phonetic rhetoric
In addition to reduplication and transliteration, phonetic rhetoric is another effective method that plays an important role in the translation of Chinese reduplicated words. Phonetic rhetoric is defined according to the characteristics of sounds, which makes words rhythmical and beautiful by taking advantage of the innate musicality of languages. The commonly adopted phonetic rhetorical devices in English are onomatopoeia, alliteration and assonance etc. with the fist two to be discussed in detail in this chapter.
4.1.3.1 Onomatopoeia
As a common rhetorical device of English and Chinese, onomatopoeia extends great help to the translation of Chinese reduplicated words. “The word onomatopoeia means the use of words that sound like what they refer to in real life. This figure of speech is used to stimulate the reader’s sense of hearing and make them feel as if they were hearing the very sounds represented by the words”(Zhang Chunbai, 2000:282).
(70) “The snake slowly uncoiled, making a loud hissing noise”.
“Hissing” presents to the readers a vivid sound of the snake, realizing the functional equivalence between English and Chinese. Talking about functional equivalence, Eugene A. Nida introduces the concept of “ISOMORPH”, which provides one of the most helpful ways to recognize and to discuss matters of equivalence. According to him, “Isomorphs are only an extension of the semiotic concept of iconicity, matters of likeness. The most obvious language isomorphs are the onomatopoeic words such as hiss, squawk, cluck, and screech”(Eugene A. Nida, 2001:88). Based on this theory, onomatopoeia accordingly can be regarded as a rather effective way in practice for the reason that English has a rich number of sound reduplicated words in correspondence with those in Chinese such as 喵喵(meow/miaow), 嘎嘎(quack), 叮咚叮咚(dingdong). Such equivalence manages to help with the messages transformation though sometimes the English form looks not as beautiful as that in Chinese. Take the following translated texts as examples:
(71) 摩托车噗噗地驶过人群。
Motorcycles put-putted through the crowds.
(72) 他躺在床上，听着滴滴答答的钟声。
Lying in bed, he listened to the ticktack of the clock.
(73) 工人们卸垃圾时把垃圾桶弄得乒乒作响。
The garbage cans clish-clashed as they unloaded.
Take a look at the detailed application of onomatopoeia in the translation of modern Chinese prose:
(74) 杯筷陈设在各人面前，暖锅里发出嗞嗞的有味的声响。(叶圣陶《倪焕之》)
Wine-cups and chopsticks were laid out, and a delicious sizzling sound came from the chafing dish. (Lv Ruichang, 1983:125)
(75) 母鸡们咯咯咯地叫起来了，鸡雏们也啁啁地争起食来。(郭沫若《夕暮》)
As the clucking of the hens, the chicks scrambled for the feed, chirping. (Zhang Peiji, 1999:163)
(76) 立时那些枝叶都“悉悉索索”地颤抖起来。草底下的秋虫，发出连续的唧唧声……(庐隐《异国秋思》)
There was a rustle and tremor of branches in the trees. The autumn insects were chirping incessantly in the grass…(Zhang peiji, 1999:163)
In example (74), the word “sizzling” has an extreme similarity with the Chinese reduplicated word “嗞嗞”, making the warm original scene seemingly reappear. In example (75), clucking and chirping respectively imitate the sounds of the hens and the chicks, picturing a warm, natural and dynamic scene. In the third example, the translator applies two vivid onomatopoeic words to provide the readers with an acoustic impact. Meanwhile “rustle” and “chirping” literally describe the sounds of branches and autumn insects, which in essence instill the readers with a depressed feeling, reaching the equivalence in meaning. It deserves to be mentioned that the effectiveness of English onomatopoeia does not mean it is applicable in all cases. Sometimes according to the context, necessary conversion even omission might be made. For example:
(77) 在咯嚓咯嚓的铡刀声中，听到了死难者英勇的呼声：“共产党万岁！乡亲们…报仇。”(曲波《林海雪原》)
Even as the chaff cutter did its grisly work, the last shouts of the victims rang out: “Long live the Communist Party…folks…revenge…”(Lv Ruichang, 1983:128)
To sum up, no matter for imitating sounds of animals or objective things, English onomatopoeia is quite effective in the translation of Chinese reduplicated words. Although some onomatopoeic words are not reduplicative, which cannot maintain the beauty in form, yet proper use of them can present the sounds specifically to the readers and make the sense effectively conveyed to the target readers.
4.1.3.2 Alliteration
“Alliteration is a figure of speech where initial sounds of two or three neighboring words are the same, such as the repetition of the /pr/ sound in Pride and Prejudice.”(Zhang Chunbai, 2000:280) And according to Ding Wangdao, “Alliteration refers to the appearance of the same initial consonant sound in two or more words”(Ding Wangdao, 1994:28). It is frequently used in poetry and, to a lesser degree, in prose in order to establish a link between words. Similarly to reduplication, alliteration sounds also rather rhythmical, which can output the aesthetic effect of Chinese reduplicated words in another way. For example:
(78) 出来的这批移民个个出类拔萃，因为凡是呆板、呆滞、呆头呆脑的呆子都呆在家里。
It was a splendid population---for all the slow, sleepy, sluggish-brained sloths stayed at home. (Qu Zongde, 2007:199)
This sentence incredibly adopts five alliterative words with the same initial sound /s/, which is intended to stress the sharp contrast in the meanings. In translation, the use of alliteration makes the reproduction fundamentally equivalent with the Chinese reduplicated words and shows the unique beauty of English lexicon and rhetoric. For example:
(79) 青青河畔草，
郁郁园中柳。(古诗十九首《青青河畔草》)
Green grows the grass upon the bank.
The willow-shoots are long and lank. (Translated by Herbert A. Giles)
In the example above, “green grows” and “long and lank” fully convey the feeling of “青青” and “郁郁”, describing the emerald green grass and flourishing willows. What is more, the repetition of /gr/ and /l/ perfectly copy the sound beauty in Chinese. Although the two words are not the repetitive use of the same word, they make the similar rhetorical effect. Therefore alliteration can be regarded as an ideal method in the process of transferring the “three beauties” of Chinese reduplicated words,
4.1.3.3 Other rhyming patterns
Assonance and rhyme are another two commonly used rhyming patterns especially in poems. In practice, there are considerable such English rhyming patterns to match the Chinese reduplicated words such as “辛辛苦苦” (toil and moil), “熙熙攘攘” (hustle and bustle)，“忙忙碌碌”(hustle and bustle)，“气喘吁吁” (huff and puff). It can be seen that all the expressions are fixed phrases in English, which require daily accumulation so as to apply them in translation more skillfully. They are fundamentally same with alliteration, which can well reproduce the meanings and the musicality of the source language. For example:
(80) 斜晖脉脉水悠悠，肠断白洲。
The setting sun in twilight glows,
The tranquil river rippling flows;
Beside the isle, no sight of him,
She gazes at the duckweed white. (Liu Hongzhen, 2002:68)
(81) 现在我的衣服干干净净，但过去我父亲却穿得破破烂烂。
My clothes are neat and clean, but my father’s were worn and torn.
In the first example, “脉脉” and “悠悠” are literally used to describe scenes, but to a deeper degree to show the depression and sadness of the heroine. As far as the sounds are concerned, the two reduplicated words also give the readers such feelings. In translation, the phonetic rhetoric rhyme is properly adopted to strengthen the tones. “Glows” and “flows” not only express the meanings, but also realize the musicality. The second example is a comprehensive use of assonance and rhyme. “neat and clean” and “worn and torn” exactly reproduce the Chinese reduplicated words “干干净净” and “破破烂烂”. When forming a sharp contrast in meaning, the respective use meanwhile achieves harmony in sound.
All in all, phonetic rhetoric is another effective way of translating Chinese reduplicated words. Either onomatopoeia or alliteration, either assonance or rhyme can achieve a high translation validity.
4.1.4 Repetition
Approximate to the function of Chinese reduplicated words, repetition, as a common figure of speech in English, also can express strong emotions and form beautiful rhythm, thus reaching the same rhetorical effect. English repetition diversifies in form. Some are linked by conjunctions, some by prepositions and others by punctuations. Whatever its forms might be, repetition is a helpful way to translate Chinese reduplicated words.
Repetition linked by conjunctions is usually adopted when the reduplicated words” denotes coordinate things or continuous actions or states. The conjunction, in most cases refers to “and”. The following translation offers a convincing example to this point:
(82) 他读啊读，读了整整一天，终于把这本书读完了。
He read and read and finally got the book through after a whole day.
In this example, “读啊读” emphasizes the continuity of the action, describing the reader’s diligence and high attention in reading. In translation, repetition happens to make such an effect.
Sometimes repetition may be linked by prepositions, which can be applied when it is used as adverb to explain actions or methods, to describe vanishing time and so on. Repetition linked by prepositions is usually the fixed collocations in English with their Chinese equivalence just to be reduplicated words. For example:
(83) 他详详细细地描写了他的冒险经历。
He described his adventure point for point.
(84) 农民犁地只能一块一块的犁。
Peasants can only plough the land plot by plot.
(85) 一天一天，一年一年，他们顽强地生活和战斗在荒山野林里。
Day after day and year after year, they fought and lived stubbornly in the wild mountains and forests. (Zhou Dubao, 1999:27)
This following translation is the detailed application of repetition in poem:
(86) 重重叠叠上瑶台，几度呼童扫不开。(苏轼《花影》)
Layer upon layer they appear on the marble terrance; the boy has been told to remove them several times. (Wen Shu, 1995:45)
Last but not least, repetition may also be linked by punctuations to give the readers direct and fluent feelings just like English reduplicated words. In addition, it makes an effect of emphasis so as to strengthen the meanings. Usually, such repetitive patterns are linked by comma or hyphen marks.
(87) 暖暖远山村，
依依墟里烟。
Dim, dim in the distance lies the village,
Faintly, faintly you see the smoke of its chimneys. (Liu Hongzhen, 2002:66)
In this example, “暖暖” and “依依” respectively show a faraway village and the smoke of chimneys waving from it, giving readers a dim beauty. The translator skillfully adopts a synonym “dim” and “faint” to express the feelings. The repetition of the two words plays a role of emphasis and more vividly reproduces the original scene. Meanwhile the use repetition partially realizes the equivalence in form. The translation of the following poem also makes the same expressive effect:
(88) 迢迢牵牛星，
皎皎河汉女。
Far, far away, the cowherd,
Fair, fair, the weaving maid.
In a word, repetition, similar to reduplication, is rhythmical in sound and functions as a way of emphasis, which can be regarded as an effective method in the translation of Chinese reduplicated words.
4.1.5 Parallelism
“Parallelism refers to the figure of speech that expresses relevant ideas in the same or similar grammatical structures. It helps make a sentence brief, smooth and coherent and give it rhythm, balance and force” (Zhang Chunbai, 2000:283). For example:
(89) The boy was sitting under a tree, singing a song and repairing his bicycle.
In translation, parallelism, though distinguishes from reduplicated words in form as well as sound effect, actually can bring the readers the same musical enjoyment by means of tidy and ordered form. For example:
(89) 荷塘四面，远远近近，高高低低都是树，而杨柳最多。(朱自清《荷塘月色》)
Skirting the lotus pond, far and near, high and low, are trees among which willows predominate. (Translated by Wang Shusheng)
In this example, “far and wide” and “high and low” together show the willows thickly standing around the lotus pool. Meanwhile, the adoption of parallelism succeeds in making up the sound effect of “远远近近” and “高高低低”. The following translation is also a typical example:
(90) 留连戏蝶时时舞，自在娇莺恰恰啼。(杜甫《江畔独步寻花》)
Now and then lingering butterflies flit about gracefully; while orioles here and there warble in carefree contentment. (Wen Shu, 1995：76)
4.2 Transformation
“If a more or less literal correspondence is functionally equivalent in both designative and associative meaning, then obviously no adjustments in form are necessary”(Eugene A. Nida, 2001:92). As a matter of fact, in the translation of Chinese reduplicated words, it is not always possible to find the corresponding expressions to fulfill the three beauties. In this condition, translators have to discard the original sound effect to so as to reproduce the beauty in sense. Just as Eugene A. Nida puts it, “Compensation for a lack of isomorphism may be introduced as a means of accurately representing the meaning of the source text” and “because of the lack of close correspondence in figurative expressions, it may be necessary to translate some figurative expressions in the source language by non-figurative phrases in the target language” (Eugene A. Nida, 2001:92). These statements just give great importance to meaning, which is the priority in translation. And all the necessary adjustments at the expense of the beauty in sound or that in form are generalized into one method---transformation, which aims at reproducing the closest natural equivalence of the source language messages. In this chapter, the discussion will go on from the following four aspects.
4.2.1 Fixed structures
Generally speaking, some fixed English collocations or structures have natural links with reduplication. Therefore in translation, they have the tendency to reproduce Chinese reduplicated words. Such structures may sound not as readable and musical as their Chinese counterpart. Besides, they can hardly retain the beauty in form. They are, nonetheless, competent in reproducing the meanings precisely, which is the focus of functional equivalence.
4.2.1.1 Plural forms
The use of plural forms is quite common in English. It is a small grammatical point, but of great help to the translation of Chinese reduplicated words. Plural forms mainly refer to the use of plural nouns or numerals for meaning augment of Chinese reduplicated nouns. For example:
(91) 假日里，青年人双双对对漫步在公园。
The young couples in pairs and couples rambled about the park on holidays.
(92) 学生们三三两两地坐在教室里。
The students sit on their seats in the classroom by twos and threes.
(93) 还要看着一个个倒映在水里的人影，一群群的肥鸭，一缕缕的炊烟……（谢冰莹《黄昏》）
Sometimes we competed with each other in playing ducks and drakes while our reflections were mirrored in the water, fat ducks swimming in the flocks, wisps of cooking smoke curling up from chimneys…(Zhang Peiji,2003:141)
What is more, plural forms are frequently adopted to translate reduplicated modifiers (adjectives, adverbs or quantifiers) to strengthen the meaning, to intensify the extent or to express certain feelings. For example:
(94) 大批大批的物资被立即送往地震灾区。
Thousands of goods and materials are immediately sent to earthquake stricken area.
(95) 成群成群的蝗虫毁灭了大片大片的庄稼。
Hordes of locusts the crops in tracts rice field.
(96) 层层的叶子中间，零星地点缀着些白花。有袅娜地开着的，有羞涩地打着朵的，正如一粒粒的明珠，又如碧天里的星星。（朱自清《荷塘月色》）
The leaves were totted in between the layers with white flowers, some blooming gracefully, others, as if bashfully, still in bud. They were like bright pearls and stars in the azure sky. (Translated by Wang Shusheng)
In example (96), the use of “层层” fully shows a beautiful scene of the densely growing lotus leaves, extending the author’s ardor to the lotus pool. “一粒粒”, in the other way, shows his favor to the pool by means of describing the white flowers of different postures.
In addition, plural forms are also commonly seen in the translation of Chinese poems. For example:
(97) 不见复关，泣涕涟涟。
And when you did not come, my tears fell in floods.
(98) 莫似春风，不管盈盈，早与安排金屋。
Oh, don’t be as apathetic as the spring wind
Towards the beaming flowers!
You should cherish them, as you
Cherish a beauty in a golden nest. (Liu Hongzhen, 2002:66)
4.2.1.2 “Verb +a+ noun” structure
“Verb +a+ noun” structure is quite helpful in the translation of reduplicated verbs in form of “ABA”, which is used to denote one-off or tentative actions. Such verbs mainly include have, give, take, make etc. with the imperative sentences usually adopted. And the nouns in this structure usually have an etymological relationship with their verbs such as “have a try”, “”take a look”. The following examples are the detailed application of this structure in translation:
(99) 这东西需要检查检查。
It’s necessary to have a check-up.
(100) 你们俩交换交换意见。
You two have an exchange of views.
(101) 让敌人尝尝我们炮弹的味道。
Give the enemy a taste of our shells.
(102) 请闻一闻牛奶的气味。
Please take a smell at the milk.
(103) 我说“老五，对大哥说，我闷得慌，想到园里走走。” (鲁迅《狂人日记》)
I said “Lao Wu, tell my big brother that I am bored and want to take a walk in the garden.” (Li Changbao, 1998:61)
This structure is widely used in either colloquial or written English, which is usually translated into reduplicated words because both the structure and its Chinese counterpart have the similar usage---to give suggestions or ideas, or to explain tentative actions. In the translation of such kind of Chinese verbs, “Verb +a+ noun” structure is quite available.
4.2.1.3 “Nice (good, fine) + and + adjective” structure
“Nice (good, fine) + and + adjective” structure is an emphatic expression, which is frequently used in translating reduplicated adjectives to strengthen the extent of the state or actions, thus making the description concrete and accurate. Moreover this coordinate structure sounds also rather rhythmical. For example:
(104) 炉火旁边暖烘烘的。
It’s nice and warm by the fire.
(105) 她头发剪得短短的，挺精神的。
She has her hair cut nice and short and looks especially impressive.
(106) 会议开得冷冷清清的。
The meeting was fine and dull.
(107) 那家伙直挺挺地死了。
The guy lay good and stark in death.
(108) 外面黑乎乎的，我在月亮出来以前从河岸上溜出去了。
It was good and dark outside. I slid out from the shore before moonrise. (Zhao Ming, 1997:86)
The above five illustrations provide readers with equally balanced and fluent feeling. This structure well reproduced the Chinese reduplicated words in both form and meaning. It can be seen that “Nice (good, fine) + and + adjective” structure is mainly used for the description of either things or states. Hence, if Chinese reduplicated words are used as modifiers (adjectives or adverbs), in translation this effective structure should be in consideration for an expressive reproduced text.
4.2.2 Adoptions of specific modifiers
Specific modifiers are adopted to serve the purpose of meaning augment or meaning strengthening. The transformation of messages is mainly realized through boosting up the energy in language. Specific modifiers fall into three categories with the fist one added before nouns when reduplication is used to explain the number of things and make an effect of meaning augment. Such kind of modifiers mainly include “each”, “every” and “all” with the examples respectively shown below:
(109) 一日三餐顿顿有鱼虾。
Everyday each of three square meals is served with both fish and shrimps.
(110) 件件衣服都很漂亮。
All of these suits of clothes are beautiful.
(111) 这孩子德、智、体样样都好。
The child is developing in every way, morally, intellectually and physically.
Meanwhile, these modifiers are available in translating Chinese poems. For example:
(112) 谁知盘中餐，粒粒皆辛苦。
Who knows that every grain in the bowl,
Is the fruit of so much pain and toil?
(113) 军书十二卷，卷卷有爷名。
The roster consists of many muster rolls,
And every roll has father’s name on it. (Liu Hongzhen, 2002:66)
The second type of modifiers is mainly used to describe things or manners as a way of deepening the extent or emphasizing the importance. For example:
(114) 科学是老老实实的学问，来不得半点虚假，需要付出艰巨的劳动。
Science means honest solid knowledge, allowing not an iota of false-hood. And it involves herculean efforts and grueling toil. (Zhou Dubao, 1999:28)
(115) 桥面上主塔高90米，呈双扇面形斜拉起392根碗口粗的缆索，使主跨桥梁稳稳地落在桥墩上，保证了大桥的稳定性和抗震性。
Its main bridgeheads are 90 meters high each, pulling 392 thick slanting cables together in the shape of double fans, so that the central span of the bridge is well poised on the piers and the bridge’s stability and vibration resistance are ensured. (Chen Hongwei, 1998:109)
In the first example, the idiomatic Chinese wording “老老实实” emphasizes the preciseness of science. Since there is no such equivalence in English, the translator artfully adopts two modifiers “honest” and “solid”, which manages to transform the original reduplicated words. In the second example, the soft pronunciation of “poise” itself gives the readers a feeling of steadiness and its proper collocation with “well”, to a deeper extent, highlights the characteristic of “balance and steadiness”. Just as professor Chen Hongwei’s comment on it: “steadiness is fatally important for a bridge. The adoption of ‘is well poised on’ instead of ‘is steadily set on’ fully conveys the meaning as well as rhetorical effect” (Chen Hongwei, 1998:110).
Specific modifiers are, in the third aspect, adopted to express strong emotions. For example:
(116) 慈母手中线，游子身上衣。
临行密密缝，意恐迟迟归。(孟郊：《游子吟》)
Thread from the hands of a doting mother,
Worked into the clothes of a far-off journeying son.
Before his departure, were the close, fine stitches set,
Lest haply his return be long delayed. (Translated by Amy Lowell)
This is a famous poem universally familiar to each Chinese. The emotion carried out in the lines is the heartfelt gratitude and affection of a far-off son to his mother. The reduplicated words “密密” and “迟迟” fully demonstrate the mother’s tremendous care, miss and love. For the first reduplicated word, the adoption of “close” describes the appearance of the stitches whereas “fine” implies the mother’s carefulness and devotion. The two modifiers are together used just to the point. For the translation of “迟迟”, compared with a mere “delay”, “long delayed” much more represents the mother’s worry and misgiving.
Based on the above illustrations, it can be summarized that proper use of modifiers not only helps to understand the literal meaning, but also makes the readers better comprehend the emotions behind. When approximation is not available, adoption of specific modifiers is a representative method in translation with a majority of the aesthetic effect lost however.
4.2.3 Imagery translation
Imagery translation occurs when a thing or a state that reduplication describes is perhaps too abstract to understand. It is mainly carried out by creating specific images in the target text at the expense of the beauty in sound and that in form. Although the aesthetic value may not be retained, the reproduction can be achieved by means of vivid and concrete images. The expressions of imagery translation may be varied, but the beauty in sense goes on. For example:
(117) 我们徘徊在雷峰塔下，地上芊芊碧草，间杂着几朵黄花，我们并肩坐在那软绵的草上。(庐隐《雷峰塔下》)
We stroll about under Leifeng Pagoda on a lush green meadow sparsely studded with yellow flowers and then sat down side by side on the downy grass. (Zhang Peiji)
In the example above, the specific Chinese adjective “芊芊” is a rather ambiguous and abstract description, which may result in misunderstandings. The translator applies two concrete words in translation, making the images of the thickly growing grass very clear at a glance to the readers.
And also the following one is a typical example from a contemporary prose written by Ke Ling:
(118) 不高不矮的围墙挡在两边，斑斑驳驳的苔痕，墙上挂着一串串苍翠欲滴的藤萝，简直像古朴的屏风。墙里常是人家的竹园，修竹森森，天籁细细；春来时还常有几枝娇艳的桃花杏花，娉娉婷婷，从墙头殷勤地摇曳红袖……(柯灵《巷》)
On either side of the lane stand enclosing walls of medium height, which, moss-covered and hung with clusters of fresh green wisteria, look almost like screens of primitive simplicity. Inside the walls are residents’ gardens with dense groves of tall bamboos as well as soft sounds of nature. In spring, beautiful peach and apricot blossoms atop the walls, like graceful girls waving their red sleeves…(Zhang Peiji, 1999:349).
This example provides a primitive but vigorous scene of early spring. But to some degree, the reduplicated words “斑斑驳驳” “天籁细细” and “修竹森森” seem to be so abstract that they may become the semantic barrier to readers. Through concrete description, the translator manages to demonstrate the moss growing in a clutter, dense bamboos as well as the soft sounds of the nature, giving the readers an audiovisual enjoyment. In particular when dealing with the abstract adjective “娉娉婷婷”, the translator creatively brings in the image of graceful girls, which vividly describes the peach & apricot blossoms coming out beautifully. By creating specific images, the reduplicated words might be well transferred.
4.2.4 Combination of methods and other methods
There are of course some other methods to represent the original beauty in sense, which is the priority and focus of Chinese reduplicated words. All these expressions come out just when it is impossible to reproduce the beauty in sound and that in form. In consideration of the expressions diversified and complex, only a few commonly used methods are introduced and discussed in this part.
1. Understatement: “understatement is a figure of speech that expresses something weakly, playing down or minimizing its importance. It is usually achieved by using a negative statement to substitute for a positive one, or by employing down toning words such as ‘a bit’, ‘rather’ and ‘kind of’ instead of ‘very’, ‘highly’ and ‘extremely’”(Zhang Chunbai, 2000:280). For example: in the sentence “He is no fool”, the speaker or the writer intends to mean that the man is very clever, but his cleverness is played down by the understatement “no fool”. Just as Ding Wangdao puts it, “In understatement the words play down the magnitude or value of the subject”(Ding Wangdao, 1994:27). In the translation of Chinese reduplicated words, understatement, as an expression of conveying sarcastic or humorous tones to make indirect emphasis, can sometimes be adopted. For example:
(119) 别看他傻呵呵的，心里可有数。
Maybe he doesn't look very clever, but he knows what's what.
(120) 他兴致勃勃地进行试验。
He conducted the experiment with no little enthusiasm.
(121) 稍有不满，他就骂骂咧咧的。
Being a little dissatisfied, he would not half swear.
(122) 调查结果清清楚楚地说明病人死于癌症。
The examination left no doubt that the patient had died of cancer.
(123) 面孔长得端端正正的，有一般人所称作的妩媚。
The face wasn’t a bad one; it had what they called charm.
2. Structural adjustments: “As with the transfer of semantic content, one endeavors to keep the structural form if it is possible, but in most cases it is not. The structural adjustments affect the entire range of linguistic structure, from discourse to the sounds”, and “This does not mean that such changes are obligatory in all languages, but when they are necessary to guarantee intelligibility or to avoid awkwardness, they need to be regarded as minimal adjustments, which constitute the basis for still further adjustments that are required or expedient in the process of restructuring” (Eugene A. Nida and Charles R. Taber, 2004:112). With respect to the translation of Chinese reduplicated words, the adoption of structural adjustments mainly plays a role of emphasis, thus effectively conveying the meanings as well as emotions. For example:
(124) 当她神经兮兮地等待着铃响的时候，他突然一下子站到她的眼前来了。
While she was waiting for the tinkling of the bell, all nerves, suddenly he stood before her. (Zhao Ming, 1997:85)
In this example, there is not an appropriate expression to match the Chinese reduplicated word “神经兮兮”. Under this condition, the translator manages to show her mentality or state by adjusting the structure as a way of emphasis.
3. Contextual wording: In some cases, none of these methods above is available in which condition efforts should be made to select proper words as accurate as possible according to the context. “Since words cover areas of meaning and are not mere points of meaning, and since in different languages the semantic areas of corresponding words are not identical, it is inevitable that the choice of the right word in the receptor language to translate a word in the source-language text depends more on the text than upon a fixed system of verbal consistency” (Eugene. A. Nida & Charles. R. Taber, 2004:15). Without the help of rhetorical devices and other methods, contextual wording aims at making the translation semantically similar or equivalent with the original one. For example:
(125) 鲜艳的五星红旗徐徐升起。
The bright Five-Star Red Flag slowly went up the pole.
(126) 路上的行人渐渐少了。
The number of pedestrians gradually dwindled.
(127) 家乡的景物处处使人想起了往事，许多往事可追溯到幼年时代。
The hometown was full of reminiscence, many going back to early childhood.
(128) 这同样微妙的神情，好像游丝一般，飘飘漾漾的合了拢来，绾在一起。(冰心《笑》)
The three subtle smiles, drifting in the air towards each other like gossamer, became interwoven. (Zhang Peiji, 1999:123)
4.3 Summary
Based on all the above-stated theories and examples, it can be seen that there are some guided rules for the translation of Chinese reduplicated words in spite of the great differences between English and Chinese. As is mentioned that the key problem in the translation of Chinese reduplicated words is to naturally reproduce the three beauties conveyed by them. That is the beauty in sound, the beauty in form as well as the beauty in sense. If translators only apply literal translation, the translated text might be confused and incommunicable. On the contrary, if only free translation is adopted, translators might take the risk of spoiling the beauties. Comprehensively speaking, approximation is the first choice in the translation of Chinese reduplicated words. When approximation is not available, transformation can serve to make an acceptable translated text. Just as Eugene A. Nida and Charles R. Taber put it, “If by coincidence it is possible to convey the same content in the receptor language in a form which closely resembles that of the source, so much the better; we preserve the form when we can, but more often the form has to be transformed precisely in order to preserve the content” (Eugene A. Nida and Charles R. Taber, 2004:105).
All the methods mentioned above are generalized from translation practice. They are a comprehensive use of literal translation and free translation; of lexicon, syntax and rhetorical devices etc., which can help the translation of Chinese reduplicated words to reach a certain level of translational validity.
In addition to the methods stated above, there are of course some other available methods that greatly depend on the translators in practical translation. As long as the translator can fulfill the three beauties of reduplicated words by means of creative imagination and skilled language application, the translated text will certainly attain a high degree of fidelity.
In short, the translation of Chinese reduplicated words is comprehensive and complex. However difficult the translation may be, with a full play of the characteristics of English, proper and acceptable methods are basically feasible and possible. Meanwhile, it should not be ignored that some loss in the translation process is inevitable. A wise translator should try the utmost to minimize the loss, thus retaining both aesthetic function and emotional function of Chinese reduplicated words.
CHAPTER 5 LIMITATIONS IN THE TRANSLATION OF CHINESE REDUPLICATED WORDS
Since effective methods have been discussed with convincing examples provided in the previous chapter, this chapter will focus on the limitations in the translation of Chinese reduplicated words. Translation is an art as well as the recreation of languages, which requires the unity and correspondence in form and content. Owing to the great disparities between Chinese and English, even the translated text with high translational validity may have a shortcoming in some way. On one hand, if too much effort is put to retain the beauty in sound and form, the meaning may not be effectively conveyed. As Eugene A. Nida and Charles R. Taber put forward, “In transferring the message from one language to another, it is the content which must be preserved at any cost. An excessive effort to preserve the form inevitably results in a serious or distortion of the message”(Eugene A. Nida and Charles R. Taber, 2004:105); on the other hand, to guarantee the accuracy in meaning, the losses in form and artistic effect are consequently unavoidable, which in essence may result in the reduplicated words untranslatable if a majority of the beauties cannot be retained. Here the limitations of reduplicated words’ translation will be dealt with from the following three aspects.
5.1 Loss in aesthetic effect
One distinctive feature of reduplication is that it can bring strong aesthetic effect to the text and here the aesthetic effect mainly refers to the irresistible beauty of Chinese reduplicated words in sound, in form and in sense. In translation, the reproduction of the “three beauties” is a thorny problem for translators.
As the discussion has put it, Chinese reduplicated words have various forms with their own beauties respectively. Although translators may try their utmost to adopt similar expressions to reproduce the source text as naturally as possible, yet in many cases, the loss in aesthetic effect (especially the first two beauties) is inevitable with the “transformation” method a typical example, which makes the original scene basically reproduced, but at the expense of the beauty in sound and that in form. Just as Eugene. A. Nida puts it, “There is always some loss and distortion in verbal communication since no two interlocutors ever have exactly the same designative and associative meanings for the same phonological, lexical, grammatical, and discourse features”(Eugene. A. Nida, 2001:87). In consideration of the fact that Chinese reduplicated words embody the unique “three beauties” innately, in translation great efforts should be made to compensate them by giving full play to the features of English itself, thus minimizing the loss in aesthetic effect.
Another loss in aesthetic effect may represent in the aspect of sense. To be exact, it is the weakening of semantic accuracy. “Obviously in any translation there will be a type of ‘loss’ of semantic content, but the process should be so designed as to keep this to minimum” (Eugene A. Nida and Charles R. Taber, 2004:106) and in this volume eight commonest problems of content transfer are analyzed. Reduplication, as a figurative expression and often an idiom, is usually adopted to make the description more vivid and accurate. Especially for some tentative words to denote differences in extent of an action or a state, the reproduction will become tougher. A slight carelessness in wording may make the sense either exaggerated or understated. Sometimes, even quite creative translation may fail to completely keep the faithfulness to original text not only in meaning but also in tone. Take the following translation as examples:
(129) 小时候，乡愁是一枚小小的邮票，我在这头，母亲在那头。
长大后，乡愁是一张窄窄的船票，我在这头，新娘在那头。
后来啊，乡愁是一方矮矮的坟墓，我在外头，母亲在里头。
而现在，乡愁是一湾浅浅的海峡，我在这头，大陆在那头。(余光中《乡愁》)
When I was a child, my homesickness was a small stamp
Linking mum at the other end and me this.
When grown up, I remain homesick, but it became a ticket
By which I sailed to and from my bride at the other end.
Then homesickness took the shape of a grave
Mum inside of it and me outside.
Now I’m still homesick, but it’s a narrow strait
Separating me on this side and the mainland on the other.
This poem is universally popular to each Chinese, expressing strong patriotic feelings of the overseas compatriots. The four reduplicated words “小小的” “窄窄的” “矮矮的” and “浅浅的” not only sound musical, but also imply the author’s endless miss to the motherland as well as his strong desire of earlier unity. In translation, although the literal meaning is well reproduced, the emotion behind is far beyond what these words can pass to the readers. The semantic accuracy is, in this sense, inevitably weakened with the original emotion hardly retained.
Therefore, weakening of semantic accuracy, together with the loss of beauty in sound and beauty in form can be regarded as an avoidable limitation of Chinese reduplicated words’ translation.
5.2 Uncertainty
In the process of message transference, different contextual situations may become a limiting factor for the translation of Chinese reduplicated words. This may result in the uncertainty of translation. I.e., the same reduplicated word in different situations may vary in wording in the target text whereas different reduplicated words may have the same expressions. The following two groups of examples are both from the modern prose translated by Professor Zhang Peiji, which provide powerful evidence for this point:
Group one:
(130) 他待我渐渐不同往日。(朱自清《背影》)
He became less and less nice with me.
(131) 当我倚在高高的船栏上，见着船渐渐的离岸…(郑振铎《离别》)
Leaning over the high railing, I watched the ship tearing itself away slowly from the shore.
(132) 一层雨过，云渐渐地卷向了西去，天又青了，太阳又露出脸来了。(郁达夫《故都的秋》)
Soon when the rain is over, the clouds began gradually to roll towards the west and the sun comes out in the blue sky.
This group of translation adopts completely different expressions to reproduce the same Chinese reduplicated word “渐渐”. Each expression, however, is loyal to the original text but with their own characteristics meanwhile. If the word “渐渐” is dealt with in the same way, the translation might sound not as natural and fluent as the original one. From this perspective, there is uncertainty in the translation of Chinese reduplicated words.
Group two:
(133) 北平的好处不在处处设备得完全， 而在它处处有空儿，可以使人自由地喘气。(老舍《想北平》)
What distinguishes Peiping is not the perfect layout, but the open spaces here and there where people can breathe freely.
(134) 最好，还要在牵牛花底教长着几根疏疏落落的尖细且长的秋草，使作陪衬。(郁达夫《故都的秋》)
It will be most desirable to have them set off by some tall grass planted underneath here and there.
(135) 小贩憧憧来往，黝黯的小门边，不时走出一些趿着拖鞋的女子…(柯灵《巷》)
You’ll see vendors hawking their wares here and there. From time to time, women are seen emerging from inside some dingy small gates…
From this group, it can be clearly noticed that the reduplicated words “处处”, “疏疏落落” and “憧憧” are all translated into the same phrase “here and there”, which fully shows the limitation of context as well as the function of reduplication itself on the translation of Chinese reduplicated words.
To conclude, different contextual situations make the translation of Chinese reduplicated words varied in wording to serve different purposes in the target text. The above illustrations fully show that the wording in translation is quite flexible and this is the uncertainty in the translation of Chinese reduplicated words.
5.3 Untranslatability
Without a doubt, Chinese reduplicated words, due to its particularity, is very thorny to translate. In many cases, it is indeed difficult even impossible to retain both form and content. Although translators can adopt artistic English expressions to achieve similar aesthetic effect, yet sometimes neither forms nor meanings can be truly reproduced, let alone the emotions. Take the classic poem of Li Qingzhao as an example:
(136) 寻寻觅觅，冷冷清清，
凄凄惨惨戚戚，
乍暖还寒时候，最难将息。
三杯两盏淡酒，怎敌他晚来风急！
雁过也，正伤心，却是旧时相识。（李清照《声声慢》）
This poem mainly expresses the poet’s depression, loneliness and anxiety after losing her country and home. At the very beginning, the seven reduplicated words immediately bring the readers into an atmosphere of sadness. “寻寻觅觅” represents the author’s anxiety and perplex; “冷冷清清” sets off the extremely lonely situation while“凄凄惨惨戚戚” describes the agony in her deep heart. In short, the emotion actually is very complex, which might not be so perfectly shown without reduplication. Therefore, this poem is a perfect combination of words, sound and meaning. Such wonderful expressions bring great difficulty to translation. If the reduplicated words are simply translated into “seeking seeking fumbling fumbling cold cold pale pale chilly chilly cheerless cheerless choking choking”, then it partially emphasizes the correspondence in form while ignores the semantic and emotional equivalence. What is more, such an expression is a violation of language rules of English, which may not be accepted by the target readers. First of all, take a look at the translated text of Lin Yutang:
So dim, so dark, so dense, so dull, so damp, so dank, so dead.
It is not difficult to see that Professor Lin Yutang gives an overall consideration to the features of Chinese characters. He just presents to the readers the similar effect in sound by adopting the rhetoric of alliteration. The repetitive sound /d/, together with the seven “so”， partially makes up the beauty in form. However, the emotion of Chinese reduplication is far beyond what the repetitive “so” can convey to the English readers.
At last, take a look at the classic text translated by professor Xu Yuanchong:
I look for what I miss,
I know not what it is:
I feel so sad, so drear
So lonely, without cheer.
How hard is it
To keep me fit
In this lingering cold!
Hardly wormed up
By cup on cup
Of wine so dry.
Oh! How could I
Endure at dusk the drift
Of wind so swift?
It breaks my heart, alas!
To see the wild geese pass,
For they are my acquaintance of old. (Feng Qinghua, 2002:425)
Needless to say, this translated text is an outstanding attempt of translating this poem. It succeeds in succinct wording and couples of rhyming. The repetitions of the words “I” “what” and “so” partially make up the beauty in form. However, compared with the reduplication in the original poem, a majority of the artistic beauty is hardly of existence. As for the uniquely continuous use of seven reduplicated words, even the most proficient translator can do nothing but adopt free translation, which may cause much loss of the beauty in sound at the same time. In addition, the style of the translated text is far more brisk and vigorous than the original one, which also cannot match the original plaintive style. It can be thought that even the most creative translation, compared with the original poem, may involve losses both in aesthetic effect and in emotion. Such losses are, to a larger degree, due to the cultural disparities, which are naturally insuperable to every one. Translators can do nothing but try to make the translated text as close to the original one as possible with a comprehensive use of languages and a profound understanding of relevant cultures. Therefore, it is believed that in some cases, Chinese reduplicated words are untranslatable.
CONCLUSION
As the world is becoming a global village, the international exchanges are becoming more and more frequent. Chinese reduplication, as a commonly used lexical phenomenon in both colloquial and writing aspects, might be a great barrier for better understandings. What is more, an increasing number of reduplicated words are coming into use. In this sense, it is truly necessary to make a comprehensive research on the translation of Chinese reduplicated words. But the work is doomed to be tough because the great disparities between Chinese and English, together with the particularity of reduplication itself, make the translation a rather complicated and thorny problem. To be fortunate, with theoretical guidance, there are still some effective methods that can be generalized through the analysis on the applications.
First of all, this thesis makes a brief introduction to the definition, origin, variation and function of Chinese reduplicated words. Then according to the feature in form, it classifies various kinds of reduplicated words in detail with corresponding illustrations. In the third part, the focus is on the necessity and possibility of Chinese reduplicated words’ translation, making preliminary preparations for the following discussion on the translation methods. In the light of functional equivalence, the thesis puts the emphasis on the translating methods that are divided into two aspects: approximation and transformation. And a large number of examples are provided to give detailed explanation. At last, the author makes tentative discussion on the limitations of the Chinese reduplicated words’ translation and proposes its untranslatability with the analysis of a classic poem Shengshengman.
To be sure, this thesis has its certain weakness, which requires much work for further improvement in future. For example, the limitations inevitably play a negative role in the translation of Chinese reduplicated words; Also the methods mentioned in this thesis can by no means become the panacea for the translation of Chinese reduplicated words because of their large number, diversified forms and extensive application. In spite of that, increasingly frequent worldwide communications offer a brilliant prospect for translation. Insightful and creative thinking may come into being based on the mutuality of cognitive environment and furthermore help to solve those language barriers. There is no doubt that the comprehensive researches in this thesis will exert a positive and practical influence on the translation of Chinese reduplicated words. In addition, some points may contribute to the study of language applications and the contrastive study between English and Chinese. However, all the methods discussed are just suggested skills rather than a fixed rule because translation is quite a flexible task. Just as Mr. Lin Yutang puts it, “there is never a certain rule for translation” (Zhang Jian, 2003:120). Therefore, they should not become an obstacle for translators to find better translating methods. The author hopes that this thesis may provide a point for the future study on the translation of Chinese reduplicated words and furthermore on the aspects of language and culture.
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时间飞逝，大学的学习生活很快就要过去，在这四年的学习生活中，收获了很多，而这些成绩的取得是和一直关心帮助我的人分不开的。
首先非常感谢学校开设这个课题，为本人日后从事计算机方面的工作提供了经验，奠定了基础。本次毕业设计大概持续了半年，现在终于到结尾了。本次毕业设计是对我大学四年学习下来最好的检验。经过这次毕业设计，我的能力有了很大的提高，比如操作能力、分析问题的能力、合作精神、严谨的工作作风等方方面面都有很大的进步。这期间凝聚了很多人的心血，在此我表示由衷的感谢。没有他们的帮助，我将无法顺利完成这次设计。
首先，我要特别感谢我的知道郭谦功老师对我的悉心指导，在我的论文书写及设计过程中给了我大量的帮助和指导，为我理清了设计思路和操作方法，并对我所做的课题提出了有效的改进方案。郭谦功老师渊博的知识、严谨的作风和诲人不倦的态度给我留下了深刻的印象。从他身上，我学到了许多能受益终生的东西。再次对周巍老师表示衷心的感谢。
其次，我要感谢大学四年中所有的任课老师和辅导员在学习期间对我的严格要求，感谢他们对我学习上和生活上的帮助，使我了解了许多专业知识和为人的道理，能够在今后的生活道路上有继续奋斗的力量。
另外，我还要感谢大学四年和我一起走过的同学朋友对我的关心与支持，与他们一起学习、生活，让我在大学期间生活的很充实，给我留下了很多难忘的回忆。
最后，我要感谢我的父母对我的关系和理解，如果没有他们在我的学习生涯中的无私奉献和默默支持，我将无法顺利完成今天的学业。
四年的大学生活就快走入尾声，我们的校园生活就要划上句号，心中是无尽的难舍与眷恋。从这里走出，对我的人生来说，将是踏上一个新的征程，要把所学的知识应用到实际工作中去。
回首四年，取得了些许成绩，生活中有快乐也有艰辛。感谢老师四年来对我孜孜不倦的教诲，对我成长的关心和爱护。
学友情深，情同兄妹。四年的风风雨雨，我们一同走过，充满着关爱，给我留下了值得珍藏的最美好的记忆。
在我的十几年求学历程里，离不开父母的鼓励和支持，是他们辛勤的劳作，无私的付出，为我创造良好的学习条件，我才能顺利完成完成学业，感激他们一直以来对我的抚养与培育。
最后，我要特别感谢我的导师赵达睿老师、和研究生助教熊伟丽老师。是他们在我毕业的最后关头给了我们巨大的帮助与鼓励，给了我很多解决问题的思路，在此表示衷心的感激。老师们认真负责的工作态度，严谨的治学精神和深厚的理论水平都使我收益匪浅。他无论在理论上还是在实践中，都给与我很大的帮助，使我得到不少的提高这对于我以后的工作和学习都有一种巨大的帮助，感谢他耐心的辅导。在论文的撰写过程中老师们给予我很大的帮助，帮助解决了不少的难点，使得论文能够及时完成，这里一并表示真诚的感谢。
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