《漢英雙講中國古詞50首》選取唐、五代至宋代50首名詞，用中英文雙語逐首進行詳細的文字注釋（中文）、古詞英譯（英文）和詞文鑑賞（中英文），同時，對每一位詞作者進行了介紹（中英文）。本書由中國古詩詞英譯第一人北京大學教授許淵沖教授親自翻譯古詞，優美流暢、朗朗上口、用語典雅、內涵豐富。該書由美國james barnhart教授對全書英文進行審閱。每首詞配有線描插圖，圖文並茂，實屬質量上乘的經典之作。
基本介紹
- 書名：漢英雙講:中國古詞50首
- 作者：高民 王亦高
- 出版日期：2014年7月1日
- 語種：簡體中文, 英語
- ISBN：9787550502581
- 外文名：50 Classical Chinese Ci with Chinese-english Interpretations
- 出版社：大連出版社
- 頁數：325頁
- 開本：16
- 品牌：大連出版社
基本介紹,內容簡介,作者簡介,圖書目錄,序言,
基本介紹
內容簡介
《漢英雙講:中國古詞50首(漢英對照)》由大連出版社出版。
作者簡介
許淵沖，詩譯英、法語唯一人，北京大學教授，翻譯家。在國內外出版中、英、法文著譯六十本，包括《詩經》、《楚辭》、《李白詩選》、《西廂記》、《紅與黑》、《包法利夫人》、《追憶似水年華》等中外名著，是有史以來將中國歷代詩詞譯成英、法韻文的唯一專家。1999年被提名為諾貝爾文學獎候選人。2010年被評為全國翻譯行業最高榮譽獎“中國翻譯文化終身成就獎”。
高民，北京交通大學教授，碩士研究生導師。中華詩詞學會會員。重要研究領域之一是中國古代文學史，特別是古典詩歌的研究與鑑賞。主要作品有《中國古代詩歌概論與名篇欣賞》、《千古桃源夢：陶淵明的故事》等多部專著和教材。
鐘良明，北京交通大學外語系主任，教授、碩士生導師。著名英語專家、教育家。
高民，北京交通大學教授，碩士研究生導師。中華詩詞學會會員。重要研究領域之一是中國古代文學史，特別是古典詩歌的研究與鑑賞。主要作品有《中國古代詩歌概論與名篇欣賞》、《千古桃源夢：陶淵明的故事》等多部專著和教材。
鐘良明，北京交通大學外語系主任，教授、碩士生導師。著名英語專家、教育家。
圖書目錄
唐代詞
Ciin the Tang Dynasty
唐代民間詞 Folk Ciin the Tang Dynasty
鵲踏枝（叵耐靈鵲多謾語）
TUNE： THE MAGPIE ON A BRANCH
“How can I bear to hear the chattering magpie”
李白 Li Bai
憶秦娥（簫聲咽）
TUNE： DREAM OF A MAID OF HONOUR
“The flute plays a sobbing tune”
張志和 Zhang Zhihe
漁歌子（西塞山前白鷺飛）
TUNE： A FISHERMAN’S SONG
“In front of western hills white egrets fly up and down”
溫庭筠 Wen Tingyun
菩薩蠻（小山重疊金明滅）
TUNE： BUDDHIST DANCERS
“Light plays with shade upon her bed—screen’s double peaks”
望江南（梳洗罷）
TUNE：DREAMING OF THE SOUTH
“After dressing my hair”
五代詞
CiDuring the Five Dynasties
韋莊 Wei Zhuang
思帝鄉（春日游）
TUNE： THINKING OF IMPERIAL LAND
“On a spring day”
馮延巳 Feng Yansi
謁金門（風乍起）
TUNE： PAYING HOMAGE AT THE GOLDEN GATE
“The breeze begins to blow”
李煜 Li Yu
浪淘沙（簾外雨潺潺）
TUNE： RIPPLES SIFTING SAND
“The curtain cannot keep out the patter of rain”
相見歡（無言獨上西樓）
TUNE： JOY AT MEETING
“Silent， I climb the Western Tower alone”
虞美人（春花秋月何時了）
TUNE： THE BEAUTIFUL LADY YU
“When will there be no more autumn moon and spring time flowers”
宋代詞
Ciin the Song Dynasty
柳永 Liu Yong
雨霖鈴（寒蟬淒切）
TUNE： BELLS RINGING IN THE RAIN
“Cicadas chill”
蝶戀花（佇倚危樓風細細）
TUNE： BUTTERFLIES IN LOVE WITH FLOWERS
“I lean alone on balcony in light， light breeze”
八聲甘州（對瀟瀟暮雨灑江天）
TUNE： EIGHT BEATS OF A GANZHOU SONG
“Shower by shower”
范仲淹 Fan Zhongyan
漁家傲（塞下秋來風景異）
TUNE： PRIDE OF FISHERMEN
“When autumn comes to the frontier， the scene looks drear”
蘇幕遮（碧雲天）
TUNE： WATERBAG DANCE
“Clouds veil emerald sky”
晏殊 Yan Shu
浣溪沙（一曲新詞酒一杯）
TUNE： SILK—WASHING STREAM
“A song filled with new words， a cup filled with old wine”
蝶戀花（檻菊愁煙蘭泣露）
TUNE： BUTTERFLIES IN LOVE WITH FLOWERS
“Orchids shed tears with doleful asters in mist grey”
歐陽修 Ouyang Xiu
生查子（去年元夜時）
TUNE： SONG OF HAWTHORN
“Last year on lunar festive night”
王安石 Wang Anshi
浪淘沙令（伊呂兩衰翁）
TUNE： RIPPLES SIFTING SAND
“The two prime ministers， while young， were poor”
王觀 Wang Guan
卜運算元（水是眼波橫）
TUNE： SONG OF DIVINATION
“The rippling stream’s a beaming eye”
50 Classical Chinese Ciwith Chinese—English Interpretations
晏幾道 Yan Jidao
臨江仙（夢後樓台高鎖）
TUNE： RIVERSIDE DAFFODILS
“Awake from dreams， I find the locked tower high”
蘇軾 Su Shi
江城子（十年生死兩茫茫）
TUNE： RIVERSIDE TOWN
“For ten long years the living of the dead knows nought” 128
江城子（老夫聊發少年狂）
TUNE： RIVERSIDE TOWN
“Rejuvenated， I my fiery zeal display”
水調歌頭（明月幾時有）
TUNE： PRELUDE TO WATER MELODY
“How long will the full moon appear”
念奴嬌（大江東去）
TUNE： CHARM OF A MAIDEN SINGER
“The endless river eastward flows”
定風波（莫聽穿林打葉聲）
TUNE： CALMING WIND AND WAVES
“Listen not to the rain beating against the trees”
李之儀 Li Zhiyi
卜運算元（我住長江頭）
TUNE： SONG OF DIVINATION
“I live upstream and you downstream”
秦觀 Qin Guan
江城子（西城楊柳弄春柔）
TUNE： RIVERSIDE TOWN
“West of the town the willows sway in wind of spring”
鵲橋仙（纖雲弄巧）
TUNE： IMMORTALS AT THE MAGPIE BRIDGE
“Clouds float like works of art”
賀鑄 He Zhu
橫塘路（凌波不過橫塘路）
TUNE： LAKESIDE LANE
“Never again will she tread on the lakeside lane”
鷓鴣天（重過閶門萬事非）
TUNE： PARTRIDGE IN THE SKY
“All things have changed； once more I pass the city gate”
周邦彥 Zhou Bangyan
六醜（正單衣試酒）
TUNE： SIX TOUGHIES
“Again it’s time to taste new wine in dresses light”
朱敦儒 Zhu Dunru
鷓鴣天（我是清都山水郎）
TUNE： PARTRIDGE IN THE SKY
“I am in charge of mountains and rivers divine”
李清照 Li Qingzhao
如夢令（昨夜雨疏風驟）
TUNE： A DREAMLIKE SONG
“Last night the strong wind blew with a rain fine”
一剪梅（紅藕香殘玉簟秋）
TUNE： A TWIG OF MUME BLOSSOMS
“Fragrant lotus blooms fade， autumn chills mat of jade”
醉花陰（薄霧濃雲愁永晝）
TUNE： TIPSY IN FLOWERS’ SHADE
“Veiled in thin mist and thick cloud， how sad the long day”
聲聲慢（尋尋覓覓）
TUNE： SLOW SLOW SONG
“I look for what I miss”
李重元 Li Chongyuan
憶王孫（萋萋芳草憶王孫）
TUNE： THE PRINCE RECALLED
“Luxuriant grass reminds me of my roving mate”
岳飛 Yue Fei
滿江紅（怒髮衝冠）
TUNE： THE RIVER ALL RED
“Wrath sets on end my hair”
陸游 Lu You
訴衷情（當年萬里覓封侯）
TUNE： TELLING INNERMOST FEELING
“Along I rode a thousand miles long， long ago”
卜運算元（驛外斷橋邊）
TUNE： SONG OF DIVINATION
“Beside the broken bridge and outside the post—hall”
釵頭鳳（紅酥手）
TUNE： PHOENIX HAIRPIN
“Pink hands so fine”
附：唐婉 釵頭鳳（世情薄）
REPLY by Tang Wan TUNE： PHOENIX HAIRPIN
“The world unfair”
辛棄疾 Xin Qiji
菩薩蠻（郁孤台下清江水）
TUNE： BUDDHIST DANCERS
“Below the Gloomy Terrace flow two rivers clear”
破陣子（醉里挑燈看劍）
TUNE： DANCE OF THE CAVALRY
“Though drunk， I lit the lamp to see the glaive”
永遇樂（千古江山）
TUNE： JOY OF ETERNAL UNION
“The land is boundless as of yore”
青玉案（東風夜放花千樹）
TUNE： GREEN JADE CUP
“One night’s east wind adorns a thousand trees with flowers”
姜夔 Jiang Kui
揚州慢（淮左名都）
TUNE： SLOW SONG OF YANGZHOU
“In the famous town east of River Huai”
吳文英 Wu Wenying
風入松（聽風聽雨過清明）
TUNE： WIND THROUGH PINES
“Hearing the wind and rain while mourning for the dead”
蔣捷 Jiang Jie
一剪梅（一片春愁待酒澆）
TUNE： A TWIG OF MUME BLOSSOMS
“Can boundless vernal grief be drowned in spring wine”
虞美人（少年聽雨歌樓上）
TUNE： THE BEAUTIFUL LADY YU
“While young， I listened to rain in the house of song”
參考文獻 References
Ciin the Tang Dynasty
唐代民間詞 Folk Ciin the Tang Dynasty
鵲踏枝（叵耐靈鵲多謾語）
TUNE： THE MAGPIE ON A BRANCH
“How can I bear to hear the chattering magpie”
李白 Li Bai
憶秦娥（簫聲咽）
TUNE： DREAM OF A MAID OF HONOUR
“The flute plays a sobbing tune”
張志和 Zhang Zhihe
漁歌子（西塞山前白鷺飛）
TUNE： A FISHERMAN’S SONG
“In front of western hills white egrets fly up and down”
溫庭筠 Wen Tingyun
菩薩蠻（小山重疊金明滅）
TUNE： BUDDHIST DANCERS
“Light plays with shade upon her bed—screen’s double peaks”
望江南（梳洗罷）
TUNE：DREAMING OF THE SOUTH
“After dressing my hair”
五代詞
CiDuring the Five Dynasties
韋莊 Wei Zhuang
思帝鄉（春日游）
TUNE： THINKING OF IMPERIAL LAND
“On a spring day”
馮延巳 Feng Yansi
謁金門（風乍起）
TUNE： PAYING HOMAGE AT THE GOLDEN GATE
“The breeze begins to blow”
李煜 Li Yu
浪淘沙（簾外雨潺潺）
TUNE： RIPPLES SIFTING SAND
“The curtain cannot keep out the patter of rain”
相見歡（無言獨上西樓）
TUNE： JOY AT MEETING
“Silent， I climb the Western Tower alone”
虞美人（春花秋月何時了）
TUNE： THE BEAUTIFUL LADY YU
“When will there be no more autumn moon and spring time flowers”
宋代詞
Ciin the Song Dynasty
柳永 Liu Yong
雨霖鈴（寒蟬淒切）
TUNE： BELLS RINGING IN THE RAIN
“Cicadas chill”
蝶戀花（佇倚危樓風細細）
TUNE： BUTTERFLIES IN LOVE WITH FLOWERS
“I lean alone on balcony in light， light breeze”
八聲甘州（對瀟瀟暮雨灑江天）
TUNE： EIGHT BEATS OF A GANZHOU SONG
“Shower by shower”
范仲淹 Fan Zhongyan
漁家傲（塞下秋來風景異）
TUNE： PRIDE OF FISHERMEN
“When autumn comes to the frontier， the scene looks drear”
蘇幕遮（碧雲天）
TUNE： WATERBAG DANCE
“Clouds veil emerald sky”
晏殊 Yan Shu
浣溪沙（一曲新詞酒一杯）
TUNE： SILK—WASHING STREAM
“A song filled with new words， a cup filled with old wine”
蝶戀花（檻菊愁煙蘭泣露）
TUNE： BUTTERFLIES IN LOVE WITH FLOWERS
“Orchids shed tears with doleful asters in mist grey”
歐陽修 Ouyang Xiu
生查子（去年元夜時）
TUNE： SONG OF HAWTHORN
“Last year on lunar festive night”
王安石 Wang Anshi
浪淘沙令（伊呂兩衰翁）
TUNE： RIPPLES SIFTING SAND
“The two prime ministers， while young， were poor”
王觀 Wang Guan
卜運算元（水是眼波橫）
TUNE： SONG OF DIVINATION
“The rippling stream’s a beaming eye”
50 Classical Chinese Ciwith Chinese—English Interpretations
晏幾道 Yan Jidao
臨江仙（夢後樓台高鎖）
TUNE： RIVERSIDE DAFFODILS
“Awake from dreams， I find the locked tower high”
蘇軾 Su Shi
江城子（十年生死兩茫茫）
TUNE： RIVERSIDE TOWN
“For ten long years the living of the dead knows nought” 128
江城子（老夫聊發少年狂）
TUNE： RIVERSIDE TOWN
“Rejuvenated， I my fiery zeal display”
水調歌頭（明月幾時有）
TUNE： PRELUDE TO WATER MELODY
“How long will the full moon appear”
念奴嬌（大江東去）
TUNE： CHARM OF A MAIDEN SINGER
“The endless river eastward flows”
定風波（莫聽穿林打葉聲）
TUNE： CALMING WIND AND WAVES
“Listen not to the rain beating against the trees”
李之儀 Li Zhiyi
卜運算元（我住長江頭）
TUNE： SONG OF DIVINATION
“I live upstream and you downstream”
秦觀 Qin Guan
江城子（西城楊柳弄春柔）
TUNE： RIVERSIDE TOWN
“West of the town the willows sway in wind of spring”
鵲橋仙（纖雲弄巧）
TUNE： IMMORTALS AT THE MAGPIE BRIDGE
“Clouds float like works of art”
賀鑄 He Zhu
橫塘路（凌波不過橫塘路）
TUNE： LAKESIDE LANE
“Never again will she tread on the lakeside lane”
鷓鴣天（重過閶門萬事非）
TUNE： PARTRIDGE IN THE SKY
“All things have changed； once more I pass the city gate”
周邦彥 Zhou Bangyan
六醜（正單衣試酒）
TUNE： SIX TOUGHIES
“Again it’s time to taste new wine in dresses light”
朱敦儒 Zhu Dunru
鷓鴣天（我是清都山水郎）
TUNE： PARTRIDGE IN THE SKY
“I am in charge of mountains and rivers divine”
李清照 Li Qingzhao
如夢令（昨夜雨疏風驟）
TUNE： A DREAMLIKE SONG
“Last night the strong wind blew with a rain fine”
一剪梅（紅藕香殘玉簟秋）
TUNE： A TWIG OF MUME BLOSSOMS
“Fragrant lotus blooms fade， autumn chills mat of jade”
醉花陰（薄霧濃雲愁永晝）
TUNE： TIPSY IN FLOWERS’ SHADE
“Veiled in thin mist and thick cloud， how sad the long day”
聲聲慢（尋尋覓覓）
TUNE： SLOW SLOW SONG
“I look for what I miss”
李重元 Li Chongyuan
憶王孫（萋萋芳草憶王孫）
TUNE： THE PRINCE RECALLED
“Luxuriant grass reminds me of my roving mate”
岳飛 Yue Fei
滿江紅（怒髮衝冠）
TUNE： THE RIVER ALL RED
“Wrath sets on end my hair”
陸游 Lu You
訴衷情（當年萬里覓封侯）
TUNE： TELLING INNERMOST FEELING
“Along I rode a thousand miles long， long ago”
卜運算元（驛外斷橋邊）
TUNE： SONG OF DIVINATION
“Beside the broken bridge and outside the post—hall”
釵頭鳳（紅酥手）
TUNE： PHOENIX HAIRPIN
“Pink hands so fine”
附：唐婉 釵頭鳳（世情薄）
REPLY by Tang Wan TUNE： PHOENIX HAIRPIN
“The world unfair”
辛棄疾 Xin Qiji
菩薩蠻（郁孤台下清江水）
TUNE： BUDDHIST DANCERS
“Below the Gloomy Terrace flow two rivers clear”
破陣子（醉里挑燈看劍）
TUNE： DANCE OF THE CAVALRY
“Though drunk， I lit the lamp to see the glaive”
永遇樂（千古江山）
TUNE： JOY OF ETERNAL UNION
“The land is boundless as of yore”
青玉案（東風夜放花千樹）
TUNE： GREEN JADE CUP
“One night’s east wind adorns a thousand trees with flowers”
姜夔 Jiang Kui
揚州慢（淮左名都）
TUNE： SLOW SONG OF YANGZHOU
“In the famous town east of River Huai”
吳文英 Wu Wenying
風入松（聽風聽雨過清明）
TUNE： WIND THROUGH PINES
“Hearing the wind and rain while mourning for the dead”
蔣捷 Jiang Jie
一剪梅（一片春愁待酒澆）
TUNE： A TWIG OF MUME BLOSSOMS
“Can boundless vernal grief be drowned in spring wine”
虞美人（少年聽雨歌樓上）
TUNE： THE BEAUTIFUL LADY YU
“While young， I listened to rain in the house of song”
參考文獻 References
序言
中華文明是世界上唯一歷時五千年未曾中斷的文明，承載這一文明的中華文化源遠流長、博大精深，反映這一文化的漢語言文字亦隨之經過千錘百鍊越來越爐火純青。漢語的博大內涵、優美文字和抑揚頓挫的聲調使無數人為之傾倒。目前，世界上大約有15億人在使用漢語，其人數在世界上各種語言的使用人數中排位第一。鑒於中國在世界上的影響日益擴大，世界各國高等教育機構和文化機構對中國文化的研究也越來越深入和普遍，國外許多大學都開設了漢語專業，甚至設立了中文系，孔子學院也已經遍及世界各地。一個學習中國文化和學習漢語的熱潮正在世界各國悄然興起。
但是，學習中國文化和學習漢語不是一件輕而易舉的事，其中最大的困難之一是難以理解從名詩雅句中引用的文字片段。要提高漢語的理解和寫作水平，就不能不下一番功夫學習一些最著名、最常用的中國古代詩文篇章。還應該指出的是，在日益發展的國際交流中，中國人在向外國人介紹中國文化和翻譯中國文字時，古詩詞中名句的翻譯和解釋也是最令翻譯者頭疼的。
本書作者針對上述情況，在2003年編輯出版了《漢英雙講中國古詩100首》一書。該書對100首中國古典名詩的字句做了詳細注釋，並用中文和英文對其詩意進行解讀賞析。更為難得的是，北京大學資深翻譯家許淵沖教授親自將這100首古詩譯成英語。該書出版後，受到讀者的普遍好評，更受到學習漢語和到中國旅遊的外國友人的青睞。為了更加深入全面地介紹中國古代詩詞的全貌，《漢英雙講中國古詩100首》的作者和譯者們，又再接再厲，編選出版了這本《漢英雙講中國古詞50首》，以饗讀者。
中國詩歌發展到唐宋年間，詞作為一種新興詩體大放異彩。中國古代有“詩莊詞媚”的說法。這種說法的意思是，詩比較典雅、嚴肅、莊重，多用來言志；而詞則比較通俗、輕鬆、娛樂，多用來言情。所以有人認為，中國的詞比詩更美麗溫柔，更婉轉動人。其實，嚴格地說，詞也是詩的一種形式，兩者並沒有根本的區別。詞發展到後來，與詩一樣是“無意不可入，無事不可言”的了。詞中除了溫情脈脈的愛情、親情和友情之外，也有雄心壯志和刀光劍影。但無論如何，在中國詩歌形式的分類中，詞的創作方法與詩是大不相同的。詞要依據一定的“詞譜”來填寫，而不能像詩那樣由作者隨意創作。所以，每首詞都有“詞牌”。所謂“詞牌”最早是一首曲調的名稱，作者要嚴格依據這個曲調樂句的要求，按照句式的長短和詞句的格律來填詞。因而古代詞出現的早期，每首詞都是能夠按照曲調來歌唱的。隨著時間的推移，絕大多數詞的曲調漸漸被人們遺忘了，於是，詞在創作時所標明的曲調名稱也就只剩下了一個句式長短和格律要求有明確規定的框架。但這個框架對作品的要求依然是相當嚴格的，不可隨意而為。這個框架就被稱為“詞譜”或“詞牌”。在一首詞中，由於多數詞牌規定的句式是長短不齊的，所以詞也常常被稱為“長短句”。
詞在隋代就出現了，到唐代中期逐漸興盛，至宋代達到鼎盛。
“唐詩宋詞”成為中國詩歌發展的兩座高峰。宋代以後，詞的創作雖然逐漸衰落，但人們對詞的喜愛卻有增無減。時至今日，那些美麗動人的詞章詞句，仍然膾炙人口，是人們文化生活中不可缺少的內容。
由於詞通常比五七言的律詩絕句篇幅要長，所以限於全書篇幅，本書只選取了唐、五代至宋代的50首“名詞”，逐首進行詳細的文字注釋（中文）、古詞英譯（英文）和詞文鑑賞（中英文），同時，對每位詞作者都有簡略的介紹（中英文）。讓我們深感榮幸的是，北京大學許淵沖教授一如既往地擔綱將50首古詞譯成英語。
他的翻譯優美流暢、朗朗上口、用語典雅、內涵豐富。我們在此對許先生表示由衷的感謝。同時，我們還聘請了美國 James Barnhart 教授對全書英文進行了審閱修改，在此一併表示真誠的感謝。
總之，本書作者的最大心愿是，藉助本書的出版，為推進中外文化交流，為向世界介紹中國文化和思想，為幫助中外朋友學習漢語和中國古代文學，為增進中國人民與世界各國人民之間的友誼、理解和合作，略儘自己綿薄之力。
編 譯 者Among the world’s diverse cultures, only Chinese civilization has endured 5,000 years without interruption. This extensive and profound tradition has been sublimely tempered over its long history. In particular, the Chinese language has evolved to a high degree of refinement. There are currently 1.5 billion Chinese speakers—the largest single language population in the world today. This language, passed down from the ancient world, is still greatly admired for its rhythm, exquisite characters, and vast array of meanings.As China has been enjoying an increasing influence around the world, the Chinese language has become more and more widely used. Growing numbers of international higher educational institutions and cultural organizations have started to pay close attention to the study of Chinese culture. Many foreign universities have established the subject of Chinese Language, and even founded departments of Chinese Language and Literature. Moreover, Confucius Academies have sprung up around the globe, and there has been an international surge in the study of Chinese culture.However, the intricacies of Chinese language and culture are by no means easy to master. One of the greatest challenges is the comprehension of classical Chinese poems and song lyrics. These eminent masterpieces are a most rewarding source for those wishing to deepen their understanding of Chinese tradition. However, the translation and explanation of pieces drawn from the classical canon present particular difficulties when introduced to foreign audiences—an issue which has become more urgent in the light of the rapid Prefaceprogress of globalization.In 2003, in response to this problem, Dalian Publishing House presented 100 Classical Chinese Poems with Chinese-English Interpretations. This volume consisted of a careful selection of some of the most celebrated poems in Chinese history, along with bilingual commentary. Most significantly, this publication featured fresh translations of all 100 of these classic poems by Professor Xu Yuanchong of Peking University, one of the most distinguished translators in China. This book has not only been warmly praised by the general reading public, but also favored by students of the Chinese language and foreign travelers from around world. Thus, in order to present a more comprehensive introduction to ancient Chinese poetry, the authors and translators of 100 Classical Chinese Poems with Chinese-English Interpretationshave compiled the present volume: 50 Classical Chinese Ci with Chinese-English Interpretations.During the Tang Dynasty (618-907AD) and Song Dynasty (960-1279AD), a new genre of Chinese poetry evolved known as ci. Flouring mainly in the Song Dynasty, citend to be quite different from shi(a popular Tang Dynasty genre). Some commentators on ancient Chinese poetry have said, “Shiare solemn and dignified, while ciare worldly and effeminate.” Shihave always been used to express authors’ ambitions with formality and elegance. Ci, however, have been frequently employed to play on the reader’s emotions. Thus, ciwere comparatively unpretentious and relaxed, used more to entertain than to edify. Therefore, in contrast to shi, ciwere considered milder, sadder, and more melodic. However, strictly speaking, the ciis simply a particular type of poem, and bears no fundamental difference from conventional poetry. Cilater developed to become as expressive as mainstream poetry in terms of breadth and depth of insight. In addition to expressive sentimental love, friendship, and filial affection, ciwere also used for articulating grand sentiments, ranging from battlefield vainglory to philosophical reflection.However, in terms of distinguishing poetic genres, one can say that the formula for creating a ciand a conventional poem are very different. Conventional poems can be composed freely, without strictures on the poet, whereas cishould be composed in according to set tunes. Every ci, in fact, is set to its own tune, originally drawn from a popular melody. Poets composed lines to fit the given tune, strictly according to the length of verses and the requirements of the music. As most of the melodies had been laid down over the course of time, the tunes left a structure which explicitly regulated the length of the verse. The structure was rigid for poets, who would not be free to compose as they pleased. Han poems used five characters per line, and Tang shiused five or seven characters, However, Song cihad a different number of characters for each line of the poem. Therefore, ciare also referred to as “the long and short lines.” The cigenre first emerged in the Sui Dynasty (581-618AD), started to flourish in the mid-Tang Dynasty and achieved its high point in the Song Dynasty. “Tang shiand Song ci” are the two pinnacles of ancient Chinese poetry. Although the writing of cihas been on the wane for centuries, people’s love of the genre has continued unabated. These refined verses have long been universally praised and nowadays have come an integral part of Chinese literary culture.Ciare usually longer than conventional five-character or seven-character rhythmical poems. So, due to space limitations, only 50 ancient cihave been included in this book. Representative poems were selected from the Tang Dynasty, the Five Dynasties (907-960AD), and the Song Dynasty. The authors have presented English versions for all of the ci, with brief introductions on each poet, detailed Chinese annotation, as well as the Chinese and English interpretations of each poem. We are deeply honored to report that Professor Xu Yuanchong has once again composed new, authoritative English translations of all the ciin this volume. We would like to extend our sincere gratitude to him for his superbly polished translations. We also wish to express our gratitude to Professor James Barnhart of Capital Normal University who assisted with editing the English commentaries.In brief, the authors of the book hope to promote a wider understanding of Chinese culture throughout the world and to effectively assist students of Chinese language and literature to enhance their level of appreciation. We hope this book contributes, in whatever modest way, to friendship and cooperation between China and other countries.The Authors and Translator
但是，學習中國文化和學習漢語不是一件輕而易舉的事，其中最大的困難之一是難以理解從名詩雅句中引用的文字片段。要提高漢語的理解和寫作水平，就不能不下一番功夫學習一些最著名、最常用的中國古代詩文篇章。還應該指出的是，在日益發展的國際交流中，中國人在向外國人介紹中國文化和翻譯中國文字時，古詩詞中名句的翻譯和解釋也是最令翻譯者頭疼的。
本書作者針對上述情況，在2003年編輯出版了《漢英雙講中國古詩100首》一書。該書對100首中國古典名詩的字句做了詳細注釋，並用中文和英文對其詩意進行解讀賞析。更為難得的是，北京大學資深翻譯家許淵沖教授親自將這100首古詩譯成英語。該書出版後，受到讀者的普遍好評，更受到學習漢語和到中國旅遊的外國友人的青睞。為了更加深入全面地介紹中國古代詩詞的全貌，《漢英雙講中國古詩100首》的作者和譯者們，又再接再厲，編選出版了這本《漢英雙講中國古詞50首》，以饗讀者。
中國詩歌發展到唐宋年間，詞作為一種新興詩體大放異彩。中國古代有“詩莊詞媚”的說法。這種說法的意思是，詩比較典雅、嚴肅、莊重，多用來言志；而詞則比較通俗、輕鬆、娛樂，多用來言情。所以有人認為，中國的詞比詩更美麗溫柔，更婉轉動人。其實，嚴格地說，詞也是詩的一種形式，兩者並沒有根本的區別。詞發展到後來，與詩一樣是“無意不可入，無事不可言”的了。詞中除了溫情脈脈的愛情、親情和友情之外，也有雄心壯志和刀光劍影。但無論如何，在中國詩歌形式的分類中，詞的創作方法與詩是大不相同的。詞要依據一定的“詞譜”來填寫，而不能像詩那樣由作者隨意創作。所以，每首詞都有“詞牌”。所謂“詞牌”最早是一首曲調的名稱，作者要嚴格依據這個曲調樂句的要求，按照句式的長短和詞句的格律來填詞。因而古代詞出現的早期，每首詞都是能夠按照曲調來歌唱的。隨著時間的推移，絕大多數詞的曲調漸漸被人們遺忘了，於是，詞在創作時所標明的曲調名稱也就只剩下了一個句式長短和格律要求有明確規定的框架。但這個框架對作品的要求依然是相當嚴格的，不可隨意而為。這個框架就被稱為“詞譜”或“詞牌”。在一首詞中，由於多數詞牌規定的句式是長短不齊的，所以詞也常常被稱為“長短句”。
詞在隋代就出現了，到唐代中期逐漸興盛，至宋代達到鼎盛。
“唐詩宋詞”成為中國詩歌發展的兩座高峰。宋代以後，詞的創作雖然逐漸衰落，但人們對詞的喜愛卻有增無減。時至今日，那些美麗動人的詞章詞句，仍然膾炙人口，是人們文化生活中不可缺少的內容。
由於詞通常比五七言的律詩絕句篇幅要長，所以限於全書篇幅，本書只選取了唐、五代至宋代的50首“名詞”，逐首進行詳細的文字注釋（中文）、古詞英譯（英文）和詞文鑑賞（中英文），同時，對每位詞作者都有簡略的介紹（中英文）。讓我們深感榮幸的是，北京大學許淵沖教授一如既往地擔綱將50首古詞譯成英語。
他的翻譯優美流暢、朗朗上口、用語典雅、內涵豐富。我們在此對許先生表示由衷的感謝。同時，我們還聘請了美國 James Barnhart 教授對全書英文進行了審閱修改，在此一併表示真誠的感謝。
總之，本書作者的最大心愿是，藉助本書的出版，為推進中外文化交流，為向世界介紹中國文化和思想，為幫助中外朋友學習漢語和中國古代文學，為增進中國人民與世界各國人民之間的友誼、理解和合作，略儘自己綿薄之力。
編 譯 者Among the world’s diverse cultures, only Chinese civilization has endured 5,000 years without interruption. This extensive and profound tradition has been sublimely tempered over its long history. In particular, the Chinese language has evolved to a high degree of refinement. There are currently 1.5 billion Chinese speakers—the largest single language population in the world today. This language, passed down from the ancient world, is still greatly admired for its rhythm, exquisite characters, and vast array of meanings.As China has been enjoying an increasing influence around the world, the Chinese language has become more and more widely used. Growing numbers of international higher educational institutions and cultural organizations have started to pay close attention to the study of Chinese culture. Many foreign universities have established the subject of Chinese Language, and even founded departments of Chinese Language and Literature. Moreover, Confucius Academies have sprung up around the globe, and there has been an international surge in the study of Chinese culture.However, the intricacies of Chinese language and culture are by no means easy to master. One of the greatest challenges is the comprehension of classical Chinese poems and song lyrics. These eminent masterpieces are a most rewarding source for those wishing to deepen their understanding of Chinese tradition. However, the translation and explanation of pieces drawn from the classical canon present particular difficulties when introduced to foreign audiences—an issue which has become more urgent in the light of the rapid Prefaceprogress of globalization.In 2003, in response to this problem, Dalian Publishing House presented 100 Classical Chinese Poems with Chinese-English Interpretations. This volume consisted of a careful selection of some of the most celebrated poems in Chinese history, along with bilingual commentary. Most significantly, this publication featured fresh translations of all 100 of these classic poems by Professor Xu Yuanchong of Peking University, one of the most distinguished translators in China. This book has not only been warmly praised by the general reading public, but also favored by students of the Chinese language and foreign travelers from around world. Thus, in order to present a more comprehensive introduction to ancient Chinese poetry, the authors and translators of 100 Classical Chinese Poems with Chinese-English Interpretationshave compiled the present volume: 50 Classical Chinese Ci with Chinese-English Interpretations.During the Tang Dynasty (618-907AD) and Song Dynasty (960-1279AD), a new genre of Chinese poetry evolved known as ci. Flouring mainly in the Song Dynasty, citend to be quite different from shi(a popular Tang Dynasty genre). Some commentators on ancient Chinese poetry have said, “Shiare solemn and dignified, while ciare worldly and effeminate.” Shihave always been used to express authors’ ambitions with formality and elegance. Ci, however, have been frequently employed to play on the reader’s emotions. Thus, ciwere comparatively unpretentious and relaxed, used more to entertain than to edify. Therefore, in contrast to shi, ciwere considered milder, sadder, and more melodic. However, strictly speaking, the ciis simply a particular type of poem, and bears no fundamental difference from conventional poetry. Cilater developed to become as expressive as mainstream poetry in terms of breadth and depth of insight. In addition to expressive sentimental love, friendship, and filial affection, ciwere also used for articulating grand sentiments, ranging from battlefield vainglory to philosophical reflection.However, in terms of distinguishing poetic genres, one can say that the formula for creating a ciand a conventional poem are very different. Conventional poems can be composed freely, without strictures on the poet, whereas cishould be composed in according to set tunes. Every ci, in fact, is set to its own tune, originally drawn from a popular melody. Poets composed lines to fit the given tune, strictly according to the length of verses and the requirements of the music. As most of the melodies had been laid down over the course of time, the tunes left a structure which explicitly regulated the length of the verse. The structure was rigid for poets, who would not be free to compose as they pleased. Han poems used five characters per line, and Tang shiused five or seven characters, However, Song cihad a different number of characters for each line of the poem. Therefore, ciare also referred to as “the long and short lines.” The cigenre first emerged in the Sui Dynasty (581-618AD), started to flourish in the mid-Tang Dynasty and achieved its high point in the Song Dynasty. “Tang shiand Song ci” are the two pinnacles of ancient Chinese poetry. Although the writing of cihas been on the wane for centuries, people’s love of the genre has continued unabated. These refined verses have long been universally praised and nowadays have come an integral part of Chinese literary culture.Ciare usually longer than conventional five-character or seven-character rhythmical poems. So, due to space limitations, only 50 ancient cihave been included in this book. Representative poems were selected from the Tang Dynasty, the Five Dynasties (907-960AD), and the Song Dynasty. The authors have presented English versions for all of the ci, with brief introductions on each poet, detailed Chinese annotation, as well as the Chinese and English interpretations of each poem. We are deeply honored to report that Professor Xu Yuanchong has once again composed new, authoritative English translations of all the ciin this volume. We would like to extend our sincere gratitude to him for his superbly polished translations. We also wish to express our gratitude to Professor James Barnhart of Capital Normal University who assisted with editing the English commentaries.In brief, the authors of the book hope to promote a wider understanding of Chinese culture throughout the world and to effectively assist students of Chinese language and literature to enhance their level of appreciation. We hope this book contributes, in whatever modest way, to friendship and cooperation between China and other countries.The Authors and Translator
