On The Rhythm Translation Of Blank Verse In King Lear By Shakespeare In The View Of Reception Aesthetics

Shakespeare's plays are poetic plays, and almost all Shakespearean plays are composed in the form of blank verse. In this sense, how to translate the blank verses in Shakespearean plays determines whether the translated version can be successful or not.The translation of poetry emphasizes mostly the rhythm. Setting the rhythm translation of blank verse as the basic concern, the author aims to view the translation of King Lear in the Reception ways by Hans Robert Jauss. The author discusses the prosaic translation and poetic translation of Shakespearean plays, the skill of replacing meter by dun (clusters of syllables) and their shortcomings respectively, in order to demonstrate that the rhythm, in translation, can be neither bypassed, nor imitated. Henceforth, it is provided that the Shakespearean plays can be translated through transplantation of the Yuanju style (the style of the plays of China's Yuan Dynasty), and the Qiyan form (similar number of characters in each line), accompanied with "proper rhyming" for compensating the loss of poetry in translation, in order to find the joint between Shakespearean plays and Chinese readers, achieving Horizontverschmelzung (Fusion of Horizon) in turn. Moreover, its feasibility is scrutinized both theatrically and pragmatically.Casting the translator-centered or text-centered discussion of Shakespearean plays and the petrified adoption of western translation theory, this thesis reviews the given translated versions of King Lear from the aesthetics of reception theory, that is, the characteristics of Chinese language, especially the forming of Chinese characters and the taste of Chinese readers. This thesis tends to forward that blank verse in Shakespearean plays can be transplanted using Yuanju style and Qiyan form to strive Fusion of Horizon in turn, expecting to provide a new perspective for the retranslation of Shakespearean plays.