CAJ | 학술논문

《江雪》是柳宗元的代表作之一，诗人以中国水墨画般的寥寥几笔勾勒了一个充满了孤寂的世界，而同时，这也是一个空无而万有的禅蕴之境。通过比较几个不同的英译本，指出译者许渊冲在其英译中从字、词的选择以及诗句结构的选用于无与有和动与静的完美结合中更将原诗中的空寂之韵和空无即是万有的禅蕴之境充分展现，也从而使得原诗中空寂的禅蕴之美得以在译作中传递和延续。
《강설》시류종원적대표작지일，시인이중국수묵화반적요요궤필구륵료일개충만료고적적세계，이동시，저야시일개공무이만유적선온지경。통과비교궤개불동적영역본，지출역자허연충재기영역중종자、사적선택이급시구결구적선용우무여유화동여정적완미결합중경장원시중적공적지운화공무즉시만유적선온지경충분전현，야종이사득원시중공적적선온지미득이재역작중전체화연속。
Fishing in Snow is one of the masterpieces by Liu Zongyuan and an ethereal world,which is also full of Zen sense,is created with a couple of words in the poem.Compared with some other English translated versions,the translator,Xu Yuanchong,unfolds both the connotation of the aloneness and loneliness and the Zen sense of emptiness and ethereality with the uses of words and structures and the perfect combination of dynamic and static states in his version.The ethereal beauty of the Zen sense in the original poem exists and regenerates in the translated version.