|Abstract: ||詩歌音樂效果 (Musicality) 之重要，以蒲伯 (Alexander Pope) 之說最為簡雋：「音須為意之迴響」(“The sound must seem an Echo to the sense”)。和音樂一樣，詩歌也是構築聲音的藝術。如果音、意配合無間，詩歌便聲情並茂，入於耳、動於心。如果說音、意之聯繫在詩歌中表現得最為顯著，那麼詩歌翻譯中，音樂效果自然不容忽視。本文以莎士比亞十四行詩為例，探討詩歌中獨特的音樂效果及其在漢譯過程中再現的可能性。本文所關注的重點，是莎士比亞如何利用一系列音素的語音特徵，通過控制聲音運動的輕重緩急，選擇柔和或峭厲的音色，或調整特定音素的排列模式，從而使十四行詩呈現出獨特的音樂美，讓詩歌蘊含的意義更加扣人心弦；進而討論如何利用中文詩歌獨特的音樂構築方式，來再現英詩中的各類音樂效果。|
Alexander Pope once gave the most succinct account of the significance of musicality in poetry: “The sound must seem an Echo to the sense.” The wedding of sound and sense has long been regarded as a symbol of success for a poem. However, due to the fact that no two languages share a same phonological system, musicality is among the most challenging elements in poetry translation. Yet, difficult and challenging as it may be, the internal nexus between sound and sense, rendered at its most intense in poetry, shall not be readily dismissed as an untranslatable feature. With reference to the Chinese translations of Shakespeare’s sonnets, this paper discusses in details three types of phonological features in Shakespeare’s sonnets, namely, the color, the pattern and the movement of sounds, and attempts to show how, depending on the nature of each type of musicality, Chinese translations can recreate the original musicality with varying degrees of success.