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1.2 Background of the Poetry Translation
Although poems of Frost are so beautiful and natural, it is hard for foreigners to appreciate and translate. Chinese language is broad and profound, possessing endless colorful and beautiful rhetoric. If we choose such words and sentences to translate, it is not appropriate for the original poetry although we think it good. While in China, many scholars have successfully translated his poems.
From 1924 up to now, many scholars in China have translated Frost’s poetry. It is said that the first person in China to introduce Frost is Bi Shutang (1900-1983). In 1924, Bi Shutang published his Nine Litterateurs’ introduction of Modern America in Student Magazine edited by Zhu Tianmin. In this article, he introduces Frost and his three published poetries: A Boy’s Will, North of Boston and Mountain Interval (Bi Shutang 1924: 77). In 1946, Yang Zhouhan publishes his Translation of Modern American Poetry, among which, Frost’s poems Stopping by the Woods in a Snowy Evening, Come In and A Leaf Treader are published. In 1949, Yuan Shuipai translation of Frost’s poetry Mending Wall in Modern American Poetry is published by Shanghai Chenguang Publishing Company. Then, since our policy of reform and open to the outside world, more and more foreign literature have been introduced and translated in China, and most Frost’s poems are translated, such as A Late Walk, A Time to Talk, Nothing Gold Can Stay, The Onset, The Lockless Door, etc.
Jiang Feng is a writer, a poet and a translator. Apart from the Selected Poems of Robert Frost, he has translated abundant poems including Selection of Shelley’s Poems, Selected Poems of Yugoslavia and Macedonia, Collected Edition of Shelley’s Lyric Poems, Ages Smedley, Modern American Copied Poems etc. His translation has received very high evaluation.
In so many translation versions of Frost’s poems, Jiang Feng version has got a high evaluation. As is known to all, nature in Frost’s poems is most important. In his poetry, nature can be summarized in general as aesthetic and cheerful nature, mysterious and terrible nature, metaphorical and symbolic nature, creative and religious nature, etc. In Jiang Feng version, he cares most about both the author and Chinese readers. Context in literature translation cannot only stay in the context level, but also exist in practice (Wu Hao, 2011). In his translation, Jiang Feng not only depicts beautiful scenery for us, but also applies Chinese culture and custom to the text, making it easier to appreciate.
A good translation of the poetry, especially applied with context theory, can make it easier for readers to appreciate. So many scholars have translated Frost’s poems. Among them, Jiang Feng version has been well received. In his version, he attached much importance to the use of context, making it in line with Chinese habits and background culture.