在西方后现代主义中,“互文性(intertextuality)”是一个很重要的概念。这个概念否定了任何文本的独立性、自主性和封闭性,因为任何文本都身不由己地被编织在文本网络之中,与其他文本有着千丝万缕的联系。经过翻译而得来的译诗文本更是具备强烈的互文性特征,因为自从它被生成的那一刻起就有着原诗这个母体文本如影随形地跟着它。那么,这个互文本应该如何被生成才能构成与母体之间最佳的互文性关系呢?中国古代诗歌批评中的“活法”论为回答这个问题提供了一个可行的答案。诗歌创作中的“活法”可以具化为三种方法:点化、夺胎和换骨。“点化”法是对“活法”诗歌创作手法的细化,是技法层面上的“活法”论。“夺胎”法和“换骨”法是对“活法”论在言与意、形与神以及文与质层面上的展开。而“活法”论本身则是对上述三种方法在形而上诗学层面的综合。同样,在诗歌翻译中,翻译者也依然可以运用“点化”法、“夺胎”法和“换骨”法实施“活法”翻译策略,实现原诗和译诗之间理想的互文性关系。 In Western postmodernism, “intertextuality” is a very important concept. This notion negates the independence, autonomy and occlusion of any text, since any text is involuntarily woven into the textual network and inextricably linked with other texts. The translation of translated poetry texts is characterized by a strong intertextuality, since the mother text of the original poem has been followed in its shadow since the moment when it was created. So how should this intertext be generated to form the best intertextual relationship with the mother? The “living law” theory in Chinese ancient poetry criticism provides a feasible answer to this question. The “living law” in poetry creation can be turned into three methods: turning point, fetching the fetus and changing the bone. “Dianhua ” method is the refinement of “living law ” poetry creation technique, which is the theory of “living law” on the technical level. The law of “seizing the fetus” and the law of “exchanging the bone” are the unfolding of the “living law” in terms of words and minds, form and spirit, and the level of writing and quality. The “living law” theory itself is the synthesis of the above three methods in metaphysical poetics. Similarly, in the translation of poetry, the translator can still apply the translation strategy of “law of perfection”, “law of justice” and “law enforcement of” The Ideal Intertextual Relations Between Poetry Translation.