1、赏析中国著名翻译家及其代表作赏析中国著名翻译家及其代表作 杨宪益、戴乃迭夫妇和他们的翻译经典杨宪益(1915 )、戴乃迭(19151999)夫妇是中国翻译史上久负盛名的翻译家,他们为中国翻译事业的发展做出了巨大的贡献。他们以其毕生精力,夫妻合作、珠联璧合,将大量的中国文学作品翻译、介绍到了西方,也将许多优秀的西方文学作品介绍给了中国读者。他们翻译的数量之大,质量之高,少有人能企及。他们不仅翻译了红楼梦，还将鲁迅文集、史记选等上百部中国文学作品译成了英文。作为主要译者和世纪主编，杨宪益、戴乃迭共同支撑英文版中国文学杂志近五十年，自1951年创刊以来，这份刊物一度是中国文学作品走向世界的惟一窗口。
2、杨宪益主张，在翻译的同时要力争传达出作者的本意并且能够尽可能的保留或者显现原文的风格。这一问题值得所有翻译工作者不断的探索和研究。对于红楼梦的翻译，杨宪益、戴乃迭夫妇的译本是一部最接近原著的英文全译本。在这部翻译巨著中，集中体现了杨氏翻译法的妙处和高深的造诣。 一、译文同义习语的套用。不同文化之间的相似和相通性为同义习语的套用提供了客观依据。在现实生活中我们可以发现一种语言中概括某种生活现象的成语和词组与另一种语言中类似的习语和词组在表达技巧上和语法组合上都有惊人的相似,给人以无独有偶、天作之合的感觉。英汉文化和语言中有许多不谋而合的经典名句和习语。它们在内容上、结构上几乎完全一致,充分体现了
3、不同民族文化和语言之间的相通性。这时用习语译习语当然是最理想的策略,这样可以达到从语义到文体上的最自然贴切。如: (1)僧不僧,俗不俗,女不女,男不男。(第三十六回) This is neither fish, flesh nor fowl 此句就是引用了“Neither fish, flesh nor fowl”的形式,而在前面添加了“this is”。 (2)贪多嚼不烂。(第九回) Bite off more than you can chew. 此句就是将英语习语“Bite off more than one can chew.”中的“one”具体体现在“you”身上。 这种译法不仅做到
4、译文和原文在语义、语用、文化效果上最大限度的等值,又易被译语文化接受,既保全了原文的形式和结构,又承载着原文的文化内涵。然而,这样的等效翻译的例子在红楼梦中是比较有限的,更多的是根据不同的情况,采用不同的方法做出较大的改动,力争做到效果上的等效。二、直接转移形象 翻译是将一种语言转换成另一种语言,其目的在于把原语的全部信息输入译语,同时取得最大限度的等值效果。习语的一个最大特点就是其表层意义中一般都有一个或多个形象。而由于英汉民族的思维方式和文化背景的不同,对周围环境做出的反应及表达思想也不尽相同。当原语形象所承载的喻义无法在译语中再现时,可以根据具体上下文,用译语中读者所熟知的形象替换原语中
5、形象,即指称意义用译语形象传达。这样虽然形象不同,但语用意义是相同的,从而使译文达到与原文相同或相近的表达效果。如: (1)谋事在人,成事在天。咱们谋到了,靠菩萨的保佑,有些机会也未可知。(第六回) Man proposes, Heaven disposes Work out a plan, trust to Buddha, and something may come of it for all you know. 在此,“谋事在人,成事在天”与“Man proposes, God disposes”的内容与形式基本一致,只是从原文的民族色彩来看,刘姥姥是信佛的,而非基督教,因此将God改为
6、Heaven更为合适。三、意译法舍弃原文形象 如前所述,习语负载着浓厚的文化色彩,因此有时某一形象无法用译语译出,此时只能以意译的方法将其隐含意义译出。成功的翻译就在于虽然改变了语言符号,但并不改变它们所表达的意义,即思想内容。如: (1)人家是醋罐子,他是醋缸,醋瓮! (第六十五回) If other women are jealous, she is a hundred times so! 对于讲汉语的人来说,“醋罐子”这一说法的含义不言自喻。如果将其直译的话,译语读者就不知所云,因此就不如索性舍弃原文的形象,将其意译出来更好。 (2)林黛玉道:“兔死狐悲,物伤其类。”(第五十七回) Ta
7、i-yu exclaimed in distress and sympathy. 这句汉语习语是用来比喻因同类的死亡或不幸而感到悲伤,与其形象兔子和狐狸不再有密切的关系,因此翻译时完全可以省略其形象,只译喻义。根据上下文的实际情况,这句话表达了林黛玉由邢岫烟的处境联想到自己身世后发出的感慨和随之产生的悲伤,于是更加表现了她多愁善感的性格。四、直译法保留原文中的形象 翻译的一个基本原则就是能够最大限度地、尽可能完美地再现原语中所表达的意义。对于习语而言,它的艺术魅力在于它的形象性。习语靠形象存在,靠形象流传,因此翻译习语的重点在于传达原文中的形象。 奈达曾经说过,“翻译不仅要求信息内容的对等,而
8、且尽可能要求形式上的对等”,这对汉语习语的翻译也是很重要的。汉语习语主要以形象生动见长,习语的翻译最好能在译语中找到与原语对等或有对等效果的概念和形象,这也是杨译中多采用直译的原因。如: (1)嫁鸡随鸡,嫁狗随狗。(第八十一回) Marry a cock and follow the cock; Marry a dog and follow the dog. 这句话就采用了完全直译的方法在形式和内容上都达到了完全对等,形式与内容达到兼顾,再现了原文的形象。又如: (2)女儿是水做的骨肉,男人是泥做的骨肉。 Girls are made of water, men of mud. 这些直译的方法
9、可以说是达到了完全意义上的对等。然而由于各民族文化存在的差异,不同民族对同一形象可能有不同的理解和喻义,这时,如果运用直译的方法去追求形象的对等,就可能会使原文的内在含义无法表达出来。如: (3)“原来这学中虽都是本族人丁与些亲戚家的子弟,俗话说的好,一龙生九种,种种有别,未免人多了,就有龙蛇混杂,下流人物在内。”(第九回) “Now although all the people in this school were members of the Chia clan or relations by marriage, as the proverb aptly says, A dragon
10、begets nine offsprings; each one different. And inevitably among so many boys there were low types too, snakes mixed with dragons. 这段话中的“一龙生九种,种种有别”和“龙蛇混杂”都是用了直译的方法,但是龙与“dragon”两者的形象及意义却有较大的差异,不能等同。在汉语中,“龙”是正面形象的象征,是高贵吉祥的象征,而英语中的“dragon”是一种凶恶的象征,两者有天壤之别,不仅形象相差甚远,而且在人们情感上所具备的意义更不能相提并论。因此,此处虽然做到了字面上的对
11、等,但其内在的含义却无法得以体现。五、形义皆舍 汉语的一个特点就是喜欢重复,或加以解释说明的成分加强语气,而且习语的运用一般都有上下文。如果特定的语境已经说明了习语的喻义,而形象又是虚设的时候,就可以将整个习语略去不译,以求简洁明了。如: 千里搭长棚,没有不散的宴席。(第二十六回) Even the longest feast must break up at last. “千里搭长棚”这一形象和意义在此都被舍弃了,因为搭起长棚设宴请客只是我国古代的一种风俗,如果直译,译语读者不能理解此意,反而削弱了表达力,因此可舍弃不译。（范存忠.漫谈翻译译学论集C.南京:译林出版社, 1997；耿龙明 主
12、编翻译论丛C.上海:上海外语教育出版社, 1998； Baker Min Other Words A Course book on Translation M. London and New York Routledge, 1992.）在这里略举几例以供细细赏析和体会。 黛玉葬花 曹雪芹（原文）： 花谢花飞飞满天，红消香断有谁怜？游丝软系飘春榭，落絮轻沾扑绣帘。 闺中女儿惜春暮，愁绪满怀无着处； 手把花锄出绣帘，忍踏落花来复去？ 柳丝榆荚自芳菲，不管桃飘与李飞；桃李明年能再发，明年闺中知有谁？ 香巢初垒成，梁间燕子太无情！明年花发虽可啄，却不道人去梁空巢已倾。一年三百六十日，风刀霜剑严相逼；明
13、媚鲜妍能几时，飘泊难寻觅。 花开易见落难寻，阶前愁杀葬花人； 独把花锄偷洒泪，洒上空枝见血痕。 杜鹃无语正黄昏，荷锄归去掩重门 青灯照壁人初睡，冷雨敲窗被未温。 怪依底事倍伤神？半为怜春半恼春： 怜春忽至恼忽去，至又无言去不闻。 昨宵庭外悲歌发，知是花魂与鸟魂？ 花魂鸟魂总难留，鸟自无言花自羞； 愿侬此日生双翼，随花飞到天尽头。 天尽头！何处有香丘？ 锦囊收艳骨，净土掩风流； 质本洁来还洁去，不教污淖陷渠沟。尔今死去侬收葬，侬身何日丧？侬今葬花人笑痴，他年葬侬知是谁？ 试看春残花渐落，便是红颜老死时， 春尽红颜老，花落人亡两不知！ 译文： As blossoms fade and fly ac
14、ross the sky,Who pities the faded red, the scent that has been?Softly the gossamer floats over spring pavilions,Gently the willow fluff wafts to the embroidered screen.A girl in her chamber mourns the passing of spring,No relief from anxiety her poor heart knows;Hoe in hand she steps through her por
15、tal,Loath to tread on the blossom as she comes and goes.Willows and elms, fresh and verdant,Care not if peach and plum blossom drift away;Next year the peach and plum blossom will bloom again,But her chamber may stand empty on that day.By the third month the scented nests are built,But the swallows
16、on the beam are heartless all;Next year, though once again you may peck the buds,From the beam of an empty room your nest will fall.Each year for three hundred and sixty daysThe cutting wind and biting frost contend.How long can beauty flower fresh and fair?In a single day wind can whirl it to its e
17、nd.Fallen, the brightest blooms are hard to find;With aching heart their grave-digger comes nowAlone, her hoe in hand, her secret tearsFalling like drops of blood on each bare bough.Dusk falls and the cuckoo is silent;Her hoe brought back, the lodge is locked and still;A green lamp lights the wall a
18、s sleep enfolds her,Cold rain pelts the casement and her quilt is chill.What causes my two-fold anguish?Love for spring and resentment of spring;For suddenly it comes and suddenly goes,Its arrival unheralded, noiseless its departing.Last night from the courtyard floated a sad song-Was it the soul of
19、 blossom, the soul of birds,Hard to detain, the soul of blossom or birds?For blossoms have no assurance, birds no words.I long to take wing and flyWith the flowers to earths uttermost bound;And yet at earths uttermost boundWhere can a fragrant burial mound be found?Better shroud the fair petals in s
20、ilkWith clean earth for their outer attire;For pure you came and pure shall you go,Not sinking into some foul ditch or mire.Now you are dead I come to bury you;None has divined the day when I shall die;Men laugh at my folly in burying fallen flowers,But who will bury me when dead I lie?See, when spr
21、ing draws to a close and flowers fall,This is the season when beauty must ebb and fade;The day that spring takes wing and beauty fadesWho will care for the fallen blossom or dead maid?The Dream of Red Mansion 外研社，1994 杨宪益、戴乃迭下面一段是对王熙凤的描写，杨宪益的翻译保留了中国古典的韵味，运用具体的富有生命力的动词：运用连词介词从句动词的非谓语，式来巧妙整合零散的汉语句子。 把
22、王熙凤的雍容华贵，优美姿态极好的用另外一种语言展现在了国外读者面前，让世界人民有机会领略我国四大名著的柔美和伟大。本段选自： 第三回 贾雨村夤缘复旧职林黛玉抛父进京都 采绣辉煌，恍若神妃仙子。头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上带着赤金盘螭璎珞圈；裙边系着豆绿宫绦，双衡比目玫瑰珮；身上穿着镂金百蝶穿花大红洋缎窄褃袄，外罩五彩刻丝石青银鼠褂；下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉，身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。 译文 ： she was richly dressed and resplendent as a fairy. Her gold-filig
23、ree tiara was set with jewels and pearls. Her hair-clasps, in the form of five phoenixes facing the sun, had pendants of pearls. Her necklet, of red fold, was in the form of a coiled dragon studded with gems. She had double red jade pendants with pea-green tassels attached to her skirt. Her close-fi
24、tting red satin jacket was embroidered with gold butterflies and flowers. Her turquoise cape, lined with white squirrel, was inset with designs in coloured silk. Her skirt of kingfisher-blue crepe was patterned with flowers. She had the almond-shaped eyes of a phoenix, slanting eyebrows as long and
25、drooping as willow leaves. Her figure was slender and her manner vivacious. The springtime charm of her powdered face gave no hint of her latent formidability. And before her crimson lips parted, her laughter rang out.The Dream of Red Mansion 外研社，1994 杨宪益、戴乃迭与此同时，杨宪益、戴乃迭夫妇对于红楼梦回目的翻译也堪称经典，耐人寻味，在这里略举前
26、八回以供研究和赏析。第一回 甄士隐梦幻识通灵 Zhen Shiyin makes the Stones acquaintance in a dream; Zhen Shiyin in a Dream Sees the Jade of Spiritual Understanding 贾雨村风尘怀闺秀 And Jia Yucun finds that poverty is not incompatible with romantic feeling Jia Yucun in His Obscurity Is Charmed by a Maid 第二回 贾夫人仙逝扬州城 A daughter of
27、the Jias ends her days in Yangzhou City; Lady Jia Dies in the City of Yangzhou 冷子兴演说荣国府 And Ling Zixing discourses on the Jias of Rongguo House Leng Zixing Describes the Rong Mansion 第三回 托内兄如海荐西宾 Lin Ruhai recommends a private tutor to his brot her-in-law; Lin Ruhai Recommends a Tutor to His Brother
28、-in-law 接外孙贾母惜孤女 And old Lady Jia extends a compassionate welcome to the motherless child The Lady Dowager Sends for Her Motherless Grand-Daughter 第四回 薄命女偏逢薄命郎 The Bottle-gourd girl meets an unfortunate young man; An Ill-fated Girl Meets an Ill-Fated Man葫芦僧判断葫芦案 And the Bottle-gourd monk settles a p
29、rotracted lawsuit A Confounded Monk Ends a Confounded Case 第五回 贾宝玉神游太虚境 Jia Baoyu visits the Land of Illusion; The Sp iritual Sonte is Too Bemused to Grasp the fairys Riddles警幻仙曲演红楼梦 And the fairy Disenchantment performs the “Dream of Golden Days” The Goddess of Disenchantment in her kindness Secret
30、ly Expound s on Love 第六回 贾宝玉初试云雨情 Jia Baoyu conducts his first experiment in the Art of Love; Baoyu Has His First Taste of Love 刘姥姥一进荣国府 And Grannie Liu makes her first entry into the Rongguo mansion Granny Liu Pays Her First Visit to the Rong Mansion 第七回 送宫花贾琏戏熙凤 Zhou Ruis wife delivers palace flow
31、ers and finds Jia Lian pursuing night sports by day; Madam Yu Invites Xifeng Alone宴宁府宝玉会秦钟 Jia Baoyu visits the Ningguo mansion and has an agreea ble colloquy with Qinshis brother At a Feast in the Ning Mansion Baoyu First Meets Qin Zhong 第八回 贾宝玉奇缘识金锁 Jia Baoyu is allowed to see the strangely corres ponding golden locket; Nanny Li makes a Nuisance of Herse
