1、文学翻译鉴赏,英加登:文学作品五个层次,波兰现象学文论家英加登（1988：10）曾将文学作品划分为五个层次：（1）词语声音和语音构成以及一个更高级现象的层次；（2）意群层次，包括句子意义和全部句群意义；（3）图式化外观层次，作品描绘的各种对象通过这些外观呈现出来；（作品描绘的各种对象通过这些外观呈现出来）(4)再现的客体及其各种变化构成层次；（在句子投射的意象事态中描绘的客体层次）；(5)“形而上质”层次，如崇高的、悲剧性的、可怕的、神圣的特质。,Longfellow: The First Snow,The first snow came. How beautiful it was, fall
2、ing so silently all day long; all night long, on the mountains, on the meadows, on the roofs of the living, on the graves of the dead! All white save the river, that marked its course by a winding black line across the landscape; and the leafless trees, that against the leaden sky now revealed more
3、fully the wonderful beauty and intricacies of their branches. What silence, too, came with the snow, and what seclusion! Every sound was muffled; every noise changed to something soft and musical. No more tramping hoofs, no more rattling wheel! Only the chiming of sleigh-bells, beating as swift and
4、merrily as the hearts of children (from Kavanagh),初雪飘临。多么美啊！它整日整夜那么静静地飘着，落在山岭上，落在草地上，落在世人的屋顶上，落在死者的坟墓上！在一片白茫茫之中，只有河流在美丽的画面上划出一道曲曲弯弯的黑线；还有那叶儿落尽的树木，映衬着铅灰色的天空，此刻更显得枝丫交错，姿态万千。初雪飘落时，是何等的静谧，何等的幽静！一切声音都趋于沉寂，一切噪音都化着柔和的音乐。再也听不见马蹄得得，再也听不见车轮粼粼！ 为由雪橇的铃铛，走出和谐的乐声，那明快欢乐的节拍犹如孩子们心房的搏动。（范钜清译）,Longfellow: gentle, swee
5、t, high-minded, pure,声音层,all day long; all night long; on the mountains, on the meadows, on the roofs of the living, on the graves of the dead! 平衡结构，重复，使得这一“雪下”的感觉不断加强 Every sound was muffled; every noise changed to something soft and musical. No more tramping hoofs, no more rattling wheels! 强化静谧的世界
6、,以短句为主，用以表示舒展的心理、单纯的场景。少数地方也使用长短句交替，如： All white save the river, that marked its course by a winding black across the landscape; and the leafless trees, that against the leaden sky nor revealed more fully the wonderful beauty and intricacies of their branches.,意义层,通过句子和句子组合来表现初雪的场景，通过这一层次是我们了解到文本所要传
7、达的基本意义。,图式外化层,漫飞的白雪；洁白的世界；河流；树枝；静谧；雪橇的铃铛 这一层次中会有不定点：如：intricacies; wonderful beauty,（黛玉方进入房时，只见两个人搀着一位鬓发如银的老母迎上来，黛玉便知是他外祖母。）方欲拜见时，早被他外祖母一把搂入怀中，“心肝儿肉”叫着大哭起来。 译文1She knew that this must be her Grandmother Jia and would have fallen on her knees and made her kowtow, but before she could do so her grandm
8、other had caught her in her arms and pressing her to her bosom with cries of My pet! and My poor lamb!(tr. D. Hawkes，着重号为作者加）,译文2She knew that this must be her grandmother, but before she could kowtow the old lady threw both arms around her. “Dear heart! Flesh of my child!” she cried, and burst out
9、sobbing. (tr. The Yangs),在霍译本中译者有更多的情感涉入，两处黑体部分都是创造性想象所做的不定点填充，这一充实的译文使文体效果非常生动：首先，霍译给黛玉补加 “would have fallen on her knees”表现出黛玉的聪慧和良好的教养，给贾母补加“had caught her in her arms”使译文更合逻辑，因为黛玉要给贾母叩头，表明他们之间还有一定的空间距离；其次，霍译将这一连串的动作并列放在一起，产生“假象连动”(pseudo-simultaneity)，贾母急切见孙的添犊之情跃然纸上，而杨译为了追求简洁，略去了一些必要细节，情感上也显得较为
10、“冷静”，并且杨译并将这几个动作分成两行，造成时间上的间隔感，因而场面的情感烘托和人物塑造就逊色了几分。,江湖上只是听说独龙岗有个扑天雕李应是好汉，却原来在这里。水浒传第47回,“江湖上”和“好汉”在水浒传中多次出现，它们的意义非常模糊、宽泛，有着很浓厚的中国文化内涵，即使是中国读者，也难以将它的具体所指说清。汉学家夏皮罗（Sidney Shapiro）分别译为in the gallant fraternity和 chivalrous fellow，显然是将中国古代的“英雄”文化移植到中世纪的“骑士”文化中来：chivalrous 和gallant都是形容具有勇猛精神和武侠品质的骑士；,而赛珍
11、珠(Pearl Buck)的译法比较中性：by river and lake 和good fellow，这与赛珍珠自小多年生活在中国，希望将中国文化（甚至是语言结构）原模原样地介绍给西方世界是有一定关系的。,再现客体层,这一层次会通过各种意象来表达客体。 如：视觉意象：白色意象：雪，包括山、草地、屋顶、坟冢； 黑色意象：河流、天空，除此之外没有其它颜色听觉意象：安静；声音消失；雪橇的铃声（清脆；单纯；孩子的心房搏动）单纯的童话世界静态意象：前面大多数的意象动态意象：静静无声地下的雪；快乐击响的铃铛；通过动态意象的声音，使得文章的情感逐渐迸发出来。,形而上质层,意境：冰清玉洁、物我两忘、水乳交融
12、、时空转换的意境效果 “味外之旨”，“韵外之致”,修改：,世人生者；划出留下；更显得已是 （静静地，它白天下着，晚上下着）,Bleaking House（荒凉山庄）,Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among tiers of shipping, and the waterside pollutions of a great (and dirty) city. Fog on the E
13、ssex marshes, fog on Kentish heights. Fog creeping into the cabooses of collierbrigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides
14、 of their wards; fog in the stem and bowl of the afternoon pipe of the wratheful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all rou
15、nd them, as if they were up in a ballon, and hanging in the misty clouds. Gas looming through the fog in divers places in the streets, much as the sun may, from the spongy fields, be seen to loom by husbandman and ploughboy. Most of the shops lighted two hours before timeas the gas seems to know, fo
16、r it has a haggard and unwilling look.,黄邦杰译文,到处是雾。雾笼罩着河的上游，在绿色的小岛和草地之间飘荡；雾笼罩着河的下游，在鳞次栉比的船只之间滚动，滚得它自己也变脏了。雾笼罩在厄色克斯郡的沼泽，雾笼罩着肯德郡的高地。雾爬进煤船的厨房；雾躺在大船的帆衍上，徘徊在巨舫的桅樯绳索之间；雾低垂在大平底船和小木船的舷边。雾钻进了格林威治区那些靠养老金过活、待在收容室火炉边呼哧呼哧喘气的老人的眼睛和喉咙里；雾钻进了在密室里生气的小商船船长下午抽的那一袋烟管和烟斗里；雾残酷地折磨着他那在甲板上瑟缩发抖的小学徒的手指和脚趾。偶然从桥上走过的人们，从栏杆上窥视下面的雾天
17、，四周一片迷雾，恍如乘着气球，漂浮在白茫茫的云端。大街上，有些地方的煤气灯在浓雾中若隐若现，很像庄稼汉在泥土松软的田地上看见的那个朦朦胧胧的太阳。大多数的店铺都比平时提前两个钟头掌灯煤气灯似乎也知道这一点，它们那副面孔显得憔悴又不情愿。,狄更斯通过对伦敦大雾的描写，旨在给读者营造一个沉重的氛围：暗无天日的社会压制、摧残人们的内心，生活在这个社会中的人们无法排遣，无法逃脱。我们首先从表层美质来分析该语篇及其译文。,表层美质,1、修辞。首先给读者印象深刻的是重复与排比。在前面五个整句中，都是fog做主语，所有的句子都是不完整句子，缺省系动词。另外，第句只有一个小句，第、句包含了两个小句，而第、句包
18、含了三个小句，句式越来越长，象征心理的压抑越来越大。这些特征显然都被译者注意到，并得到忠实的再现。,2、变异。这段文字的fog多次出现，故意违背英语的省略、替代原则，其目的是营造一个单调、沉重、压抑的氛围：黑暗的社会制正如这雾一般，渗透于生活中的每一个角落，让人喘不过气来。同时，省去了系动词的相似结构重复，让读者在脑海中形成一个连着一个的片断形象的连续体，印象更加深刻。在译文中，译者也不厌其烦，将“雾”如数重复，并且让句子越来越长，结构越来越复杂。,3、音律。在第句描述雾大幅度的流动、翻滚时，作者选择了开口越来越大的音节flow和 roll；在第句描述雾钻进厨房以及第句描写人们艰难地从雾中俯看
19、时，选择了开口音很小的creep和peep。译文分别采用了“飘荡”、“滚动”两个大开口音，和“钻进”、“窥视”两个小开口音，再现了原文声音的象征意义。,4、口吻。整个语篇的口吻在于通过影射进行抨击，译文通过使用正式的大词使口吻显得凝重。,5、背景与突出。在第一段（-句），突出的心理概念是浓得化不开的雾，而船、地面、人、桥等等都成为了背景。在给读者造成了沉重、压抑的心理效果之后，为了不让读者的审美心理疲乏乃至崩溃，作者在第二段（-句）将前景因素作了转移，突出的心理概念转向浓雾中惺忪的煤气灯，街道、人都成为了背景。而最后又通过煤气灯的反衬再次将雾突出到前景。译文采用了同样的背景与突出方式，读者的审
20、美体验获得同等的效果。,中层美质,1、形象/意象。在这一语篇中雾这一形象是黑暗、反动，而它的意象又分别通过动态意象、静态意象、视觉意象、听觉意象、触觉意象来表达。原文中，静态意象通过on、in、droop、lie、hover、hang等词表现；动态意象通过up、down、flow、roll、creep、loom、pinch等词表现。在译文中，静态意象通过“笼罩”、“低垂在”、“徘徊在”、“若隐若现”等形式复现；动态意象通过“飘荡”、“滚动”、“钻进”、“爬进”等形式复现。原文大部分是视觉意象，听觉意象在于wheeze和shiver，译文通过使用“呼哧呼哧喘气”和“瑟缩发抖”使之凸现于安静视觉的
21、背景之上，在感觉上形成不和谐，从而暗示悲剧性寓意。原文的触觉意象在于spongy，译文通过使用“软绵绵的”这一触觉复现，象征人们站在土地上就像浮在雾中，恍惚于世间。,2、情感。整个语篇的情感沉重、压抑，在语言上一是通过重复单调的句型，特别是雾做主语的句子，二是句式由短向长逐渐过渡。比如，Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the
22、 wratheful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little prentice boy on deck.一句，译者没有采取下面的译法：“雾在格林威治领养老金的老人的眼睛里和嗓子里，他们坐在收容室的炉边喘着气；雾在生气的船长的烟斗里和烟柄上，他在小舱里抽着下午烟；雾在甲板上他的打着冷战的小徒弟身上，寒气凶狠地刺着他的脚趾和手指。”,虽然这样翻译化长句为短句，在一般情况下符合于汉语习惯，但在这里，译者把它处理为“雾钻进了格林威治区那些靠养老
23、金过活、待在收容室火炉边呼哧呼哧喘气的老人的眼睛和喉咙里；雾钻进了在密室里生气的小商船船长下午抽的那一袋烟管和烟斗里；雾残酷地折磨着他那在甲板上瑟缩发抖的小学徒的手指和脚趾。”显然，沉重的语言结构更有助于表达沉重的心情。,3、色彩。整个语篇的色彩非常灰暗，行文较快，描写细致而意义含蓄。这种色彩在译文中得到了同样的再现。,夏济安译文赏析,Between two tall gateposts of rough-hewn stone (the gate itself having fallen from its hinges at some unknown epoch) we beheld the
24、gray front of the old parsonage terminating the vista of an avenue of black ash trees. It was now a twelve month since the funeral procession of the venerable clergyman, its last inhabitant, had turned from that gateway towards the village burying-ground. The wheeltrack leading to the door, as well
25、as the whole breadth of the avenue, was alsmost overgrown with grass, affording dainty mouthfuls to tow for three vagrant cows and old horse who had his own living to pick up along the roadside. Hawthorne： The Old Manse,一条大路, 两旁白蜡树成林, 路尽头可以望见牧师旧宅的灰色门前, 路口园门的门拱已不知在哪一年掉下来了, 可是两座粗石雕成的门柱还巍然矗立着。旧宅的故主是位德高
26、望重的牧师, 现已不在人世, 一年前, 他的灵柩从园林里迁出, 移向村中公墓, 也有不少人执绋随行。园门里的林荫大路和宅门前的马车道，杂草丛生， 偶尔有两三只乌鸦飞来，随意啄食。在路旁觅食的那头老白马，也可以在这里吃到几口可口的美食。 霍桑古屋杂忆,On one of those sober and rather melancholy days, in the latter part of Autumn, when the shadows of morning and evening almost mingle together, and throw a gloom over the decl
27、ine of the year, I passed several hours in rambling about Westminster Abbey. There was something congenial to the season in the mournful magnificence of the old pile; and, as I passed its threshold, seemed like stepping back into the regions of antiquity, and losing myself among the shades of former
28、 ages. 时方晚秋, 气象肃穆, 略带忧郁, 早晨的阴影和黄昏的阴影, 几乎连接在一起, 不可分别。岁将云暮, 终日昏暗, 我就在这么一天, 到西敏寺去散步了几个钟头。 古寺巍巍, 森森然似有鬼气, 和阴沉的季候正好调和; 我跨进大厅, 觉得自己已经置身远古, 相忘于古人的鬼影之中了。欧文西敏大寺,Houses of any antiquity, in New England, are so invariably possessed with spirits, that the matter seems hardly worth alluding to. Our ghost used to
29、 heave deep sighs in a particular corner of the parlor; and sometimes rustled paper, as if he were turning over a sermon, in the long upper entry;-where, nevertheless, he was invisible, in spite of the bright moonshine that fell through the eastern window. 新英格兰凡是上了年纪的老宅, 似乎总是鬼影幢幢, 不清不白, 事情虽怪, 但家家如此,
30、 也不值得一提了。我们家的那个鬼, 常常在客厅的某一个角落, 喟然长叹; 有时也翻弄纸张, 簌簌作响, 好像正在楼上长廊里研读一篇讲道文-奇怪的是月光穿东窗而入, 夜明如画, 而其人的身形总不得见.,THE TRUE ARTIST Norman Bethune,The true artist lets himself go. He is natural. He “swims easily in the stream of his own temperament.“ He listens to himself. He respects himself.He comes into the ligh
31、t of every-day like a great leviathan of the deep, breaking the smooth surface of accepted things, gay, serious, sportive. His appetite for life is enormous. He enters eagerly into the life of man, all men. He becomes all men in himself. The function of the artist is to disturb. His duty is to arous
32、e the sleepers, to shake the complacent pillars of the world. He reminds of the world of its dark ancestry, shows the world its present, and points the way to its new birth. He is at once the product and preceptor of his time. After his passage we are troubled and made unsure of our too-easily accep
33、ted realities. He makes uneasy the static, the set and the still. In a world terrified of change, he preaches revolution-the principle of life. He is an agitator, a disturber of the peace-quick, impatient, positive, restless and disquieting. He is the creative spirit working in the soul of man.,真正的艺
34、术家 诺曼白求恩,真正的艺术家是狂放不羁的，它自由自在，悠然自得地在自己个性的川流中畅游。他倾听自我，尊重自我。他以深海巨鲸的姿态，浮现在日常生活的阳光下，打破人们习以为常的平静生活的洋面，轻松愉快，严肃认真，嬉笑自若，他酷爱生活，拥抱生活。他渴望与各种人物同命运，共呼吸。他成了所有人的化身。艺术家的职责就是要惊世骇俗，唤醒沉睡的人们，震撼那些自以为是的社会中坚。他提醒人们不要忘记在黑暗中摸索的往昔岁月，向他们昭示当今世界，并为他们指引新生的道路。他既是时代的产儿，也是时代的先锋。在他亮相之后，人们始感困惑，开始对那些本来深信不疑是事物产生怀疑，他令静止、固定、僵死的一切躁动起来。在一个惧怕变革的世界里，他公开宣扬，变革乃是生活之本，他是一个鼓动家，一个打破平静生活的人物聪颖敏捷、充满渴望、坚定果断、不知疲倦和引发不安。他是活跃于人类灵魂中富有创造力的精灵。,
