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一、引言 在经济全球化迅速发展的今天,不同国家不同民族之间的交往越来越频繁,由此也带来翻译活动的空前繁荣。翻译的范围很广泛,涵盖各个领域,如文学、政治、文化、贸易、科技、传媒等。文本的类型概括起来有:文学文本,如小说、诗歌、戏剧、散文;科技文本,如科技报告、科技论文、自然科学课本;新闻文本,如新闻报道、通讯、社论、特写;应用文本,如广告、信函、合同、产品说明书。而如今各个国家的经典著作都被大力地推向世界,成为民族文化输出的一种手段,也是一个民族了解他民族的非常有效的途径。那么作为中国四大名著之首的《红楼梦》便成为中国和其他国家文化交流的使者。但作为一部经典著作,其中浓缩了极其丰富的中国文化,而且体现了作者独具匠心的创作,要想把她翻译好,具有很高的难度。尤其是其中的一些语言前景,对作品的主题以及人物的刻划、情节的发展、意义的传达都有着非常重要的意义。所以,这些语言前景的翻译的好坏直接影响到整个作品的翻译质量。本篇论文就从前景化的角度对《红楼梦》中语言前景的翻译进行一个简单的研究。 二、前景化理论概述 "前景化"这一概念最初是由俄国形式主义学派和布拉格学派的一些学者在研究诗学及诗歌的文体时所创造的术语。他们认为前景化就是偏离常规的艺术形式,任何事物的反复出现将使人们对它的感受力逐渐变弱,艺术使许多人们司空见惯而又不为意识所关注的东西陌生化。文学艺术就是将日常生活中所使用的常规化或定式化的语言进行加工,使人们感觉新鲜陌生。(Shklovsky, 1965:18)布拉格学派著名的语言学家和文学评论家莫卡罗夫斯基(Jan Mukarovsky)在20世纪30 年代提出这一理论。他认为前景化就是对"标准常规的系统违反"(Mukarovsky,1964),是引人注目的,新颖的;常规语言和定式化的日常用语使语言"自动化(automatize)和惯例化(habitualize)",这种自动化和惯例化的模式削弱了人们对语言表达和艺术美的欣赏,久而久之就会对人的感觉产生一种麻醉效力,为了了消除这种太过熟悉而形成的麻醉效力,我们要颠倒习惯化,"损坏"习以为常的东西, 使其前景化,而语言的日常习惯用法使语言习惯化、常规化,即使其背景化(backgrounding)。(Mukarovsky, 2003:14) 变异是"前景化"的重要手段。变异的主要表现形式就是偏离常规,利奇(Geoffrey N. Leech)认为"前景化就是一种对艺术的偏离",一个作者要创出自己的文体与风格经常会在写作手段上偏离常规,从而造成前景。莱文(Levin)则把偏离分为"质的偏离"和"量的偏离"。(Levin, 1965:225-237)前者指某些语言现象因违反正常的语言规则或风俗习惯而造成的偏离; 后者则指某些语言现象因为出现频率过高或过低而造成的偏离。 有学者区分出四种前景化的功能:1) 能够提高语言表达能力及表达效果。2)能够使读者产生一种新鲜感,赋予某些日常用语新的意义,新颖感应运而生。3) 有助于理解文学文本。4)能够赋予读者无限的美学享受,从而促使他们进一步理解文本。(赵速梅、宫经理,2007) 三、《红楼梦》中的语言前景及其翻译 从第二部分,我们了解了莱文(Levin)对前景化的分类,那么这一部分就以他对前景化的分类为依据对《红楼梦》中出现的一些前景化进行分析并探讨其翻译策略。 (一)质的偏离及其翻译 质的偏离指某些语言现象因为违反正常的语言规则或风俗习惯而造成的偏离。 例1: 满纸荒唐言,一把辛酸泪! 都云作者痴,谁解其中味? 杨宪益、戴乃迭译:Pages full of fantastic talk Penned with bitter tears; All men call the author mad, None his message hears. 霍克斯译:Pages full of idle words Penned with hot and bitter tears; All men call the author fool; None his secret message hears. 按照合作原则,交流者传达的信息应该是真实可信的,但在这里作者却称自己的作品是"满纸荒唐言",违背了合作原则的质准则,形成了语言的前景化,让读者不由得思索:既然是荒唐言,又何来说的必要?但作者的确这样说了,必定有他的用意。再者既然是语言是一部作品,又为什么会是"辛酸泪"呢?这些表达违反了正常的语言规则,造成了语言上质的偏离,诱发读者去理解揣摩作者的意图。经过一番思索,就会明白看似荒唐的东西并非真的荒唐,里面蕴含了人生的五味、人生的真谛及作者对人生的理解,值得人们去一品其中的酸、甜、苦、辣、咸;作品中家族的荣辱兴衰、人物命运的悲剧让人们唏嘘不已、嘅叹连连从而大彻大悟。这一前景化的语言表达不仅促使读者去寻求作者想要表达的深层含义,而且也激发了他们的阅读兴趣,再者也使读者获得一种强烈的美感享受。 经过以上分析,我们可以看出这里的前景化表达具有非常重要的意义,需要译者能够准确地在译入语中呈现出来。再看上面的两个译文用直译手法译出了"满纸荒唐言",而用意译的手法译出了"一把辛酸泪"成功再现了原作的语言前景,使译入语读者仿佛看到那满纸看似荒唐的东西变成了一滴滴辛酸热泪,值得细细玩味。 例2: 这熙凤携着黛玉的手,上下细细打谅了一回,仍送至贾母身边坐下,因笑道:"天下真有这样标致的人物,我今儿才算见了!况且这通身的气派,竟不象老祖宗的外孙女儿,竟是个嫡亲的孙女,怨不得老祖宗天天口头心头一时不忘.只可怜我这妹妹这样命苦,怎么姑妈偏就去世了!" 杨宪益、戴乃迭译:Xifeng took her hand and carefully inspected her from head to foot, then led her back to her seat by the Lady Dowager. "Well," she cried with a laugh, "this is the first time I've set eyes on such a ravishing beauty. Her whole air is so distinguished! She doesn't take after her father, son-in-law of our Old Ancestress, but looks more like a Jia. No wonder our Old Ancestress couldn't put you out of her mind and was for ever talking or thinking about you. But poor ill-fated little cousin, losing your mother so young!" 霍克斯译:Xi-feng took Dai-yu by the hand and for a few moments scrutinized her carefully from top to toe before conducting her back to her seat beside Grandmother Jia. 'She's a beauty, Grannie dear! If I hadn't set eyes on her today , I shouldn't have believed that such a beautiful creature could exist! And everything about her so distingu€? She doesn't take after your side of the family, Grannie. She's more like a Jia. I don't blame you for having gone on so about her during the past few days -but poor little thing! What a cruel fate to have lost Auntie like that!' 在这段文字中,王熙凤说黛玉"这通身的气派,竟不象老祖宗的外孙女儿,竟是个嫡亲的孙女"不合常规,因为黛玉的的确确是老祖宗的外孙女儿而不是嫡亲的孙女,于是就造成了语言质的偏离形成了语言前景。为什么要违背常规这样说呢?读者心里就产生了疑问,就要去探究这个语言前景背后隐藏的意义。经过一番思考,读者会发现王熙凤表面上赞扬黛玉有气派,实则是对史太君的恭维:称赞贾家气派大,能做一个嫡亲就是很有面子无上荣幸的事儿。通过这一语言前景让读者对凤姐的伶牙利齿、附庸权势有一个很好的感受。所以这一语言前景的再现具有很重要的意义。 由于译入语的读者对中国的亲属关系缺乏了解,不知道何为外孙女儿,何为嫡亲的孙女,于是两个译文的译者采用了释义的方式再现原文的语言前景,让译入语读者建立一个亲疏的概念,从而领会这一语言前景想要表达的含义。 (二)量的偏离及其翻译 量的偏离指某些语言现象因为出现频率过高或过低而造成的偏离。 例1: "世人都晓神仙好,惟有功名忘不了! 古今将相在何方?荒冢一堆草没了. 世人都晓神仙好,只有金银忘不了! 终朝只恨聚无多,及到多时眼闭了. 世人都晓神仙好,只有姣妻忘不了! 君生日日说恩情,君死又随人去了. 世人都晓神仙好,只有儿孙忘不了! 痴心父母古来多,孝顺儿孙谁见了? "士隐听了,便迎上来道:"你满口说些什么?只听见些'好' '了' '好''了'.那道人笑道:"你若果听见好''了二字,还算你明白.可知世上万般,好便是了,了便是好.若不了,便不好,若要好,须是了.我这歌儿,便名《好了歌》。"士隐本是有宿慧的,一闻此言,心中早已彻悟. 杨宪益、戴乃迭译: "All men long to be immortals Yet to riches and rank each aspires; The great ones of old, where are they now? Their graves are a mass of briars. All men long to be immortals Yet silver and gold they prize And grub for money all their lives Till death seals up their eyes. All men long to be immortals Yet dote on the wives they've wed, Who swear to love their husband evermore But remarry as soon as he's dead. All men long to be immortals Yet with getting sons won't have done. Although fond parents are legion, Who ever saw a really filial son?" At the close of this song Shi yin stepped forward. "What was that you just chanted?" he asked. "I had the impression that it was about the vanity of all things." "If you gathered that, you have some understanding," the Taoist remarked. "You should know that all good things in this world must end, and to make an end is good, for there is nothing good which does not end. My song is called All Good Things Must End." Shiyin with his innate intelligence at once grasped the oth-er's meaning. 霍克斯译: 'Men all know that salvation should be won, But with ambition won't have done, have done. Where are the famous ones of days gone by? In grassy graves they lie now, every one. Men all know that salvation should be won, But with their riches won't have done, have done. Each day they grumble they've not made enough. When they've enough, it's goodnight everyone! Men all know that salvation should be won, But with their loving wives they won't have done. The darlings every day protest their love: But once you're dead, they're off with another one. Men all know that salvation should be won, But with their children won't have done, have done. Yet though of parents fond there is no lack, Of grateful children saw I ne'er a one.' Shi-yin approached the Taoist and questioned him. 'What is all this you are saying? All I can make out is a lot of "won" and "done".' 'If you can make out "won" and "done"', replied the Taoist with a smile, 'you may be said to have understood ; for in all the affairs of this world what is won is done, and what is done is won; for whoever has not yet done has not yet won, and in order to have won, one must first have done. I shall call my song the "Won-Done Song".' Shi-yin had always been quick-witted, and on hearing these words a flash of understanding had illuminated his mind. 这段文字便是《红楼梦》中著名的《好了歌》,它是《红楼梦》这部作品想要传达的最重要的思想,其重要性可想而知。在歌词中,"世人都晓神仙好,只(惟)有____忘不了"这样一个句式重复出现了四次,而且所有的句子都以"了"字结束,另外,偶数句前半部分和后半部分都形成了鲜明的对比。在提供的这段原文,"好"字重复了十二次,"了"字重复了十六次。这些语言现象的过频出现造成了量的偏离,从而形成语言的前景化。相同句式、对比以及"好""了"二字的多次重复出现产生一种韵律感、一种整齐感、一种鲜明的对比感,在音、形、义上产生一种全方位的立体的美感,给读者留下极其深刻的印象,在嘅叹人生之余,不由得与作者产生一种共鸣,接受他的观点;掩卷之后,不断叫"妙",觉得真是可歌可泣可悲可叹,余音袅袅。这里作者创造的前景化技巧非常之高超,再加上语言的不同,给翻译带来很大的困难,这将充分体现一个译者驾驭译入语的水平。 这段文字杨宪益、戴乃迭的译文《好了歌》的每小节重复使用了"All men long to be immortals"、"Yet"以及每小节的第二行与第四行押韵,在士隐与道人的对话中重复使用 "good"和 "end",在一定程度上再现了原文的语言前景,但相当遗憾的是译文不能再现"好""了"弥漫整段文字尤其是歌词的视觉美感、听觉美感以及意义的深刻感,而且歌名不象原文那样在形式和内容上均能取得呼应。 这段文字霍克斯的译文《好了歌》的每小节重复使用了"Men all know that salvation should be won"、"But"、"have done"以及每小节的第一行第二行与第四行押韵, "won"与 "done"贯穿歌词与二人之间的对话,在译入语许可的范围内最大限度地再现了原文的前景化现象。在再现原文这一语言前景上,虽说杨译与霍译都是不可多得的佳译,但就这一语言前景再现的程度方面,霍译要比杨译更高一筹。令人遗憾的一点是,霍译将道教用语 "神仙"译成了基督教用语"salvation",使带有道教色彩的歌词蒙上了一层基督教的色彩,而在这一点上杨译中的"immortal"要更准确一点。 四、结语 在翻译活动空前繁荣的今天,要想保证翻译的质量,原文文本中的语言前景化现象不可忽视,因为语言前景化能够提高语言表达能力及表达效果,能够使读者产生一种新鲜感,有助于读者在获得无限美感享受的同时能够挖掘出作者创造的语言前景背后蕴藏的意义。所以,原文中语言前景在译入语中的再现对于译文的成功与否起着重要的作用。 参考文献: [1]Cao,Xueqin,E Gao.A Dream of Red Mansions.Trans.Xianyi Yang,and Gladys Yang. Beijing: Foreign Languages Press,2008. [2]Cao,Xueqin,E Gao.The Story of the Stone.Trans.David Hawkes.Penguin Press,1973. [3]Leech,G.N. A Linguistic Guide to English Poetry [M].Longman,1969. [4]Levin,S.R. Internal and External Deviation in Poetry[J].Word,1965,(21). [5]Mukarovsky,J.Standard Language and Poetic Language [A].In Zhu Gang(eds.). [6]Twenties Century Western Critical Theories[C].Shanghai:Foreign Language Education Press,2003. [7]Shklovsky,V. Art as Technique[A].In L.T.Levon&M.J.Reis(eds.and trans.).Russian Formalist Criticsm:Four Essays[C].Lincoln,NE:University of Nebraska Press, 1965. [8]赵速梅,宫经理.论前景化理论与小说文本翻译研究[J].外语学刊,2007,(2) 原载：《北京电力高等专科学校学报》2010年第17期 原载：《北京电力高等专科学校学报》2010年第17期 (责任编辑：admin) |