名篇翻译

Chapter 14篇章翻译

第一节 篇章分析

篇章分析是指对篇章的结构规律、风格特点、涉及的人、事、境、情的认识和分析。 一、如何进行篇章分析

应首先辨别篇章的文体，运用文体分析方法弄清该篇的文体特点，以便再现原作的精神实质和文体风格。其次，要把握局部与整体的辩证关系，或弄清论点与论据之间的相互依存性，事件发生和发展的事理逻辑。再次，借助篇章所提供的语境充分理解原文，准确掌握原文传达的信息、感情和审美价值。 二、篇章分析中的语境问题

语境包括语言语境(1inguistic context)、文化语境(cultural context)和情景语境(situational context)三个方面，因此，在研究篇章分析和篇章翻译过程中应尽量考虑这三个方面的影响和作用。例如：

1. 当前最重要的任务是发展国民经济人民生活水平。为了实现这一目标，我们必须改革

旧的经济体制，进一步解放生产力；我们应当向世界敞开大门，学习其他国家的先进的科学和技术。只要我们坚持改革开放政策，就一定能把我国建设成强大的社会主义国家。 Our primary task at present is to develop national economy and promote the living standards of the people. Therefore, we must reform the old economic system so as to further liberate productive forces. Moreover, we should be open to the outside world so that we can learn advanced science and technology from other countries. And we are sure to build China into a powerful socialist country so long as we stick to the reform and opening policy.

2. 我看那边月台的栅栏外有几个卖东西的等着顾客。走到那边月台，须穿过铁道，须跳下

去又爬上去。父亲是一个胖子，走过去自然要费事些。我本来要去的，他不肯，只好让他去。我看见他戴着黑布小帽，穿着黑布大马褂，深青布棉袍，蹒跚地走到铁道边，慢慢探身下去，尚不大难。可是他穿过铁道，要爬上那边月台，就不容易了。他用两手攀着上面，两脚再向上缩；他肥胖的身子向左微倾，显出努力的样子。这时我看见他的背影，我的泪很快地流下来了。

I caught sight of several vendors waiting for customers outside the railings beyond a platform. But to reach that platform would require crossing the railway track and doing some climbing up and down. That would be a strenuous job for father who was fat. I wanted to do all that myself, but he stopped me, so I could do nothing but let him go. I watched him hobble towards the railway track in his black skullcap. Black cloth mandarin jacked and dark blue cotton-padded cloth long gown. He had little trouble climbing down beside the railway track, but it was a lot more difficult for him to climb up that platform after crossing the railway track. His hands held onto the upper part of the platform, his legs huddled up and his corpulent body tipped slightly towards the left, obviously making an enormous exertion. While I was watching him from behind, tears gushed from my eyes.

第二节 遣词、造句、谋篇

谋篇与遣词造句之间是一种整体与局部的关系，谋篇要靠遣词造句来实现，遣词造句要考虑谋篇的要求。 一、粘连性(Cohesion)

文字的粘连性主要通过语法手段和词汇手段来实现。前者指照应(reference)、替代(substitution)、省略(ellipsis)和关联(conjunction)，后者指复现(reiteration)和同现(collocation)。这些语言手段形成一个有形的完整网络，使篇章的各组成部分有机地衔接起来，从而增强整个篇章的内聚力。

请看下例，注意划线的部分。

孔乙己是站着喝酒而穿长衫的唯一的人。他身材高大；青白脸色，皱纹间时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，似乎十多年没有补，也没有洗。(《孔乙己》)

Kong was the only long-gowned customer t0 drink his wine standing．He was a big man，

strangely pallid，with scars that often showed among the wrinkles of his face．He had a large unkept beard，streaked with white．Although he wore a long gown。it was dirty and tattered and looked as if it had not been washed or mended for over ten years．(Tr．Yang Xianyi & Gladys Yang)

另外，汉英两种语言采用同一粘连手段，粘连项目在语义上表达的意义也大致相同，而它们在篇章中的指称功能却可以不完全一样。例如：

“这倒难以说定。可是你只要看看这儿的小客厅，就得了解答。这里面有一位金融界的大亨，又有一位工业界的巨头；这小客厅就是中国社会的缩影。”(《子夜》)

“It’s a tall order，your question．But you can find an answer in the next room．There you have a successful financier and a captain of industry．That little drawing room is Chinese society in miniature．” (Tr．Sidney Shapiro)

汉语的“这”和“那”以及英语中的this和that都常用于指示照应粘连，在语义上基本相同，但指称功能却大不一样。汉语的“这”往往起一种化远为近的作用，其功能负荷量大于“那”．因此使用率也高于“那”，而在英语中却恰恰相反。从上例可见，在指称与上文有关的内容时，汉语可用“这”，而英译时则要用that或者it，有时也可用人称代词等。 练习：

1．??到了铁公祠前，朝南一望，只见对面千佛山上，梵宇僧楼，与那苍松翠柏，高下相间，红的火红，白的雪白，青的靛青，绿的碧绿，更有那一株半株的丹枫夹在里面，仿佛宋人赵千里的一幅大画，做了一架数十里长的屏风。(《老残游记》)

2．错误犯的太多了，一定要反过来。这是马克思主义。“物极必反”，错误成了堆，光明就会到来。(《毛泽东选集》第五卷)

3．我将听不到人们的真正的声音，所能听见的都是低微的，柔婉的，畏葸和娇痴的，唱小旦的声音：“万岁，万岁!万万岁!”这就是他们的全部语言。“有道明君!伟大的主上啊!”这就是那语言的全部内容。(聂绀弩《我若为王》)

4．在北平即使不出门去罢，就是在皇城人海之中，租人家一椽破屋来住着，早晨起来，泡一碗浓茶，向院子一坐，你也能看到很高很高的碧绿的天色，听得到青天下驯鸽的飞声。从槐树叶底，朝东细数着一丝一丝漏下来的日光，或在破壁腰中，静对着像喇叭似的牵牛花(朝荣)的蓝朵，自然而然地也能够感觉到十分的秋意。(郁达夫《古都的秋》)

5．正说着，外边走进一个人来，两只红眼边，一副锅铁脸，几根黄胡子，歪戴着瓦楞帽，身上青布衣服就如油篓一般；手里拿着一根赶驴的鞭子，走进门来，和众人拱一拱手，一屁股就坐在上席。(《儒林外史》)

二、连贯性(Coherence)

篇章的连贯性也是篇章内聚力的体现。它一方面通过篇章标示词如连词和副词来取得，更重要的一方面则取决于各概念或命题之间与主题的语义逻辑上的联系。翻译时除充分利用篇章标示词外，还要特别注意吃透原文，理顺文字底层的联系，译于字里行间，并且要充分注意两种语言在谋篇布局方面的差异，努力再现原文语义结构上的连贯性。例如：

杨志取路，不数日，来到东京；入得城来，寻个客店，安歇下，庄客交还担儿，与了些银两，自回去了。(《水浒传》)

Yang Zhi thus journeyed on for many days and he went toward the eastern capital．He came into the city and found an inn and there settled himself to rest．The farmer gave him the bundle and received some silver and went back alone．(Tr．Pearl S．Buck)

上述现象古代汉语中也屡见不鲜。比如： 自是寻春去较迟， 只须惆怅怨芳时。 狂风落尽深红色，

绿叶成荫子满枝。(杜牧《怅诗》)

Too late, alas!…I came to find the lovely spring had left， Yet must 1 not regret the days of youth that now are dead． For though the rosy buds of spring the cruel winds have laid， Behold the clustering fruit that hangs beneath the leafy shade．

(Tr．H．A．Giles)

练习：

1．贾母一面说，一面来看宝玉，只见今日这顿打，不比往日，又是心疼，又是生气，也抱着哭个不了。(《红楼梦》)

2．我们曾经说过，房子是应该经常打扫的，不打扫就会积满了灰尘；脸是应该经常洗的，不洗也就会灰尘满面。我们同志的思想，我们党的工作，也会沾染灰尘的，也应该打扫和洗涤。(毛泽东《论联合政府》)

3．去年学期终了，大考之前，我想找一块僻静之处定下神来．背一背哲学。教室太吵，宿舍太闷，校园里的树林中、小河边、假山旁、芳草地上全是同学知己，一个个手捧书本，口中念念有词。这气氛似乎太紧张，于是我独辟蹊径，把书包一夹，来到瘦西湖读书。

三、统一性(Unity)

统一性一指内容与形式的辩证统一，二指整个篇章的完整与一致，强调翻译时尽可能完整地再现原作的思想内容，感情色彩，风格笔调，字法、句法及谋篇特征，力求使译文形神兼备。

1．领悟作者的意图

章有章旨，段有段旨，且有明旨和隐旨之分。明旨放在篇首，引人注目；放在篇尾，加深读者印象；放在篇中，承上启下。文学作品往往多用隐旨，寓于全篇的叙述、描写之中。译时要细心观察，彻底领悟。例如：

在我的后园，可以看见墙外有两株树，一株是枣树，还有一株也是枣树。在这上面的夜的天空，奇怪而高，我生平没有见过这样的奇怪而高的天空。(鲁迅《秋夜》)

Behind the wall of my backyard you can see two trees: one is a date tree, the other is also a date tree．The night sky above them is strange and high. I have never seen such a strange, high sky．(Tr．Feng Yusheng) 2．洞悉原作的文体特点

译者要有文体意识。在动笔之前，要把握原文的文体特点；在翻译过程中，应尽力准确无误地再现这些特点。首先请看“三大纪律八项注意”后四条及其两种译文。

(五)不打人骂人；(六)不损坏庄稼；(七)不调戏妇女；(八)不虐待俘虏。(《毛泽东选集》第四卷)

译文I：

(5) Don’t hit or swear at people． (6) Don’t damage crops．

(7) Don’t take liberties with women． (8) Don’t ill-treat captives．

译文Ⅱ：

(5) Do not hit or swear at people． (6) Do not damage crops．

(7) Do not take liberties with women． (8) Do not ill-treat captives． 译文Ⅱ将Don’t改为Do not，旨在再现原文作为一种书面形式的命令于以颁布实施的严肃性。

3．把握所涉及人物的言语、表情、心态 译者要纵观原作全文，分析理解和把握作者所塑造的各个人物的特征，以便在翻译过程中成功地再现这些不同人物。例如：

贾母这边说声“请”，刘姥姥便站起身来，高声说道：“老刘，老刘，食量大如牛：吃个老母猪，不抬头!”说完，却鼓着腮帮子，两眼直视，一声不语。众人先还是发愣，后来一想，上上下下都一起哈哈大笑起来。湘云掌不住，一口茶都喷了出来，黛玉笑岔了气，伏着桌子只叫“嗳吆!”宝玉滚到贾母怀里，贾母搂着叫“心肝”，王夫人用手指着凤姐儿，却说不出话来。薛姨妈也掌不住，口里的茶喷了探春一裙子。探春的茶碗都合在迎春身上。惜春

离了坐位，拉着她的奶母叫“揉肠子”。地下无一不弯腰曲背，也有躲出去蹲着笑的，也有忍着笑上来替她姐妹换衣裳的。独有风姐鸳鸯二人掌着，还只管让刘姥姥。(《红楼梦》)

这段文字着重“笑”的描写，用以揭示人物的不同社会地位、生活环境、心里状态以及性格特征，如宝玉的被宠，黛玉的娇弱，风姐的矜持与心计，主人们的放肆，下人们的克制等。译文也“亦步亦趋”，形象逼真。

The Lady Dowager urged her to make a start．Granny Liu stood up then and declaimed at the top of her voice：“Old woman Liu，I vow，eats more than any cow．And down she settles now to gobble an enormous sow．”

Then she dried up abruptly，puffing out her cheeks and staring down at her bowl．The others had been staggered at first but now everyone，high and low，started roaring with laughter．Hsiang-yun shook so uncontrollably that she sputtered out the rice she had in her mouth，while Tai-yu nearly choked and collapsed over the table gasping，“Mercy!’’ Pao-yu fell convulsively into his grandmother’s arms and she chuckled as she hugged him to her crying，“My precious!” Lady Wang wagged one finger at Hsi-feng but was laughing too much to speak．Aunt Hsueh，too，exploded in such mirth that she sprayed tea all over Tan-chun’s skirt，making her upset her bowl over Ying-chun，while Hsi-chun left her seat and begged her nurse to rub her stomach for her．

As for the maids，some doubled up in hysterics，others controlled themselves sufficiently to fetch clean clothes for their young mistresses．Hsi-feng and Yuan-yang，the only ones with straight faces, urged Granny Liu to eat． (Tr．Yang Xianyi & Gladys Yang) 4．牢记可读性

译者要考虑译文的可读性，充分发挥自己对译入语的驾驭力，对原文忠实而不拘泥，确保译文符合译入语表达习惯，流畅易懂。比较下例两种译文。

夜是安静的，然而也是生动的。狗儿活跃起来了，、它们悄然无声地沿着院子围墙跑着，不时地停下来支支耳朵，细察来自远近的一切动静，履行保卫主人的职责。

译文I：The night was quiet，but it was alive．The dogs were now active．They ran noiselessly along the courtyard wall．Now and then，they stopped，pricked up their ears and listened carefully for any sound near and far．They were defending their masters dutifully．

译文Ⅱ：The night was quiet but alive．The lively dogs．dutifully defending their masters，ran along the courtyard wall noiselessly, stopping now and then，pricking up their ears carefully listening for any sound near and far．

练习

将下列文字译成英语：

鲁绣是深受人们喜爱的一种艺术生活用品。 旧时齐鲁民俗，女孩从七八岁起就随大人学做女红，到十二三岁时一般都会各种针线手艺。姑娘们把做好针线活看作显示心灵手巧的良机，日积月累地精心缝制一件件美观实用的绣品。逢年过节或遇婚嫁喜寿之时，就挑选几样满意之作馈赠亲友。姑娘多在出嫁前几年就开始为自己精心绣制嫁妆，包括给婆家亲属的赠礼：贴身的兜胸、四季服装、鞋帽、被褥、枕头、床围帐沿、门帘、窗帘、鞋垫袜底、烟袋荷包、扇袋镜套??这些绣品饱含着姑娘对亲人的深情挚爱。

鲁绣图案题材丰富，且多寄托情意。绣女们通过自己的绣品抒发自己热爱生活、追求幸福和爱情专一的情致。千姿百态的鲁绣真可谓是交织人们感情的纽带和传送美好祝愿的吉祥物。(《人民画报》1996年第5期)

第三节 篇章基本译法综述

搞好篇章翻译，首先要考虑文体特点，整体与局部、宏观与微观的关系；其次，采用灵活的方法，力求内容与形式的辩证统一；此外，还要学会使用标点符号。仅就译法而言，传统的翻译方法——直译、意译或直意参半仍然行之有效。

一、直译

直译能够保留原作的文化特征，丰富译文表达手段。我们建议，应尽量坚持能直译时则直译的原则。例如：

任何一个人都要人支持。一个好汉也要三个帮，一个篱笆也要三个桩。荷花虽好，也要绿叶扶持。这是中国的成语。(《毛泽东选集》第五卷)

Everyone needs support．An able fellow needs the help of three other people，a fence needs the support of three stakes．With all its beauty the lotus needs the green of its leaves to set it off．These are Chinese proverbs．

二、意译

在直译不易使译文读者理解时。或不能准确传达原作的文化意义时，可采用意译法。例如：

那些卖酒的青帘高扬，卖茶的红炭满炉，仕女游人，络绎不绝，真不数“三十六家花酒店，七十二座管弦楼”。(《儒林外史》)

Dark trade-signs flutter above the wine shops, and red charcoal glows in the teahouse stoves, while men and women stream by, on pleasure bent, to throng the countless taverns and music halls．(Tr． Yang Xianyi & Gladys Yang)

将“三十六”和“七十二”意译为countless，足矣。 三、直、意参半

在不少情况下，采用直译和意译相结合的做法。这样做，既能保留原有形象，传达原作的特有色彩，又易于被读者接受。例如：

中国还有一句成语，三个臭皮匠，合成一个诸葛亮。单独的一个诸葛亮总是不完全的，总是有缺陷的。(《毛泽东选集》第五卷)

Still another Chinese proverb says three cobblers with their wits combined equal Chukeh Liang the master mind．Chukeh Liang by himself can never be perfect，he has his limitation． (Tr．S． Shapiro)

四、注释法

注释法可以从容、充分地介绍相关的文化背景知识，有时还可以解决一些难以处理的修辞问题。譬如：

要放开，需要有充分的说服，而且要有一种相当的压力，就是公开号召，开许多会，将起军来，“逼上梁山”。(《毛泽东选集》第五卷)

To make them let people air views freely calls for plenty of persuasion and, what is more, considerable pressure, that is, issuing an open call and holding many meetings, so that they find themselves checkmated and “driven to join the Liangshan Mountain* rebels”．

*Note：Liangshan Mountain in Shandong Province was a rebel peasant base in the Song Dynasty．Most of the rebel leaders in the classical novel Water Margin were forced to take refuge on Liangshan Mountain as a result of oppression by the authorities or despotic landlords．The expression “driven to join the Liangshan rebels’’ has since come to mean that one is forced to do something under pressure.

在翻译实践中，究竟采用哪种译法，要考虑篇章的文体特点，修辞手法以及上下文的要求，灵活处理。

练习

1．他们取得了很大成绩，总的经济形势有了好转，国民经济取得了稳定的发展，通货膨胀得到了控制，改革开放取得了进展。国际收支有了进一步的改善，人民生活水平得到了提高。

2．事实并不是这样。生活并不是一个悲剧。它是一个“搏斗”。我们生活来做什么?或者说我们为什么要有这生命?罗曼·罗兰的回答是“为的是来征服它”。我认为他说得不错。(《激流总序》)

3．江南，秋天当然也是有的；但草木凋得慢，空气来得润，天气的颜色显得淡，并且时常多雨少风。(《古都的秋》)

4．在英国新教徒人数增加，原因很多。有些新教徒家里有人信教；有的因病求助于上帝；有的生活中受到挫折，希望上帝把他们从烦恼和悲伤中解救出来；还有些人自己感到“有罪”，因而寻求宗教道德的约束。

5．近几年来，他们生产一种良种玉米，每一粒都很肥大，每一根玉米棒子差不多有一英尺长。这种玉米产量高，抗病虫害能力强，适于半干旱地区种植。

6．我认为讲明这一点是很重要的，这样可以使人们有信心，不致彷徨顾虑，不知道什

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