（英语语言文学专业论文）莎士比亚戏剧翻译中的意象再现研究.pdf

vi 摘摘 要要 莎士比亚戏剧一直堪称世界文学经典， 其文学魅力吸引着无数爱 好者对其进行研究。莎士比亚戏剧最初是通过汉译本被介绍入中国 的。至今一百多年间，许多优秀的译者都尝试对莎士比亚戏剧重新演 绎，创作了多套不同风格的汉译本。 这为中国读者接触和解读莎士 比亚戏剧文本带来了可能性和必要性。在对剧作的解读过程中，有大 量意象的汉译非常值得研究。 意象承载着丰富的民族文化底蕴和审美 底蕴，意象翻译一直是文学翻译中一个难点。不同的汉译本对文本中 意象的翻译方法各异，其效果也具有差异。但纵观国内莎士比亚戏剧 翻译研究，鲜有对剧中意象翻译深入系统的探讨。 中国古典文论中的意象论是中国古典诗学与美学的重要理念， “言” ， “象” ， “意”这三个概念之间关系的演变与发展是中国古代语 言哲学的核心问题。在古典文论中，这三者的关系可归纳为： “言” 明“象” ， “象”表“意” ， “言”与“象”都为“意”服务， “意”统 领“言”与“象” 。本文指出，意象翻译的过程可以看作是在源语和 目的语之间通过“言”的转化，处理“言” 、 “象”和“意”之间的关 系，实现“象”与“意”的传递。翻译的结果是最直观的评价翻译的 标准，本文拟用中国古典意象论，从意象翻译结果来探讨莎士比亚戏 剧中意象的汉译。本文作者将两个译本中的意象汉译结果分为四大 vii 类：对等，变形，失落以及扩增。本文从两个优秀译本（梁实秋译， 1995 中国广播电视出版社；朱生豪等译，1998 南京译林出版社）中 选取八部影响力较大的戏剧 （ 哈姆雷特 ， 李尔王 ， 奥赛罗 ， 麦克白 ，皆大欢喜 ，威尼斯商人 ，仲夏夜之梦 ，第十二夜 ） ， 并通过译本中意象翻译结果的比较， 分析如何在翻译中充分实现审美 意象的传递和再现。可以认为，运用中国古典文论的意象论来研究莎 士比亚剧中意象翻译， 为莎士比亚爱好者和翻译研究者提供了一个新 的研究视点，也弥补对莎士比亚戏剧文本中意象汉译研究的不足。 关键词关键词 意象，翻译，中国古典文论，莎士比亚 viii abstract shakespeares (1564-1616) plays have been regarded as classics in world literature with an everlasting glamour, which attract innumerable literature lovers and researchers to explore with an intense passion. shakespeares plays were first introduced into china as translated versions. since then, a lot of translators have devoted to reinterpreting shakespeares works, producing sets of chinese versions with different styles. in the practice of translating shakespeares works, how to translate large amounts of image in the plays arouses translators attention. images are loaded with so rich ethnic culture and aesthetic connotation that the image translation has been a long-existing challenge for translators. translation approaches of image vary with translators and translated versions. whether the images in the source language are transferred to the target language successfully is one of the important factors to translation effect. however, there are still few attempts to make a penetrating probe into the chinese translation of image in shakespeares plays. imagery theory in chinese classical literature is an essential theory in chinese poetic and aesthetics. the relation between the three core categories -“yan”, “xiang” and “yi” remains controversial in chinese ix ancient linguistic philosophy. in chinese classical literature theory, their relation that “yan” describes “xiang”; “xiang” exhibits “yi”; “yan” and “xiang” serve to express “yi”; “yi” dominates “yan” and “xiang”. this thesis points out that the process of image translation could be seen as the transfer of “yi” and “xiang” by the way of the transformation of “yan” between the source language and target language. so translators should make decision with how to treat the relation between the three categories. this thesis will base on imagery theory in chinese classical literature to discuss the image translation results in the translated versions of shakespeares plays. the author classifies the translation results into four dominating types, namely, equivalence, deformation, loss and amplification. the translation of images from eight influential plays such as hamlet, king lear, othello, macbeth, as you like it, the merchant of venice, a midsummer nights dream and twelfth night, will be discussed to probe into how to transfer and represent aesthetic images in translation. this thesis attempts to explore a new translation approach based on chinese imagery theory which may also fill in some blanks in translation of shakespearean plays research. key words imagery, translation, chinese classical literature theory, shakespeare xii list of graphs graph 1 two phases.21 graph 2 imagery in translation process22 graph 3 origins of images.25 graph 4 animal images enumeration27 graph 5 equivalence with explanation whether chinese dialects should be used to express shakespeares slang; whether it is necessary to translate shakespearean plays into verse; and, furthermore, how to define “verse” in the chinese language, etc. as early as 1950s, cao weifeng and ge baoquan summarized the achievements of the translation of shakespearean plays in china. meng xianqiang also made a brief but clear sketch of the development of the translation of shakespearean plays. since shakespeare was first introduced to china, generations of translators have never ceased to pursue a perfect translation version. in shakespeares time, the spelling of english words has not been fixed. there were a large number of idioms and slangs, which contained striking features of locality, customs, documents and decrees, etc. at that time. such idioms and slangs will hinder chinese readers in their understanding the works and translators always pay more attention to them. zhu shenghao believes that “the idea of poetic charm” should not be neglected in the translation of shakespeare translation, with time going by, the translation versions with the guidance of it has proved to be the most popular version with the common chinese readers. cao weifeng was criticized much for his translation. however, he frankly talked about his sweetness and bitterness in translating experience. in his notes on the translation of shakespeareans plays (cao, 1959), cao emphasizes that shakespeares plays have been written for the purpose of theatrical performance which can help translators to solve many problems in translating. he points out it is vital for translating the characters with their dialogues; attach importance to characters identities, tones, activities and especially, the climax in the play. liang argued that instead of following contemporary usage regarding punctuation, shakespeare had created his own system to “help actors in recitation of their lines and enable them to reproduce these lines with the right cadence.” liang claimed that in his translation he would “keep shakespeares original punctuation intact” and would “take sentences as translation units”. 2.2 stylistics and translation 7 with various translation versions coming out, translation for different purposes of versions has been brought forward. generally, there should be differences between the versions for daily reading and for theatrical performance. generally speaking, drama is first of all a tangible dramatic text, for either readers, or producers, or actors, no matter whether it is performed on stage in the theatre. theatrical effects resulted from the dramatic text is something that a translator must take into consideration when he or she is translating. the artistic and theatrical feature of it can certainly have an influence on translators and readers understanding and appreciation of the original. one of the unique features of shakespeares works is that they were basically written in blank verse, a literary form which is absent in chinese literature. blank verse was one of the best known and most widely used metrical patterns in english poetry, probably because it was so close to the natural rhythms of english speech and easy to adapt to different levels of language. shakespeare was the most notable practitioner of blank verse as a dramatic form, and his plays were, in fact, written predominantly, though not entirely, in blank verse. in shakespeare plays, characters from clowns to kings speak in blank verse, but still in distinctive and appropriate voices. it has always been a controversial issue whether to translate shakespearean blank verse in prose or in verse. the transplant of blank verse is one of the main obstructions in the translation. some translators believe that the approach of translating shakespearean blank verse in verse has on the whole surpassed the other approach for the reason that the former is more faithful in form to the original, by which the original flavor of dramatic poetry is kept. 2.3 liang shiqiu and zhu shenghao a group of remarkable translators appeared and translated a large number of masterpieces of different nations and different times from the 1920s to the outbreak of the anti-japanese war in 1937. liang shiqiu was one of them. he translated shakespearean plays into vernacular chinese in prose form. he was the one who 8 contributed most to the study of shakespeare. he not only translated but also studied shakespeare and his version of shakespeare was an informative one. different from other versions, liang shiqius translation of shakespearean plays consists of at least the following four parts: the introductory remarks, the preface, the translated text and a list of relevant notes. the most striking example is that in his translation, the blank verse that characterizes shakespeares plays is replaced mostly by prose. his contributions not only lies in the fact that his version was the first chinese edition of the complete works of shakespeare, but also lies in the fact that he made research on shakespeare and offered much information to his readers. zhu shenghao (1912-1944) is the first chinese translator to attempt to translate the complete works of william shakespeare and deserves particular mention. between 1935 and 1944, when life in china was profoundly disrupted by the japanese invasion, zhu shenghao translated thirty-one of shakespeares plays, pressing on devotedly with this work despite suffering poverty and ill-health throughout his tragically short life. until 2000, zhus work made up the core of the mainland-chinese version of the complete works of shakespeare and his translations have been the texts normally used for stage performances. though his early death brought the ambitious project to a halt, his status as a great translator was secured. he left in his preface sparkling ideas about translation, which have encouraged and enlightened later translators. zhu was opposed to the word-for-word translation. his main consideration was not burdening readers with the hard-to-understand grammar of the alien language. when he had finished translating a paragraph, he would revise it with the reader in mind, to see that there were no ambiguities in the paragraph, and then read it aloud to check that the version read smoothly and rhythmically. despite the fact that his translation is mainly in prosaic style, many poetic lines and forms of the original text are skillfully rendered. he also noticed the different patterns of meter and sounding, which are deliberately used in the original and translated some of them into well-rhymed lines, especially some songs in the plays. 9 2.4 hamlet in translation of all shakespeares plays, hamlet has attracted the most chinese translators, with no fewer than twelve different translations into mandarin. as the most well-known play by shakespeare, hamlets revenge plot, skillful characterization, the use of language and witty discourses can adequately represent the art of shakespeare. though it is usually included in the translation history of shakespearean plays, specially attention has been paid to the translation of hamlet. the first chinese version of hamlet, named as ha meng lei te，was accomplished in 1921 by tian han. he translated it into vernacular chinese and made 4 acts of it published in vol.3, no. 8 of youth china. the translation ushered a new stage of shakespeare translation in china though it was criticized for literal translation and misreading of the original. later there came out new translating versions by other translators, prominently as liang shiqiu, cao weifeng and zhu shenghao. after 1949, bian zhilin completed another excellent translation version of hamlet who was more concerned with the ideological aspect of shakespeare interpretation. he believes “to apply the standpoint, concepts and methods of marxism to the exploration of the thought and art in shakespeares works”. the famous soliloquize of hamlet “to be or not to be, that is the question” which is a genius thought about philosophy of life continues to ignite generations of translators debating and re-understanding. debate and commentary on its translation has been a spectacle in literary translation history. 2.5 reflection a good poet never expresses his emotion directly. instead, what literary works pursue is the blending of feeling and objects. certainly, the objects to be described are not selected at random. it becomes the manifestation of the writers observation ability and unique aesthetic view. so, “yi xiang” in chinese literature means not ordinary objects but meaningful images filled with the writers emotion. it should be noted that the “image” and “imagery” discussed in this thesis falls into the category of literary translation theory. the bulk of shakespeares imagery can be found here and there in his works, which serve to intensify the impact of the works. specifically, what this thesis will probe into is the translation methods of images and mental picture or idea which the image stands for in shakespeares eight important plays. 3.2 the origin and development of imagery in chinese literary theory first of all, it should be noted that the two words image and imagery are both 12 often used as the chinese term “yi xiang”. the original notion of “yi xiang” was proposed by liu xi (465-520). it refers to the mental picture formed in the poets mind in the process of artistic conception. briefly speaking, image is the representation through language of sense experience.” (zhu, 1996:19) the two definitions emphasize three indispensable aspects in the constitution of imagery in literary texts. one is “yan” (language, or more exactly, linguistic symbol), which is the carrier for images. the other two are “yi” (meaning) and “xiang” (image or imagery). imagery can be seen as the fusion of the two. in pre-qin dynasty, two characters “ 意 ” (“yi”, meaning “idea”) and “象”(“xiang”, meaning “appearance, shape, image”) were originally use in separation in the book of changes(易经)，which is thought to be a philosophical work reflecting ancient peoples mode of thinking. in this book different images were used to denote natural phenomena. some statements in the appended statements (系 辞)for the book of changes were frequently cited in literary thoughts: he said, “what is written does not give the fullness of what is /was said (yan); what is /was said does not give the fullness of the concept in the mind (yi).” “if this is so, then does it mean that the concepts in the minds of the sages cannot be perceived?” he said, “the sages established the images (xiang) to give the fullness of the concepts in their minds, and thy set up the hexagrams to give the fullness of what is true and false in a situation (qing); to these thy appended statements (xi ci) to give the fullness of what was said.” (stephen owen, 1992:31) 子曰： “书不尽言，言不尽意。 ”然则圣人之意，其不可见乎? 子曰： “圣人立象以尽意，设卦以尽情伪，系辞焉以尽其言。 later in south-north period , liu xie appeared as the first person who used “yi” and “xiang” together and made the notion of yi xiang as a formal literary term in his 13 well-known nonograph carving the dragon with literary mind ( 文心雕龙 ). in the 26th chapter “spiritual thinking”(文心雕龙神思), the sentence which has mentioned “yi xiang” goes like this “an original poet should create in imagery in his mind” (独照之匠，窥意象而运斤). afterwards, image has been frequently cited in poetic criticism and image constitutes the very core of the chinese poetic practice. later in tang dynasty, imagery theory underwent considerable development. wang chang-ling (698-756) pointed out that “imagery is the combination of the subjective and the objective” (搜求于象，心入于境，神会于物，因心而得) in his famous the modes of poetry ( 诗格 ). literary critic sikong tu (837-908) advocated that the standard for a good poem was being “concealed and implying” (不着一字， 尽 得风流) and the poet should go beyond the natural object when writing and come back to the article when reading. in his famous twenty four moods of poetry (二十 四诗品), he also put forward that in the process of literary creation “the emergence of image brings about amazing creation” (意象欲出，造化已奇, 二十四诗品缜 密 ) and “object(s) beyond object, charm beyond charm, and aim out of flavor” (象外 之象，韵外之致，韵外之旨) is the ideal state good literary works can attain. in song dynasty , a famous scholar ,yan yu, gave the following description of the aesthetic features of image in his canglang poetry talks 沧浪诗话: in the stirring and excitement of their poetry, the high tang writers were those antelopes that hang by their horns, leaving no tracks to be followed. where they are subtle, there is a limpid and sparking quality that can never be quite fixed and determined-like tones in the empty air, or color in a face, or moonlight in the water, or an image in a mirror-the words are exhausted, but the meaning is never exhausted. 盛唐诗人唯在兴趣，羚羊挂角，无迹可求。故其妙处莹砌玲珑，不可凑泊， 如空中之音，相中之色，水中之月，镜中之象，言有尽而意无穷。 afterwards, in ming dynasty, hu ying-ling (1551-1602) illustrated that “the 14 essence of the classic poetry lies in the arrangement of imagery (古诗之妙， 专求意象) in his commentaries on poetry (诗薮) (zhu, 1996:3). wang fu-zhi (1619-1692) has analyzed the features of aesthetic imagery in poems systematically, including the integrity, authenticity, ambiguity and originality. (ye, 1985: 566-478) in modern times, some famous scholars, such as zhu guang-qian (1897-1986), have contributed much to aesthetic imagery. zhu pointed out that “image is objective, but its not objective in its full sense, because without the perception of a person, that image doesnt exist; ” (zhu, 1989:73) and also suggested sentiment and imagery as two inseparable parts of aesthetic realm of poems. these contributions give invaluable information to present study on imagery. 3.3 the relation between “yan”, “xiang” and “yi” imagery has continued to be the topic for discussion