《赫兹列散文精选》翻译中的“语美”、“意美”研究.doc

赫兹列散文精选翻译中的“语美”、“意美”研究引 言 翻译中再现散文之美是一件不易之事，而对赫兹列的散文之美的再现更是不易。潘文国提出了美文需美译，并将此理论成功运用于实践。本论文将从“语美”和“意美”两个方面研究潘文国翻译的赫兹列散文精选。赫兹列（Hazlitt）是19世纪初英国浪漫派散文名家，其随笔与兰姆双峰对峙，其散文包罗万象，风格多样，虽然“他从来没有刻意追求过创作美文，但他的文章之美，很少有人能企及。因此翻译赫兹列散文精选并在翻译过程中保持原文之美是一件不易之事。而潘文国老师是双语专家，精通汉语和英语，他一直以来致力于研究外国散文及散文翻译的技巧及文体特征，他对原文中的语言采用了不同的翻译策略，真正领会到了原文的行文风格和美学价值并尽可能地在译文中把它们再现出来，从而成功地再现原文的主题意义和美学价值。赫兹列散文精选共19篇，分为人生杂感、文学艺术和治学休闲三类，而每类首篇都以文言笔法译之，其他篇章有白话的也有文白杂糅的。在翻译过程中潘老师注重保持赫兹列爱用排比、气势磅礴的特点，并在原文特别美的地方涂颜抹色，完全表现原文之美，甚至超越原文之美。潘文国在美文需美译谈William Hazlitt散文的汉译中提出美文需美译的概念，而美文有“情美”、“境美”、“意美”、“韵美”、“语美”，本论文仅从“意美”和“语美”两个方面做分析。一、 语美散文没有惊人的故事和尖锐的矛盾，有的是其美丽的语言，语言之美有语音美、用词美、句子结构美等，纵观潘老师的译文，可以说是形神兼备，文采斐然，与原文有异曲同工之妙。1）语音美。语音主要有押韵美，叠词美，重复美，此等悦目又悦耳。例如，The road to Llangollen turns off between Chirk and Wrexham; and on passing a certain point you come all at once upon the valley, which opens like an amphitheatre, broad, barren hills rising in majestic state on either side, with “green upland swells that echo to the bleat of flocks” below, and the river Dee babbling over its stony bed in the midst of them. The valley at this time “glittered green with sunny showers,” and a budding ash-tree dipped its tender branches in the chiding stream. (On Going a Journey)去兰戈伦之路在彻克和雷克斯翰一带忽然折砖，循此而行，不数步，豁然开朗，谷地美景，一如置身露天舞台，尽呈眼前：两旁山峰陡立，嶙峋突兀，中间高地隆起，一马平川，“绿草芊芊，牛羊哞哞”，第河一曲，蜿蜒其间，溪石必露，流水潺潺。晴光潋滟，绿波耀眼；树头苞芽初吐，柔枝轻浮水面。 在这段文字中，“转”，“前”，“川”，“间”，“潺”，“滟”，“眼”，“面”等结尾字里面都含有同一韵母“an”，呈现一种押韵美。除了文字的押韵美外，另一个体现语美的是译者叠词的使用。例如，Beneath the shriveled yellow parchment look of the shin, there was here and there a streak of the blood-color tinging the face; this I made a point of conveying, and did not cease to compare what I saw with what I did ( with jealous , lynx-eyed watchfulness) till I succeeded to the best of my ability and judgment.(On the Pleasure of Painting) 老人之皮肤，枯黄皱缩，而皮下时现赤痕条条，映衬其脸，血色隐隐可见，凡此种种，余均竭力转写，且时时比较所见与所作，务尽判断能力与绘事能力之所穷，以臻成功。这种叠字创造一种视觉和听觉上的双重美感，既悦目又悦耳。另一种悦目又悦耳的方式是同一词语的多次重复，例如What a huge heap, a huge dump heap, of wishes, thoughts, feelings, anxious cares, soothing hopes, loves, joys, friendships, it is composed of! (On the Past and Future) 人生中包含多少希望，多少思想，多少感受，多少关怀，多少安慰，多少情爱，多少欢乐，多少友谊！同一词语的连续八次重复，既增加了视觉和听觉上的印象，也渲染了作者对人生的感悟。2）用词美。用词美是指译者选择精确的词语来给读者传达美。词用的恰到好处，不管是使文章内容生机勃勃，或死气沉沉，都能更形象生动地再现原文。例如，And see how dark the backward stream, A little moment past so smiling. (On the Past and Future) 忍看水逆流，欢容一时休。忍和休这两个字突出表现了原文诗人悲叹过去并悲叹过去的快乐已逝的感情色彩。 再如，It seems sensitive and alive all over; not merely to have the look and texture of flesh, but the feeling in itself.(On Gusto)这种色彩仿佛自始至终透着一股灵气，不仅质地像人的肌肉，而且有肌肉的感觉。译者没有选择“可感知、有活力的”来译“sensitive and alive”，而是以“灵气”代之。笔者认为，“灵气”一词更能突显作画者的绘画功底，更能突显其画作的神气和栩栩如生。另外，译者的精确选词，使其叙事明理铿锵有力，例如，I cannot see, then, any rational or logical ground for that mighty difference in the value which mankind generally set upon the past and the future, as if the one was everything, and the other nothingof no consequence whatever. On the other hand, I conceive that the past is as real and substantial a part of our being, that it is much a_bona_fide_, undeniable consideration in the estimate of human life, as the future can possibly be. To say that the past is of no importance, unworthy of a moments regard, because it has gone by, and is no longer anything, is an argument that cannot be held to any purpose; for if the past has ceased to be, and is therefore to be accounted nothing in the scale of good and evil, the future is yet to come, and has never been anything.对过去与未来，人们的价值观念完全不一样，似乎未来就是一切，而过去就一钱不值，我实在看不出这有什么逻辑和理性的基础。相反，我觉得过去与现在一样真实，也是我们生命的一部分，在对人生做估价的时候，同未来一样不可否认。说过去已经过去，不复存在，因而无足轻重，不值一顾，这种看法实在难使人苟同，因为如果说过去已经不存在了，因而在善恶的天平上已分文不值了，那未来还没有到，它还未“成为”什么东西呢！在这段明理中译者从“一钱不值”到“不值一顾”再到“分文不值”明确道出了人们对过去的偏见，而两个“实在”的运用也清楚地表达了作者不予苟同的观点，由此可以看出译文选词的精确和恰到好处确实令人倾服。3）句子结构美。句式结构的美也令人折服，译文中句式结构呈现多样化的特点。古文笔法中随处可见中国人耳熟能详的四字结构，“所”字结构，“之”字结构，论语体，离骚体。在白话笔法中，格言体，警句体，口语体以及各类方言频频使用，这不同语体的运用主要体现了句式的简洁美和和对仗美，使得译文之出如行云流水，自然天成。译文中对于浮华的具体内容，译者选词多用汉语四字格，简洁明了。例如，How fine is it to enter some old town, walled and turreted, just at approach of nightfall, or to come to some straggling village, with the lights streaming through the surrounding glom; and then after inquiring for the best entertainment that the place affords, to “take ones ease at ones inn!” (On Going a Journey) 试想，夜幕将垂，古城初临，墙垝苍朴，塔楼依然；或是郊行失途，荒村偶现四围黝然，孤灯独明，然后舒其筋骨，据案而坐，令店主罄其所有，美味佳肴，杂陈于前，此情此景，人何以堪！再如，Is it nothing to have been, and to have been happy or miserable? Or is it a matter of no moment to think whether I have been one or the other? (On the Past and Future) 往日之事，或喜或悲，难道全无意义？昔日所为，或此或彼，莫非全不值一思？此句在句式上完全对仗，并且在读音和表意上也十分对仗，与原文相比显示了汉语的独特对仗美的优势，这种对仗美的表现在模仿论语体中更是淋漓尽致，例如，Some people tell us all the harmothers as carefully conceal all the good they hear of us. 喜摘人疵者有焉，喜掩人德者有焉。Those who are the most distrustful of themselves, are the most envious of others; as the most weak and cowardly are the most revengeful. 自疑者必好妒人，自怯者必好犯人。(Characteristics)这两句仿论语体，用字精炼，句式简洁，协调对仗，读起来既能感受其对仗的节奏美，又能感受其中的押韵美。潘文国以汉语之美成功再现了原文之美。二、 意美意美有意象之美和意境之美，有时又是两者融合之美。意象可以是一个暗喻，一个象征，或一个描写，它们可以通过视觉想象激起精神画面。（姜秋霞 2002:61）在印度戏法家中就出现很多意象：like ribbons or like serpents, 如彩绸飞舞，蟒蛇吐信。潘文国在这两个意象后分别加了动作“飞舞”和“吐信”，使彩带和蟒蛇充满生机，生动活泼，吸引读者眼球。再如，And you hardly know the professor from the impudent pretender or the mere clown. 是真行家，还是假里手，甚至跳梁小丑，也难以辨别。在这三个意象中不管是“真行家”、“假里手”还是“跳梁小丑”都更加逼真地再现了原文的幽默、滑稽之感，原文的意象之美在译文中得到了充分的再现。另外，在表现意象时，译者还注重保留了原文的阳刚之美，例如，Michael Angelos forms are full of gusto. They every where obtrude the sense of power upon the eye. His limbs convey an idea of muscular strength, of moral grandeur, and even of intellectual dignity: they are firm, commanding, broad, and massy, capable of executing with ease the determined purposes of the will. (On Gusto)米开朗琪罗的人物画韵味十足，它们处处惹人注目，人物的四肢透露出肌肉的力量，道德的光辉，甚至还有一种智者的高贵气质：它们威武有力，威风凛凛，粗犷壮健，凝重厚实，能够轻而易举地完成意志赋予的使命。译文中“威武有力、威风凛凛、粗犷壮健和凝重厚实”等词的运用赋予米开朗琪罗的人物画更多力量，突显了译笔的阳刚之美。意境主要讲的是景与情的交融升华。（刘宓庆 2005:157）例如，The spangled landscape glitters with drops of dew after the shower. The “fleecy fools” show their coats in the gleam of the setting sun. 风景画中，阵雨初歇，露珠晶莹欲滴；夕阳下，群羊咩咩，其毛茸茸然。One of the most delightful parts of my life was one fine summer, when I used to walk out of an evening to catch the last light of the sun, gemming the green slopes or russet lawns, and gilding tower or tree.余最乐之时光系某年晴夏，每于黄昏漫步，见落日晚照，泻光于碧草黄茵之上，染色于尖塔孤树之顶。“初歇”、“欲滴”、“咩咩”、“泻光于”、“染色于”等词的运用使译文生动形象，活灵活现，把读者带到了到阵雨初歇后的、黄昏日落时的深刻意境中。另外，“尖塔”“孤树”把塔和树的状态描写出来，给读者传达一种黄昏孤凄之感。意象与意境是高度模糊的审美信息，是有限与无限的统一，若隐若现的统一。（刘宓庆 2005:157）意象和意境交融也不乏美感，例如，I walked out in the afternoon, and, as I returned, saw the evening star set over a poor mans cottage with other thoughts and feelings than I shall ever have again. Oh for the revolution of the great Platonic year, that those times might come over again! I could sleep out the three hundred and sixty-five thousand interve