《德伯家的苔丝》中环境描写翻译对比研究

PAGE《德伯家的苔丝》中环境描写翻译对比研究ComparativeStudyonTranslationsofSettingDescriptioninTessoftheD’urbervilles论文摘要文学作品的翻译有别于非文学作品之处主要在于它能够再现原著的美学价值。小说翻译即属于该范畴，因此鉴赏小说翻译的一个重要标识就是看它是否通过深入细致的人物描画，完整复杂的情节叙述，具体充分的环境描写来再现原著的美学价值。而环境描写又是衬托人物性格、展示故事情节的重要手段。童庆炳，《文学理论教程》，2004年所以只有充分地把环境描写部分翻译好，才可能如茅盾先生所言：“把原作的艺术意境传达出来，供读者在读译文的时候能像读原作时一样得到启发，感动和美的感受。童庆炳，《文学理论教程》，2004年本文旨在通过对《苔丝》两个译本的比较唤醒译者在翻译实践中，充分重视环境描写的翻译，注重小说意境的烘托，以便最大限度地呈现原著的神韵，达到最佳的翻译效果。以《德伯家的苔丝》为例，小说的作者哈代被称为文学画家，他用画家的眼光看待要反映的事物，用画家的手法描写周围变化的环境。在他的小说中，环境描写为推动故事情节发展、塑造人物和烘托气氛起了至关重要的作用，从而大大加强了作品的感染力。叶家莉，《苔丝》两个译本的比较，2001年而本文所选的两种版本的译作，也在环境描写的翻译上各显其能，并给我们的研究探索创造了条件叶家莉，《苔丝》两个译本的比较，2001年本文从张谷若和孙致礼、唐慧心的两个《德伯家的苔丝》译本中分别选取了十个环境描写的翻译片段，并用对比的方法进行分析，最终得出这样的结论：环境描写是推动故事情节的手段；是烘托人物命运的工具；是增强作品感染力的渠道，因此译者在翻译环境片段的时候需要在修辞方法和字斟句酌上下功夫，努力体现翻译文学的语言美。关键词：环境描写翻译塑造人物推动情节烘托气氛修辞手法

AbstractItiswellacceptedthattranslationsofliterarytextisdifferentfromthatofnon-literarytextbythewaysofwhetherornotitsreproductionofaestheticvalues.Asnoveltranslationbelongstoliterarytranslation,soitmustfollowtherulethatagoodtranslationversionshouldreproducetheaestheticvaluesoftheoriginal.Basicallyspeaking,thethemeofanovelisusuallydevelopedthroughcharacter,plotandsettings,whicharealsoknownasthethreemaincomponentsofanovel.Andfurthermore,thesettingdescriptionistheimportanttoolforcharacterportrayingandplotdevelopment.Soonlybypropersettingdescription,anoveltranslationmightreproducethenuancesoftheoriginalasmuchaspossible.ItjustasMaoDunsays,“Theliterarytranslationshouldtransmitthemoodofliteralworkstothetargetlanguagereaders,soastomakethereadersbeinspiredormovedandtouchedbythenuancesandgetthefeelingsofbeautyinlanguage.”Theresearcherofthispaperintendstoprobethattranslatorsshouldbuildfullawarenessofreproducingtheoriginalaestheticvaluesbygoodtranslationofsettingdescription.TakeTessoftheD’urbervillesasanexample,theauthorofthisbookTomasHardyarenamedas“Literalartist”,whowasgoodatsettingdescription.Properdescriptionofsettingmaybegoodforplotandcharacter,andstrengthentheartisticappeal.Theselectedversionsofthisbookaregoodexamplesoftranslationofsettingdescription,whichmadeourresearchavailable.ThispaperselectssomesampleparagraphsfromtwotranslatedversionsbyMr.ZhangGuruoandMr.SunZhili&Tanghuixinseparately,andthroughthecomparisonofthetranslationofsettingdescriptionwewillgetthefollowingresults:sincesettingdescriptionholdsthefunctionofplotdevelopmentandcharacterportraying,sothetranslationwordsshouldbeweighedcarefullyandthenreproducethenuancesoftheoriginal.Keywords:Translationofsettingdescription,aestheticvalues,plotdevelopment,Characterportraying,atmospherecreation,rhetoricTableofContentsPages1.Introduction…………..ResearchBackground……….……………….ResearchObjective..…………ProjectDesign………………..1111……2.Rationale……………….……2DefinitionofSetting………….………………..2Functionofsettinginanovel………………..22.3Importanceofsettingdescriptionoftranslation……..…23.DataDescription……………..………BriefIntroductionofSLT……BriefIntroductionofTLT……StandardofDataSeletion………………….23344.AnalysisoftheData…………..4.1SettingforcreatingAtmosphere…………4.2SettingforPortrayingCharacters………..4.3SettingforPlotDevelopment……………..44565.ResultsandSuggestions……………5.1Results………5.2Suggestions……………………7776.Conclusion…………….7Biliography……………….9Appendix…………………10PAGEPAGE16ComparativeStudyonTranslationsofSettingDescriptioninTessoftheD’urbervillesIntroduction1.1ResearchBackgroundAsweallknow,thethreecomponentsofnovelarecharacter,plotandsetting.Andsettingdescriptionusuallyplaysanimportantroleforcharacterportraying,plotdevelopmentandatmospherecreation.Asamaster-handofsettingdescription,TomasHardywasnamedas“literaryartist”,whowasfamousforthetalentofsettingdescriptioninhisnovelandmakethedescriptioncombinedwiththeplotandserveforthewholework.SowechoosehisnovelTessoftheD’urbvillestodevelopourresearch.1.2ResearchObjectiveThepracticeofsettingdescriptiontranslationisnotsimplyaword-for-wordtranslation.Itshouldberegardedasanimportantpartofanovelduetoitsfunctionofportrayingcharacteranddevelopmentofplot.TheresearchtriestoexaminesomesettingdiscoursesinTessoftheD”urbevillesandtheirtranslationsinChineseversion,andthentofindoutthetranslationstrategiesappliedbythetranslatorintranslatingsettingdescription.ProjectDesignTheresearchisdividedintofourparts.Inpartone,theauthorwilldefinesettinganddescribethemaintheoriesrelatewiththestudy.Inparttwo,theauthorwillgofurtherintothestudyofsettingtranslationbyexamining10paragraphsinTess;.Inpartthree,theauthoraimstosummarizesettingdescriptiontranslationstrategiesaccordingtothedataanalysis;Finally,inpartfour,theauthorwillsummarizethewholeresearchandpresenttheimplicationsforthefuturepracticeandresearch.…Rationale:2.1DefinitionofSettingSettingisdefinedas“theplaceortimethattheactionofabook,filmetchappens”LongmanDictionaryofContemporaryEnglishand“allthethingsthatsurroundsomeoneorsomethingataparticulartime,includingtheeventsthathappen,theirenvironment,orthepeopletheyarewith”.LongmanDictionaryofContemporaryEnglishLongmanDictionaryofContemporaryEnglish2.2FunctionofsettinginanovelInanovel,settingdescriptionisamainwayforcharacterportrayingandplotdevelopment,whichshoulddependonnaturalsetting,culturalsettingorsocialsettingetc.theformationanddevelopmentofacharacterarealsocontrolledbyspecialsetting.Sosettingdescriptioninanovelshouldbeadequateandaccurate.童庆炳，《文学理论教程》第九章文学作品的类型和体裁2.3ImportanceofsettingdescriptiontranslationMaoDunsays,“Theliterarytranslationshouldtransmitthemoodofliteralworkstothetargetlanguagereaders,soastomakethereadersbeinspiredormovedandtouchedbythenuancesandgetthefeelingsofbeautyinlanguage.”茅盾：《为发展文学翻译事业和提高翻译质量而奋斗》，1954年SoTranslationofsettingdescriptiondoesnotmeantoword-to-wordtranslation.Onthecontrary,itshouldbeweightedandconsideredasmuchaspossible,soastoreproducethenuances茅盾：《为发展文学翻译事业和提高翻译质量而奋斗》，1954年3．DataDescriptionThedatatobeanalyzedconsistsoftenparagraphswhichareselectedfromtwodifferentChineseversionstranslatedfromTessoftheD’urbervilles.ThefirstversionwastranslatedbyMr.ZhangGuRuo(张谷若)andpublishedbythePeople’sLiteraturePublishingHouse（人民文学出版社），1957;thesecondversionwaspublishedbyChinaZhiGongPublishingHouse（中国职工出版社）andtranslatedbyMr.SunZhiLiandMsTangHuiXin（孙致礼，唐慧心），2021.3.1BriefIntroductionofSLTTessoftheD’UrbervilleswassubtitledAPureWomanandpublishedin1891.ItisoneofHardy’ssaddesttalesofruraltroubles.TessisthedaughterofthepoorJohnDurbeyfieldwholearnsfromthevillageparsonthathisfamilyisrelatedtoancientnobility,beingthelastofthefamilytheD’Urbervilles.Intryingtomakeuseofthisconnection,Joan–John’swife-suggeststhatTesspursuethesonofthelocalfamilyofMrs.D’Urberville.AsitturnsouttheMrs.D’UrbervillehasmerelytakenthenameforconveniencebutTessbecomesinvolvedwithhersonAlecnonethelesswhogivesheremploymentbuttakesadvantageofherandinunpleasantcircumstancesseducesher.Theyhaveachildtogetherwhodiesearlyandcannotbebaptizedbecauseheisillegitimate.ThesecondstageofthenovelconcernsthefamilyoftheReverendMr.ClareandhissonAngel.AngelandTessmarrybutwhensheadmitstheincidentwithAlectheirrelationshipistornapartleadingtoAngel’sdepartureforSouthAmericaandAlec’ssecondattempttoensnareTess.Thisleadstomurder,escapeandsuperficialimpurityonthepartofTesswhoisfinallybroughtto"Justice"./0/0/26/56/frameset.html/0/0/26/56/frameset.html3.2BriefIntroductionofTLTTherearemanyChineseTranslationsofTess.Thispaperbasedontwoversions,whichareMr.ZhangGuruo’sversionandMr.Sunzhili&TangHuixin’sversion.ThereasonforchoosingMr.ZhangGuruo’sversionisthatitwaspublishedbythePeople’sLiteraturePublishingHouse,whichisquitefamousinChina;thereasonforchoosingthelatteroneisbecauseitstranslationforsettingdescriptionaresomehowdifferentfromthatoftheformerone,whichoffersadequatematerialsforourresearch.3.3StandardofDataSelectionThefunctionofsettinginanovelcouldbeclassifiedasthreeconditions:a.itcreatesatmosphere;b.itportrayscharacters;c.itcontrastsplotdevelopment.Sowechoosetheparagraphswhichservetheabovementionedfunctionseparately.However,theclassificationisjustforourconvenienceofstatement,sometimestheparagraphholdsmorethanonefunctionwhichmayleadstobias.4.AnalysisoftheData:ThepurposeofthisresearchistoconcentrateourattentiononthesettingdescriptiontranslationsofthedifferentChineseversionsinTessoftheD’urbervilles.Inthemeanwhiletheauthorhopesthatthisdiscussionmighthelpreadersholdaclearattitudetowardsonhowthetranslationforsettingdescriptionaffectsonthereproductionofaestheticvalueofthewholeoriginal.Therearetenselecteddiscoursesforustoanalysisandfromwhichourresultswouldcome.Alltheexamplesareclassifiedintothreegroupsbythefunctionofthesettingdescriptioninthenovel.4.1SettingforCreatingAtmosphereIntable1,Zhang’sversionisafullequivalencebyfaithfultranslation,whereasSun’sversionistranslatingmeaning.Forexample,“herquiescentglide”isanounphraseassubject,soZhang’sversionsays她那悄悄冥冥的凌虚细步；whileSun’sversiontranslatethisnounphraseintoasimplesentencelike她静悄悄地独行。Thisplaintreatmentmakesthelatterversionlosethetasteoftheoriginal.AnotherdifferenceofTT1.1andTT1.2isthetranslationof“lonely”.Thefirstversionuses“旷山”and“空谷”tomakeamysteryoftheatmosphere;Whereasthesecondversiontranslatesitas“寂静”，whichisacommonwordthatcouldnotgivethereadersanyspecialsenseoftheatmosphere.Otherdifferencesaretreatmentsofsomeadjectivesandnouns.Forexample,thefirstversionusemorefour-characterwordsthanthesecondonetosuccessfullycreatetheatmosphere:悄悄冥冥、潜潜等等；凌虚细步、娇软腰肢、绮思深念，thesefour-characterphrasesmakesthewholediscourseingoodorderandsoundselegantinstyle;whilethesecondversiontranslatethesamewordsinto静悄悄、隐隐约约、独行、身影,whichdoesnotconsideraboutthebeautyinlanguage..Intheseconddiscourse,Zhang’sversiontranslates“playabouttheirfaces”into轻拂微掠,whileSun’sversion轻轻地吹拂着。SoZhang’sversionismoregenteelthanSun’s.“thebroadmirroroflight”,Zhangsays清澈晶莹的浩荡明镜，boththemodifyingandmodifiedwordsarealltreatedintofour-characterphrases,whileSun’sversiondoesnot.Moreover,Zhang’sversionusesapersonificationfortheword“herald-drops”.打头阵soundsmorevivid,butthesecondversiontranslatesthemeaningonly.Indiscoursethree,bothversionsarealmostthesameinwordsbutlittledifferenceinanadjective.Thefirstversionuse“毒热的荒野”、“毒蛤蟆”for“atorridwaste”and“thetoads”，thenthesecondversionuse“酷热”、“癞蛤蟆”。Inthisparagraph,Tess’stragedyfateishintedbytheterribledescriptionofthefire.Thefirsttranslationversionusetheadjectiveof“毒”asanattributetomodifythewordswhichcancreatetheatmosphereproperly.Indiscoursefour,theyaredifferentfromthelastsentencetranslationof“essence”and“substance”.Inthedictionary,essencemeans“themostbasicandimportantqualityofsomething”，inChinese本质、实质;whilesubstancemeansmaterial,inChinese物质。Infirstversion,theyaretranslatedinto本质and神情；whileinthesecondversion,theyaretranslatedas物质本身and事物的实质。Eachversionhasitsstrongpoints,however,fromtheatmosphereperspective,thefirstonesoundsbetter;whilethesecondonemakesthereadersconfused.4.2SettingforPortrayingCharactersThetwoversionsaredifferentfromhowtotranslatetheadverb“terribly”.InLongmanDictionaryofContemporaryEnglish,ithastwomeanings:oneis“especially,very,extremely”,whichistranslatedas非常、极度、很；anothermeaningis“badly,severely”,whichistranslatedas非常糟地；严重地。Fromthecontext,weknowTessdoesnotlikethebeautifulinclineatall,becauseitremindsherofsomesadexperience,whichmeansthesurfaceoftheviewisbeautifulwhilethetruthoflifeisnot.Soitshouldbetranslatedinto“美的可怕”，insteadof“美丽极了”。ThesixthparagraphdescribesTess’sgoodmoodtoexpecthernewlife.Soinhereyes,everythingislovely.Thuswhenweappreciatethetranslation,weshouldpayattentiontotheuseofparallelismtothesecondsentence.Thesecondversionhaslivelyrhythmbyusing蔚蓝的大气、黏重的土壤、浓郁的气息andseemstoechowiththegoodmoodofTessinwordslike清新、明净、缥缈.Sothesecondversionisslightlybetter.TheseventhparagraphreflectsTessandClare’sarefallinginlove.Thesettingdescriptioncombinedwiththecharacter’sgoodmood.Themaindifferenceexitsintranslationtothelastsentence.Theuseofreiterativelike一支支、一根根、一股股、一朵朵；andsomeantithesislike无声无息、无影无踪madethesecondversionbetterthanthefirstone.Thesentencepatterniswell-balancedandshowsTess’shappiness.4.3SettingforContrastPlotDevelopmentTT8.1andTT8.2:Thisisatransitionparagraph,afterwhichTesswilltellClareallthewrongthingsshehaddone,andthushertragedywillbegin.Butshedoesnotknowatall.Theauthorhintedthisbydescribingthefire.Thetwotranslatorsapplieddifferenttranslationtreatmentstothelastsentence.Intermofgrammar,thefirstversionistranslatedintoacompoundsentencewhichhastwosubjects,oneis她的脉搏，theotheris它们的颜色；Whilethesecondversionistranslatedasaadverbialinasimplesentence.Sinceafterthisparagraph,theplotwilldevelopmysteriously,sothefirstversionisbetter.TT9.1andTT9.2:ThisdescriptionisaboutTess’sancestor’sappearance,whichishintingkarmaofTess.ItisknownthatinChinese,manyderogatorytermsarethree-characterwords,sothesecondversiontranslatestheappearanceintothree-characterphrases,like长脸膛，尖下巴，眯缝眼，鹰勾鼻，大牙齿,toshowthenegativeviewofit.InChinesealmostallthethree-characterphrasesareusedinaderogatorysense,forexample挖墙脚、穿小鞋、扣帽子etc.TT10.1andTT10.2:ThisparagraphisdescribingthebadconditionsofTess.ShewasnotlivingwellafterClareleftheralone.Boththetwotranslationstothethirdsentenceseemslostsomemeaningoftheoriginal.Itmightbetranslatedas:他们倾着身子，穿过风雪漫漫的田野，步履艰难的往前走去，尽量靠着树篱好避避风，可是树篱不仅挡不住风雪，反而由于过滤作用，使得风雪更劲了。Hereinordertoavoidthelostofthemeaning,wecouldusesometranslationtechniques,forexampleaddition.ResultsandSuggestions5.1ResultsWhatisthepracticelikeinsettingtranslation?Basedontheaboveanalysis,wefindthatsettingtranslationiscontrolledbytheoriginalbeautyinbothcontentandform.Asanaestheticsubject,thetranslatorshouldtryhis/herbesttoreproducethenuanceandthepoeticqualityoftheoriginalsettingdescription,whichholdsthefunctionofportrayingcharacters,developingplotorcreatingatmospheres.Inordertoreachthistarget,thetranslatorshouldweighthis/herwordsbysometranslationstrategies:fromthesoundslevel,translatorsmaytrytousefour-characterphrasestomakethewholearticlesoundsgenteel,ortousethree-characterphrasetoshowaderogatorysense,ortomakegooduseofreiterativeforlivelyrhythm.Properrhetoricalmeasureslikepersonification,parallelism,andantithesisorreiterativeshouldbeappliedwhennecessary.5.2SuggestionsontheTranslationStrategyHerearesomesuggestionsforthefuturepracticeofsettingtranslation.Firstly,sincetheTLiscontrolledbytheSL,thetranslatormustfaithfullyreproducewhattheauthorwanttoshow;Secondly,translatorshouldtrytogivethetargetreaderbeautyinlanguagewhentranslatingsettingdescriptionandatthesametimeconsideringaboutthefunctionholdingbythediscourse;Thirdly,properrhetoricalmeasureshouldbeappliedtowellreproducethepoeticqualityandnuanceoftheoriginal.ConclusionThisresearchmakesanattempttoexplorethestrategiesofsettingdescriptiontranslationinliteraryworksbyexaminingsomesettingdiscourseinTessandtheirtranslationsinSS.Toachievetheseobjectives,theanalysisismadebetween10paragraphsinTessandtheirtranslationsinSS.Accordingtotheanalysis,thetranslationstrategiesdealingwithsettingdescriptiontranslationareclassifiedintotwoprinciples:syntaxandrhetoric.Thespecifictranslatingstrategiesincludeantithesis,parallelism,andpersonification,reiterativeandfour-characterphraseorthree-characterphrases.Thedatafortheresearcharecarefullyselectedsothattheycanrepresentthecommonphenomenonofsettingtranslationtoacertainextent.However,potentialweaknessstillcanbefoundintheresearchdesign.First,thepaperonlyfocusesonthestudyofsettingtranslationfromtheaspectofaesthetics,morestudiesareleftforthefurtherresearch.Second,becausetheexamplesareallselectedfromTessoftheD’urbervilles,thelimitationofsamplespossiblyleadtobiasintheresults.So,thereismuchroomforimprovementsothatclearresultscanbefound.

Bibliography叶家莉:“《苔丝》两个译本的比较”，《文学翻译佳作赏析》，崔永禄主编，南开大学出版社，2021年方梦之：《译学辞典》，上海外语教育出版社，2021年朱维之，赵灃，崔宝衡：《外国文学史》，南开大学出版社，2021年童庆炳，《文学理论教程》，高等教育出版社，2021年

Appendix：Table1:SettingDescriptionforCreatingAtmospheresSTZhangGuruo’sversionSunZhili&TangHuixin’sversionST1:Ontheselonelyhillsanddalesherquiescentglidewasofapiecewiththeelementshemovedin.Herflexuousandstealthyfigurebecameanintegralpartofthescene.Attimesherwhimsicalfancywouldintensifynaturalprocessesaroundhertilltheyseemedapartofherownstory.TT1.1:在这些旷山之上和空谷之中,她那悄悄冥冥的凌虚细步,和她所活动于其中的大气,成为一片.她那袅袅婷婷.潜潜等等的娇软腰肢,也和那片景物融为一体.有的时候,她那想入非非的绮思深念,使她周围自然界的消息盈虚,深深含上感情,一直到它变得好象是她个人身世的一部分.TT1.2:在这寂静的山峦峡谷中，她静悄悄地独行，与周围的环境融汇在一起。她那袅袅婷婷、隐隐约约的身影，也成了那片景物不可缺少的一部分。有时候，她的想入非非会给周围自然界的进程蒙上浓郁的感情色彩，好像这自然界的进程也是她个人身世的一部分。ST2:Thedullskysoonbegantotellitsmeaningbysendingdownherald-dropsofrain,andthestagnantairofthedaychangedintoafitfulbreezewhichplayedabouttheirfaces.Thequicksilveryglazeontheriversandpoolsvanished;frombroadmirrorsoflighttheychangedtolustrelesssheetsoflead,withasurfacelikearasp.TT2.1:天色沉闷的空中,不久落下了几个打头阵的雨点儿,表示真有雨意.白天停滞不动的空气,也变成了一阵的微风,在他们脸上轻拂微掠.河流和池塘的水面上水银一般的光泽,现在都完全消失了;原先清彻晶莹的浩荡明镜,都变成晦暗无光的铅皮,水面上起了像锉齿的皱纹.TT2.2:过了不久，阴沉的天空落下了几个雨点，预示天要下雨了；白天停滞不动的空气，也化成了一阵微风，轻轻地吹拂着他们的脸膛。河流和池塘水面上那水银般的光泽，已经完全消失了，原先清澈宽阔的明镜，现在已变成了晦暗无光的铅皮，表面像锉刀一样粗糙。ST3:Theirhandswerestilljoined.Theashesunderthegratewerelitbythefirevertically,likeatorridwaste.ImaginationmighthavebeheldaLastDayluridnessinthisred-coaledglow,whichfellonhisfaceandhand,andonhers,peeringintotheloosehairaboutherbrow,andfiringthedelicateskinunderneath.Alargeshadowofhershaperoseuponthewallandceiling.Shebentforward,atwhicheachdiamondonherneckgaveasinisterwinklikeatoad's;andpressingherforeheadagainsthistemplesheenteredonherstoryofheracquaintancewithAlecd'Urbervilleanditsresults,murmuringthewordswithoutflinching,andwithhereyelidsdroopingdown.TT3.1:他们的手还是互相紧握.炉栅底下的灰,叫炉火从上往下映照,显得好象一片毒热的荒野.煤火的红焰,照到他们两个的脸和手上,透进了她额上松散的头发,把她发下的细皮嫩肉映得通红.这种红焰,让人想起来,觉得仿佛末日审判的时候那样阴森吓人.她的身子,映成一个大黑影,射到墙上和天花板上.她向前弯腰的时候,脖子上的钻石都跟着闪烁了一下,好象毒蛤蟆的眼睛那样不怀好意.她把头靠着他的太阳穴,开始把她和亚雷.德伯的事情,前因后果地说了一遍,说的时候,把眼皮下垂,一点儿也不畏缩,低声一个字一个字地说.TT3.2:他们的手仍然握在一起。炉栅下的灰，被炉火垂直的一照，像是一片酷热的荒野。炭火的红色光焰投到克莱尔的脸上和手上，也投到苔丝的脸上和手上，射进她额上蓬松的头发里，照在头发下面那细嫩的皮肤上。置身于这种红色的光焰中，让人觉得像末日审判时那样阴森可怕，她的身子映成一个巨大的黑影，投射到墙上和天花板上。她弯下身子，脖子上的每颗钻石都跟着闪烁了一下，就像癞蛤蟆不怀好意的瞪了一下眼睛。她把额头靠在克莱尔的太阳穴上，开始讲起了她与亚历克德伯维尔相识的前因后果，说话时声音很低，眼皮低垂着，但却一点也不畏缩。ST4:Thefireinthegratelookedimpish-demoniacallyfunny,asifitdidnotcareintheleastaboutherstrait.Thefendergrinnedidly,asifittoodidnotcare.Thelightfromthewater-bottlewasmerelyengagedinachromaticproblem.Allmaterialobjectsaroundannouncedtheirirresponsibilitywithterribleiteration.Andyetnothinghadchangedsincethemomentswhenhehadbeenkissingher;orrather,nothinginthesubstanceofthings.Buttheessenceofthingshadchanged.TT4.1:壁炉里的残火,张牙怒目,鬼头鬼脑,仿佛表示对于苔丝的窘迫,丝毫都不关心.炉栏懒洋洋地把嘴咧着,也仿佛表示满不在乎.盛水的瓶子放出亮光来,好象只是在那儿一心一意研究颜色问题.所有身外一切东西,全都令人可怕地反复申明,自脱干系.然而无论哪样东西,实际上却和克莱吻苔丝那时候,并没有任何改变;或者不如说,无论哪样东西,本质上都没有任何改变;但是神情上却前后大不相同了.TT4.2:壁炉里的炭火好像在恶作剧，张牙舞爪，怪模怪样，仿佛丝毫也不关心苔丝的疾苦。炉栏懒洋洋的咧着嘴，似乎也充耳不闻。水瓶发出亮光来，仿佛只是在研究色彩问题。周围的一切物体，都在令人可怕的反复阐明，自己没有任何责任。然而，自从克莱尔亲吻苔丝以来，哪样东西也没发生变化，换句话说，物质本身没有发生变化，但是事物的实质却起了变化。Table2:SettingDescriptionforPortrayingCharactersST5:Theinclinewasthesamedownwhichd'UrbervillehaddrivenwithhersowildlyonthatdayinJune.Tesswentuptheremainderofitslengthwithoutstopping,andonreachingtheedgeoftheescarpmentgazedoverthefamiliargreenworldbeyond,nowhalf-veiledinmist.Itwasalwaysbeautifulfromhere;itwasterriblybeautifultoTesstoday,forsincehereyeslastfelluponitshehadlearntthattheserpenthisseswherethesweetbirdssing,andherviewsoflifehadbeentotallychangedforherbythelesson.Verilyanothergirlthanthesimpleoneshehadbeenathomewasshewho,bowedbythought,stoodstillhere,andturnedtolookbehindher.ShecouldnotbeartolookforwardintotheVale.TT5.1:

这个山坡,就是六月里那一天,德伯象疯了似的和她赶着车跑下去的那一个.苔丝一气上了还没走完的那一段山坡,到了山脊,看着前面那片很熟悉的绿色世界,现在叫雾气笼罩得半隐半现.这片山谷,从这个山顶上看,永远是美的;今天苔丝看来,它更美得可怕;因为自从上一次她的眼光落到它上面以来,她已经知道了,凡是有甜美的鸟歌唱的地方,也都有毒蛇嘶嘶地叫.她的人生观,也因为那一番教训,完全改变了.现在的她,满怀心事地把头低着,静静地站在那儿,回过身去,往后面看,实在和从前没出家门.简单天真的她,完全不是一个人了.她往后面看去,因为她往前面的山谷里看,就要难过得受不住.TT5.2:这道山坡，就是六月里那一天，德伯维尔赶着马车拉着她，发疯似的奔下去的那道山坡。苔丝不停脚地走完了后一段坡路，一登上山脊，就眺望着前方那片熟悉的绿色世界，现在叫雾气笼罩的半隐半现。从这里看去，那儿总是美丽的，而苔丝今天觉得，这地方美丽极了，因为自从她上一次望见这地方以来，他已经懂得凡是有可爱的鸟儿唱歌的地方，就有毒蛇发出嘶嘶的叫声。由于这次教训，她的人生观彻底改变了。她与以前没出家门时的那个单纯姑娘，完全判若两人，只见她心事重重，静静地站在那里。她转身向后望去，看见前面的山谷，心里就受不了。ST6:Thebird's-eyeperspectivebeforeherwasnotsoluxuriantlybeautiful,perhaps,asthatotheronewhichsheknewsowell;yetitwasmorecheering.Itlackedtheintenselyblueatmosphereoftherivalvale,anditsheavysoilsandscents;thenewairwasclear,bracing,ethereal.Theriveritself,whichnourishedthegrassandcowsoftheserenowneddairies,flowednotlikethestreamsinBlackmoor.Thosewereslow,silent,oftenturbid;flowingoverbedsofmudintowhichtheincautiouswadermightsinkandvanishunawares.TheFroomwaterswereclearasthepureRiverofTT6:她现在居高临下所看到的这一片风景,和她顶熟悉的那一片比起来,也许没有那样蓊郁葱茏之美,但却更能使人起畅快爽朗之感.它没有和它匹敌的那个谷里那样蓝蔚的大气,那样浓重的土壤和气息,它的空气清新.爽利.飘渺.空灵.滋养这片草原和这些著名奶厂牛群的这条河流,也和布蕾谷里的河流不一样.布蕾谷里的河流,缓慢.沉静.往往混浊;河底是泥的,从河里徒涉的人,一不小心,就会不知不觉地陷在里头,再也出不来.芙仑河却和那位福音教徒看见的生命之河一样地清澈,和天上浮云的阴影一样地飘忽,它里面铺着石头子的浅滩,还一天到晚,对着青天喋喋不休.那儿水里长的花儿是睡莲,这儿长的却是水毛茛.TT6.2:鸟瞰眼前的景色，也许不及她所熟悉的那片峡谷葱郁绮丽，但却更加令人愉悦。它缺少那个山谷里的蔚蓝的大气、黏重的土壤、浓郁的气息，它的空气清新、明净、缥缈。滋养着这些著名牛奶场上的牧草和牛群的河流，也和布莱克摩谷的河流不一样。布莱克摩谷的河流既缓慢又沉静，往往还很浑浊，河底尽是淤泥，趟水者一不小心，就会突然陷入泥中，落个无影无踪。弗鲁姆河则像那位福音教徒看见的生命之河一样清澈纯净，水流就像云影一样急，在满是卵石的浅水处，还整天对着蓝天淙淙欢唱。那里的水花是睡莲，这里的却是毛茛。ST7:Theseasondevelopedandmatured.Anotheryear'sinstalmentofflowers,leaves,nightingales,thrushes,finches,andsuchephemeralcreatures,tookuptheirpositionswhereonlyayearagoothershadstoodintheirplacewhenthesewerenothingmorethangermsandinorganicparticles.Raysfromthesunrisedrewforththebudsandstretchedthemintolongstalks,liftedupsapinnoiselessstreams,openedpetals,andsuckedoutscentsininvisiblejetsandbreathings.TT7.1:风光流转,由平淡变成了绚烂.一年一度的花.叶.夜莺.画眉.交喙以及这类命若蜉蝣的有生之物,在各自的岗位上出现了,仅仅一年以前,占据这些岗位的还是另外一些东西,现在这些生物,在那时候,还都不过是尚未成形的胚和渺小微细的无机体.朝阳射出来的光线,把幼芽嫩蕾抽出,使它们舒展为纤梗长条;使汁液不声不响川流泉涌那样滋长,使花瓣展放,使芬香无影无踪喷雾吐气那样散发.TT7.2时光流转，又到了鸟语花香的季节。一年一度的花、叶、夜莺、画眉、燕雀，以及诸如此类的短生之物，又出现在各自的地盘上；而仅仅一年前，他们只不过是些胚芽和微小的无生物，占据那些地盘的还是另外一些东西。朝阳射出的光线，催生出一支支幼芽嫩蕾，使其舒展成一根根长茎，滋养起一股股液汁，无声无息的涌动着，绽开一朵朵花瓣，在无影无踪的呼吸中散发着芳香。Table3:SettingforContrastPlotDevelopmentST8:Asteadyglarefromthenowflamelessemberspaintedthesidesandbackofthefireplacewithitscolour,andthewell-polishedandirons,andtheoldbrasstongsthatwouldnotmeet.Theundersideofthemantel-shelfwasflushedwiththehigh-colouredlight,andthelegsofthetablenearestthefire.Tess'sfaceandneckreflectedthesamewarmth,whicheachgemturnedintoanAldebaranoraSirius-aconstellationofwhite,red,andgreenflashes,thatinterchangedtheirhueswithhereverypulsation.TT8.1:现在残火没有火焰了,但是它所发出来的稳定光辉,却把壁炉的两侧.亮晶晶的火架.和那两股合不到一块儿的旧铜火钳,都一齐染了一层通红的颜色.壁炉搁板的下面和最靠近壁炉放的一张桌子的腿儿,也叫它映得火红.苔丝的脸和脖子,也一样地又红又暖,她戴的珠宝钻石,也好象爱儿代巴伦或者西锐厄，在火光里闪烁辉煌,成了一座时红.时绿.时白的星座,她的脉搏一跳动,它们的颜色就一变换.TT8.2:这时，炉里的残火已经没有火焰了，但却发出一片稳定的光泽，染红了壁炉里的后边和两侧、亮锃锃的柴架，和一把合不拢的旧铜火钳。壁炉台下面和最靠近壁炉的桌腿，也给炉光映得通红。苔丝的脸和脖子也同样显得暖融融的，她身上带的每一件珠宝也都变成了金牛星或天狼星变成了闪烁着白光、红光、绿光的星座，随着她脉搏的每一次跳动，不断变换自己的色彩。ST9:Helookedup,andperceivedtwolife-sizeportraitsonpanelsbuiltintothemasonry.Asallvisitorstothemansionareaware,thesepaintingsrepresentwomenofmiddleage,ofadatesometwohundredyearsago,whoselineamentsonceseencanneverbeforgotten.Thelongpointedfeatures,narroweye,andsmirkoftheone,sosuggestiveofmercilesstreachery;thebill-hooknose,largeteeth,andboldeyeoftheother,suggestingarrogancetothepointofferocity,hauntthebeholderafterwardsinhisdreams.TT9.1:他抬头看去,只见嵌在墙里头的木板上,有两个活人一般大的画像.到过这所宅第的人全都知道,那是两个中年妇人的画像,论年份大概是二百年以前,画像上的面貌很特别,只要见过一次,就永远不会再忘.一个是又长又尖的嘴脸,眯缝眼,把嘴咧着强作笑容,一股奸险无情的神气;那一个是鹰鼻子,大牙齿,瞪着两只大眼睛,气焰万丈,差不多要吃人的样子.看见过这两副脸的人,做梦也非梦见它们不可.TT9.2:克莱尔抬头一看，只见有两幅与真人一般大小的画像，镶在墙内的镶板上。来过这座宅第的人都知道，画上画着两个中年妇女，论年份大约是二百年以前，两个人的相貌只要看上一次，就永远不会淡忘。一个是长脸膛，尖下巴，眯缝眼，还要强作笑容，露出一幅阴险无情的神气；另一个鹰勾鼻子，大牙齿，瞪着大眼，显出一副盛气凌人、凶神恶煞的样子，谁见了这两副嘴脸，就是在梦中也会在受惊扰的。ST10:Thesnowhadfollowedthebirdsfromthepolarbasinasawhitepillarofacloud,andindividualflakescouldnotbeseen.Theblastsmeltoficebergs,arcticseas,whales,andwhitebears,carryingthesnowsothatitlickedthelandbutdidnotdeepenonit.Theytrudgedonwardswithslantedbodiesthroughtheflossyfields,keepin