第四節(jié)

原作意境含蓄美的傳達(dá)

文學(xué)作品的意境是實境和虛境的融合，實境與虛境相互觸發(fā)，把讀者的想象和聯(lián)想不斷引向深遠(yuǎn)廣闊的藝術(shù)空間。譯者要通過譯語最大限度地保留原作意境的含蓄美和朦朧美，龔光明在《翻譯思維學(xué)》中認(rèn)為抒情藝術(shù)的意境“充滿美感和回味的神入式體驗及表現(xiàn)”，韻味是指“由物色、意味、情感、事件、風(fēng)格、語言、體勢等因素共同構(gòu)成的美感效果”。譯者闡釋原作時“須有神入式體驗，然后才能通過藝術(shù)語符號去表達(dá)原文的神韻。藝術(shù)語言中的神韻由凝練簡省的詞語所負(fù)載。譯者必須拓展既廣且深的心理生活空間（mental life space），才能把握原文巨大而復(fù)雜的內(nèi)涵、奇詭的想象、迷離的變幻、啟迪性的象征、謎一般的暗示，然后才能用譯語語詞（信息代碼）去構(gòu)建譯語語境”。錢鐘書在《林紓的翻譯》中認(rèn)為文學(xué)翻譯的最高理想是“化”，譯者把作品從一國文字轉(zhuǎn)變成另一國文字，既能不因語文習(xí)慣的差異而露出生硬牽強的痕跡，又能完全保存原作的風(fēng)味，那就算得入于“化境”。譯者追求化境并不是要一味地得意忘言，主動放棄再現(xiàn)原作語言形式的努力。譯作要達(dá)到化境，難就難在既要在語言形式上貼近原作，又要“不因語文習(xí)慣的差異而露出生硬牽強的痕跡”，“原作里沒有一個字可以溜過滑過，沒有一處困難可以支吾扯淡。一部作品讀起來很順利容易，譯起來馬上出現(xiàn)料想不到的疑難，而這種疑難并非翻翻字典、問問人就能解決。不能解決而回避，那就是任意刪節(jié)的‘訛’；不敢或不肯躲閃而強作解人，那更是胡猜亂測的‘訛’。”于德英在《“隔”與“不隔”的循環(huán)：錢鐘書“化”境論的再闡釋》中探討了錢鐘書化境論的哲學(xué)美學(xué)淵源，化境論提出的譯論背景，化境論與“打通”思想的關(guān)系，化境論與信達(dá)雅、神韻、氣韻、神似論的關(guān)系。下面是宋朝詩人柳永的《八聲甘州》和許淵沖的譯文：

對瀟瀟暮雨灑江天，一番洗清秋。漸霜風(fēng)凄緊，關(guān)河冷落，殘照當(dāng)樓。是處紅衰翠減，苒苒物華休。唯有長江水，無語東流。

不忍登高臨遠(yuǎn)，望故鄉(xiāng)渺邈，歸思難收。嘆年來蹤跡，何事苦淹留！想佳人妝樓望，誤幾回，天際識歸舟？爭知我倚闌干處，正恁凝愁！

Shower by shower

The evening rain besprinkles the sky

Over the river，

Washing cool the autumn air far and nigh．

Gradually frost falls and blows the wind so chill

That few people pass by the hill or rill．

In fading sunlight is drowned my bower．

Everywhere the red and the green wither away，

There is no more splendor of a sunny day．

Only the waves of Rivers Long

Silently eastward flow along．

I cannot bear

To climb high and look far，for to gaze where

My native land is lost in mist so thick

Would make my lonely heart homesick．

I sigh over my rovings year by year．

Why should I helplessly linger here？

From her bower my lady fair

Must gaze with longing eye．

How oft has she mistaken homebound sails

On the horizon for mine？

How could she know that I

Leaning upon the rails，

With sorrow frozen on my face，for her do pine！

柳永是宋詞婉約派的代表，是宋詞長調(diào)的開創(chuàng)者。葛曉音在《唐詩宋詞十五講》中認(rèn)為柳詞創(chuàng)造了“以白描見長、鋪敘層次分明、細(xì)致而又直露的藝術(shù)表現(xiàn)手法”。柳詞往往“曲盡形容、淋漓盡致，不求含蓄，但講究結(jié)構(gòu)嚴(yán)謹(jǐn)、層次清楚、首尾完整、工于點染”。原詞傳達(dá)了一位漂泊在外的男子對故鄉(xiāng)愛人的深深思念，上闋寫清秋時節(jié)萬物肅殺，游子登樓遠(yuǎn)眺，黯然神傷，“暮雨”、“江天”、“霜風(fēng)”、“關(guān)河”、“殘照”、“紅”、“翠”、“長江水”等意象渲染了深秋時節(jié)凄涼冷清的氛圍。下闋寫游子漂泊在外，思鄉(xiāng)之情油然而生。他想象遠(yuǎn)方的愛人也在登樓遠(yuǎn)望，期盼自己早歸故里。他收回思緒，內(nèi)心充滿對愛人的思念之情。從“佳人妝樓”、“天際”、“歸舟”到“闌干處”，意象的描寫經(jīng)歷了從遠(yuǎn)到近的空間位置變化。

許譯上闋shower、evening rain、sky、river、frost、hill or rill、fading sunlight、bower、the red and the green、waves of Rivers Long保留了原詞的意象。原詞“瀟瀟”用疊字描寫秋雨綿綿，令人傷感，許譯shower by shower也用疊詞，shower的第一個元音與“瀟”的韻母相近，意美和音美巧妙融合。In fading sunlight is drowned my bower用drowned描寫游子的小樓被籠罩在夕陽暮色中，傳達(dá)了原詞陰沉郁悶的氛圍，現(xiàn)在分詞fading具有動態(tài)感，表現(xiàn)了一種時間的變化。下闋My native land is lost in mist so thick用lost in描寫游子的故鄉(xiāng)被籠罩在茫茫霧靄中，與上闋的drowned in意境相同。游子與遠(yuǎn)方的愛人天各一方，對著蒼茫大地彼此望眼欲穿。Why should I helplessly linger here？保留了原詞的反問句式，傳達(dá)了游子內(nèi)心的苦悶彷徨，helplessly描寫了游子的孤苦無助。From her bower my lady fair/Must gaze with longing eye用表猜測的情態(tài)助詞must，語氣強烈，傳達(dá)了游子與愛人彼此深深的牽掛和關(guān)切之情。How oft has she mistaken home-bound sails/On the horizon for mine？用疑問句式，傳達(dá)了佳人對游子望眼欲穿的思念之情。How could she know that I/Leaning upon the rails，/With sorrow frozen on my face，for her do pine！保留了原詞的感嘆句式，frozen和助詞do傳達(dá)了游子流落他鄉(xiāng)的郁悶憂傷和對遠(yuǎn)方愛人深沉的思念。下面是宋朝詩人蘇軾的《水龍吟·次韻章質(zhì)夫楊花詞》和許淵沖的譯文：

似花還似非花，也無人惜從教墜。拋家傍路，思量卻是，無情有思。縈損柔腸，困酣嬌眼，欲開還閉。夢隨風(fēng)萬里，尋郎去處，又還被鶯呼起。

不恨此花飛盡，恨西園落紅難綴。曉來雨過，遺蹤何在？一池萍碎。春色三分，二分塵土，一分流水。細(xì)看來，不是楊花，點點是離人淚。

They seem to be but are not flowers；

None pity them when they fall down in showers．

Forsaking leafy home，

By the roadside they roam．

I think they're fickle but they have sorrow deep．

Their grief o'er-laden bowels tender

Like willow branches slender，

Their wistful eyes，like willow leaves，near shut with sleep，

About to open，yet soon closed again．

They dream of drifting with the wind for long，

Long miles to find their men，

But are aroused by orioles' song．

Grieve not for willow catkins flown away．

But that in Western Garden fallen petals red

Can't be restored． When dawns the day

And rain is o'er，we cannot find their traces

But in a pond with duckweeds overspread．

Of Spring's three graces，

Two have gone with the roadside dust

And one with waves． But if you just

Take a close look，then you will never

Find willow down but tears of those who sever，

Which drop by drop

Fall without stop．

該詞通過描寫春天里紛揚飄灑的楊花細(xì)膩地刻畫了一位婦女對情人的思念之情。作品上闋描寫楊花飄落在地，無人憐惜，婦人觸景生情，聯(lián)想到自己孤苦飄零的境遇。她對遠(yuǎn)方的情人朝思暮想，夢縈魂繞。下闋寫婦人的好夢又被鶯聲驚擾，醒來時眼前已不見楊花，只剩一池浮萍，這使她更加傷心。在她眼里，喜人的春色不過是路上的塵土和池里的流水，那紛灑的楊花就像她思念情人時落下的點點淚花。整首詞如泣如訴，凄楚哀婉，讀來令人動容。許譯上闋，Their grief o'er-laden bowlers tender/Like willow branches slender/Their wistful eyes，like willow leaves，near shut with sleep保留了原詞的擬人手法，wistful意思是full of or expressing sad or vague longing（esp for sth that is past or unobtainable，Oxford Advanced Learner's Dictionary of Contemporary English），許譯用tender、slender、wistful生動地再現(xiàn)了婦人嬌柔倦乏的神態(tài)。wistful與willow形成頭韻，wistful willow喻指wistful woman，富于意美和音美。許譯下闋，drop by drop、fall without stop生動地再現(xiàn)了原詞所描繪的花瓣（婦人的淚花）紛紛灑落的場面，傳達(dá)了婦人內(nèi)心深處無盡的哀愁和苦悶，drop的疊用、drop與stop的諧韻再現(xiàn)了疊字“點點”的音美和意美。許譯忠實地再現(xiàn)了原詞纏綿悱惻、凄楚哀婉的婉約風(fēng)格。下面是宋朝詩人秦觀的《江城子》和許淵沖的譯文：

西城楊柳弄春柔，動離憂，淚難收。猶記多情，曾為系歸舟。碧野朱橋當(dāng)日事，人不見，水空流。

韶華不為少年留，恨悠悠，幾時休？飛絮落花時候，一登樓。遍做春江都是淚，流不盡，許多愁。

West of the town the willows wave in wind of spring．

Thinking of our parting would bring

To my eyes ever-flowing tears．

I still remember the sympathetic tree

Which tied my returning boat for me．

By the red bridge in the green field we met that day，

But my dear no longer appears，

Although the water is still flowing away．

The youthful days once gone will never come again．

When will my endless sorrow end？O when？

While willow catkins fly with falling flowers，

I ascend the high towers．

E'en if my tears turn into a stream in May，

Still it can't carry all my grief away．

葛曉音在《唐詩宋詞十五講》中認(rèn)為秦觀詞“構(gòu)思煉意十分新巧微婉”，往往“景中含情，情中見景”，其“寫景多有巧思，善于選擇富有感染力的典型景象烘托情思，往往達(dá)到不言情而情自無限的境地”。原詞上闋寫詩人在春天踏青賞柳，觸景生情，思念起昔日的情人。下闋寫詩人感嘆時光飛逝，青春不在，內(nèi)心無比傷感，“飛絮落花時候”與賀鑄的“滿城風(fēng)絮”有異曲同工之妙。許譯上闋，West of the town the willows wave in wind of spring中willows、wave、wind形成頭韻，具有音美。楊柳是中國古詩中一個常見的文化原型意象，表達(dá)親友分離時的惜別之情，寄托對遠(yuǎn)方親友的思念。動詞wave生動地刻畫了楊柳隨風(fēng)搖曳、似乎在向人招手的姿態(tài)。楊柳使詩人想起了當(dāng)年他與情人揮手告別的情景，這樣wave就與下文的parting聯(lián)系了起來。Thinking of our parting would bring/To my eyes everflowing tears中ever-flowing tears描寫詩人黯然神傷，潸然淚下，熱淚就像流水一樣綿延不盡，與下文的the water is still flowing away相呼應(yīng)。I still remember the sympathetic tree采用擬人手法，sympathetic修飾tree，傳達(dá)了詩人的移情體驗。下闋，The youthful days once gone will never come again中never語氣強烈，傳達(dá)了詩人對青春易老的深刻體驗。When will my endless sorrow end？O when？通過疑問副詞when的疊用，強調(diào)了詩人對時光飛逝、人生易老的深刻感受。下面是秦觀的《踏莎行》和許淵沖的譯文：

霧失樓臺，月迷津渡，桃源望斷無尋處。可堪孤館閉春寒，杜鵑聲里斜陽暮。

驛寄梅花，魚傳尺素，砌成此恨無重數(shù)。郴江幸自繞郴山，為誰流下瀟湘去！

The bowers lost in mist，

Dimmed ferry in moonlight，

Peach Blossom Land ideal beyond the sight．

Shut up in lonely inn，can I bear the cold spring？

I hear at lengthening sunset homebound cuckoos sing．

Mume blossoms sent by friends

And letters brought by post，

Nostalgic thoughts uncounted assail me oft in host．

The lonely river flows around the lonely hill．

Why should it southward flow，leaving me sad and ill？

原詞上闋用“失”、“迷”、“望斷”、“暮”描繪了一幅霧靄茫茫、迷離朦朧的景象，渲染了一種凄涼孤苦的氛圍。許譯The bowers lost in mist/Dimmed ferry in moonlight/Peach Blossom Land ideal beyond the sight．用lost in mist、dimmed、beyond the sight再現(xiàn)了原詞蒼茫迷離的景象，傳達(dá)了其凄苦的氛圍，ideal傳達(dá)了詩人對世外桃源般的理想生活的渴望，beyond the sight傳達(dá)了詩人對世外桃源無處可尋的一種失落感。shut up與下闋的assail相呼應(yīng)，表現(xiàn)詩人被困孤館，內(nèi)心無比悲傷凄苦，lonely inn與下闋的lonely river、lonely hill相呼應(yīng)，強調(diào)了詩人心中深重的孤獨感，can I bear the cold spring？用問句形式，讓讀者直接感受詩人內(nèi)心的悲苦憂傷。I hear at lengthening sunset homebound cuckoos sing用現(xiàn)在分詞lengthening強調(diào)了原詞所暗含的時間變化：隨著暮色漸深，詩人的愁緒也越來越深沉。原詞下闋寫親友寄給詩人的書信愈發(fā)加重了其思鄉(xiāng)之情，他感慨有家難歸，許譯Nostalgic thoughts uncounted assail me oft in host中uncounted、in host強調(diào)了詩人內(nèi)心無盡的哀愁離緒。The lonely river flows around the lonely hill中用兩個lonely，借景寫人，強調(diào)了詩人內(nèi)心的孤苦。Why should it southward flow，leaving me sad and ill？中sad and ill表達(dá)了詩人內(nèi)心的悲苦。下面是明朝詩人何景明的《秋江詞》和許淵沖的譯文：

煙渺渺，碧波遠(yuǎn)，白露，翠莎晚，泛綠漪，蒹葭淺。浦風(fēng)吹帽寒發(fā)短。美人立，江中流。暮雨帆檣江上舟。夕陽簾櫳江上樓。舟中采蓮紅藕香，樓前踏翠芳草愁。芳草愁，西方起，芙蓉花，落秋水。江白如練月如洗，醉下煙波千萬里。

Grey mists hover，

Waves flow away．

White dew spreads over

Grasses which sway．

Like ripples beam

Reeds on the sands．

The wind blows off my old

Hat，my short hair feels cold．

Afloat mid-stream

A beauty stands．

Her boat with mast and sail is steeped in evening rain；

At sunset in her curtained bower we remain．

While in her boat，she gathers lotus blossoms red；

Before her bower grass feels sad on which we tread．

Sweet grass in glooms

For west wind's high；

Red lotus blooms

On green waves lie．

Drunk，I sail down for miles on the river silk-white；

The moon seems steeped in water，the stream in moonlight．

原詩描寫了一幅煙波浩渺的秋江圖，詩人與“美人”泛舟江上，采蓮賞景。夕陽西下，暮色漸深，詩人內(nèi)心涌起一絲惆悵。“江中流”、“江上舟”、“江上樓”描寫了景物空間位置的變化，富于立體感。“芳草愁”與上句的“樓前踏翠芳草愁”運用了頂針手法，一詠三嘆。“醉下煙波千萬里”，景象開闊遼遠(yuǎn)，與作品開頭的“煙渺渺，碧波遠(yuǎn)”前后呼應(yīng)，把讀者的思緒引向遙遠(yuǎn)蒼茫的意境。許譯grey mists/waves/white dew/grasses/ripples/reeds/sands再現(xiàn)了原詩的意象，hover/flow/spread/sway/beam富于動感。Her boat with mast and sail is steeped in evening rain中steeped準(zhǔn)確地再現(xiàn)了原詩“一番秋雨灑江天”的景象。Before her bower grass feels sad on which we tread中g(shù)rass feels sad明寫草愁，暗寫人（“美人”和詩人）內(nèi)心之愁。

Sweet grass in glooms中g(shù)looms與上句的sad相呼應(yīng)，與下句Red lotus blooms中的blooms形成行間韻，富于意美和音美。On green waves lie/Drunk，I sail down for miles on the river silk-white中g(shù)reen/silk-white富于視覺美。The moon seems steeped in water，the stream in moonlight中seems/steeped/stream壓頭韻，具有音美，steeped與上文Her boat with mast and sail is steeped in evening rain中的steeped相呼應(yīng)，再現(xiàn)了原詩遙遠(yuǎn)蒼茫的意境。下面是宋朝詩人蘇軾的《永遇樂》和許淵沖的譯文：

明月如霜，好風(fēng)如水，清景無限。曲港跳魚，圓荷泄露，寂寞無人見。？如三鼓，鏗然一葉。黯黯夢云驚斷。夜茫茫，重尋無處，覺來小園行遍。

天涯倦客，山中歸路，望斷故園心眼。燕子樓空，佳人何在？空鎖樓中燕。古今如夢，何曾夢覺？但有舊歡新怨。異日對黃樓夜景，為余浩嘆。

The bright moonlight is like frost white；

The breeze is cool like waves serene；

Far and wide extends the night scene．

In the haven fish leap

And dewdrops roll down lotus leaves

In solitude no man perceives．

Drums beat thrice in the night so deep，

E'en a leaf falls with sound so loud

That，gloomy，I awake from my dream of the Cloud．

Under the boundless pall of night

No where again can she be found，

Although I've searched o'er the garden's ground．

A tired wanderer far from home

Vainly through mountains and hills may roam；

His native land from view is blocked．

The Pavilion of Swallows is empty，where

Is the lady Pan - pan so fair？

In the pavilion only swallows' nest is locked．

Both the past and the present are like dreams

From which we have ne'er been awake，it seems；

There's left but pleasure old or sorrow new．

Some future day will others come to view

The Yellow Tower's night scenery；

Would they then sigh for me！

原詞上闋寫詩人在一個明月朗照的夜晚在小園里漫游，內(nèi)心充滿對遠(yuǎn)方佳人的思念，作品通過靜景的描繪渲染了一種凄清寂寥的氛圍。下闋，詩人直接抒情，他與佳人天各一方，望眼欲穿，只能在夢中相會，內(nèi)心無比惆悵失落。許譯上闋bright moonlight、breeze、haven、fish、dewdrops、lotus leaves、drums beat保留了原詞的視覺、聽覺和觸覺意象，night so deep與sound so loud形成靜與響的對比，用sound so loud反襯night so deep，渲染了一種安寧靜謐的氛圍。That，gloomy，I awake from my dream of the Cloud將gloomy放在主語I前面，強調(diào)了詩人黯然神傷的內(nèi)心感受，Under the boundless pall of night中boundless再現(xiàn)了原詩蒼茫遼遠(yuǎn)的意境，pall意思是something heavy or dark which covers seems to cover，與gloomy相呼應(yīng)，情與景相融：夜色茫茫，詩人內(nèi)心也茫然惆悵。No where again can she be found將no where放在句首，強調(diào)了詩人尋覓佳人時的一種茫然不知所向的感受。下闋，Vainly through mountains and hills may roam將狀語Vainly through mountains and hills放在行首，強調(diào)詩人浪跡天涯，為尋覓佳人而跋山涉水，不辭辛勞，卻仍未能如愿。原詞“古今如夢/何曾夢覺”通過“夢”的迭用強調(diào)詩人思念遠(yuǎn)方的佳人，夢縈魂繞，許譯Both the past and the present are like dreams/From which we have ne'er been awake，it seems用dreams、it seems傳達(dá)了詩人思念佳人時的一種恍惚迷離的心理體驗。Would they then sigh for me！用祈使句，語氣強烈，傳達(dá)了詩人內(nèi)心的惆悵無助。