第七節

散文意象美的再現

在散文翻譯中譯者要充分發揮譯語的表達力，力求生動地再現原文的意象畫面和思想情感內涵。龔光明在《翻譯思維學》中認為，譯語是“原語激發想象，并訴諸語言的結果，神思（藝術想象）具有突破時空限制、始終不離感性的特點，并受情感和語言兩個因素的制約，因而，在理解和表達方面應控制好度的閥域，過猶不及，兩者都是不可取的”。顯象是“形象語言描述過程中的思維形式”，文學翻譯是“以語言為工具來塑造形象，是間接顯象的過程。表達是將腦內想象出來的再造意象顯現為描述意向，輸出腦外”，“真正的美文的翻譯，要求譯者運用簡練的筆觸，富于暗示性的、形象化的語言和意象，創造出一個既充滿藝術生氣又寄托深微、意余言外的意境，含蓄曲折地表現出作者純真自然的情感和深沉高遠的意緒，從而使譯語讀者體會到言有盡而意無窮的深意和美感”。劉宓慶在《現代翻譯理論》中認為：“如果譯者盡最大可能調動自己的主觀能動性，使翻譯的客觀性得當抑制或克服，則翻譯可能成為得心應手的腦力勞動。功到之日，理解中難詞難句迎刃而解，表達時遣詞造句順理成章，詞語呼之欲出；文思流暢，情態貼切。這時，譯者不僅不感到方寸之地，步履難移，反而會覺得與作者息息相關，呼應相通，感物吟志，情懷與共。這個廣闊的令人神往的天地就是所謂‘化境’?！敝⑽姆g家劉士聰強調散文翻譯要再現原文的意象美、意境美、神韻美、情感美、志趣美，他在《漢英·英漢美文翻譯與鑒賞》中所收錄的譯文就富于詩情畫意，韻味悠長。下面是英國作家德昆西的Dream和楊自伍的譯文：

I thought that it was a Sunday morning in May；that it was Easter Sunday，and as yet very early in the morning． I was standing，as it seemed to me，at the door of my cottage． Right before me lay the very scene which could really be commanded from that situation，but exalted，as was usual，and solemnized by the power of dreams． There were the same mountains，and the same lovely valley at their feet；but the mountains were raised to more than Alpine height，and there was interspace far larger between them of savannahs and forest lawns；the hedges were rich with white roses；and no living creature was to be seen，excepting that in the green churchyard there were cattle tranquilly reposing upon the verdant graves，and particularly round about the grave of a child whom I had tenderly loved，just as I had really beheld them，a little before sunrise，in the same summer when that child died． I gazed upon the wellknown scene，and I said to myself，“It yet wants much of sunrise；and it is Easter Sunday，and that is the day on which they celebrate the firstfruits of Resurrection． I will walk abroad，old griefs shall be forgotten today；for the air is cool and still，and the hills are high，and stretch away to heaven；and the churchyard is as verdant as the forest lawns，and the forest lawns are as quiet as the churchyard；and with the dew I can wash the fever from my forehead；and then I shall be unhappy no longer．”I turned，as if to open my garden gate，and immediately I saw upon the left a scene far different；but which yet the power of dreams had reconciled into harmony． The scene was an oriental one；and there also it was Easter Sunday，and very early in the morning． And at a vast distance were visible，as a stain upon the horizon，the domes and cupolas of a great city - an image or faint abstraction，caught perhaps in childhood from some pictures of Jerusalem． And not a bowshot from me，upon a stone，shaded by Judean palms，there sat a woman；and I looked，and it was - Ann！She fixed her eyes upon me earnestly；and I said to her at length，“So，then，I have found you at last．”I waited，but she answered me not a word． Her face was the same as when I saw it last；the same，and yet，again，how different！Seventeen years ago，when the lamplight of mighty London fell upon her face，as for the last time I kissed her lips（lips，Ann，that to me were not polluted），her eyes were streaming with tears． The tears were no longer seen． Sometimes she seemed altered；yet again sometimes not altered；and hardly older． Her looks were tranquil，but with unusual solemnity of expression，and now I gazed upon her with some awe． Suddenly her countenance grew dim；and，turning to the mountains，I perceived vapors rolling between us：in a moment all had vanished；thick darkness came on；and in the twinkling of an eye I was far away from the mountains，and by lamplight in London，walking again with Ann - just as we had walked，when both children，eighteen years before，along the endless terraces of Oxford Street．

我想起來了，那是五月間一個禮拜天的清晨，那一天是復活節星期日，一大早天才蒙蒙亮?；谢秀便敝?，我站在自家小屋的門口。就在我的面前展現出了那么一番景色，從我那個位置其實能夠盡收眼底，可是由于夢幻的力量，它顯得超凡出塵，一派肅穆氣象。夢里的感覺往往如此。叢山依舊，山麓令人神往的幽谷依舊；不過群山挺然參天，高于阿爾卑斯峰，諸山相距空曠。豐草如茵，林地開闊，錯落其間；樹籬上的白玫瑰娟娟彌望；遠近看不見任何生物，唯有蒼翠的教堂庭院里，牛群靜靜地臥躺在那片郁郁蔥蔥的墓地歇息，好幾頭圍繞著一個小孩的墳墓。我曾對她一腔柔情，那年夏天是在旭日東升的前一刻，那孩子死去了，我如同當年那樣望著牛群。我又凝視起這片多么熟悉的景色，自言自語起來。“這里太需要朝陽了；今天是復活節星期日；大家要在這一天慶賀耶穌復活后剛結的果實。我要出去走走；往日的傷悲今天要忘掉才好；空氣涼爽，紋絲不動，山岡高高的，綿延不絕，通向天堂；教堂庭院滿目蔥蘢，宛如林中空地，林中空地寂靜無聲，宛如教堂庭院；還有，我可以用露水清洗額頭上的熾熱，然后我就再也不會悶悶不樂了?！蔽肄D過身來，好像要推開花園的大門，頓時我看到左邊的景色大不一樣；好在夢幻的力量已經把它和右邊的景色調和起來了。這番景色大有東方情調；也是復活節星期日，一大早天才蒙蒙亮。眺望遠方，城郭的圓頂尖塔依稀可見，宛若地平線上的一抹色斑——一個形象，或淡淡的抽象概念，也許是兒時從描繪耶路撒冷的什么畫面上捕捉到的。離我不到一箭之遙，一塊石頭上，掩映在朱麗亞的棕櫚樹的濃蔭之下，有位女子坐在那兒；我一眼望過去，原來是——安！

她把目光含情脈脈地投在我身上；我終于向她開口了：“這么說來，我總算找到你了?！蔽业却嚎墒撬粋€字也不答理我。她的容顏一如我上回見到的模樣，不過今非昔比了！那是十七年前，當時氣勢雄偉的倫敦城的燈光瀉落在她的臉龐，我是最后一次吻著她的嘴唇（嘴唇，安，在我心目中是沒有玷污過的），所以她的雙眼淚水漣漣?，F在再也看不到她的淚水了。時而她顯得模樣已變，時而又顯得風采不減當年，并不見老。她面容安詳，不過帶著異常莊重的神色；我此刻不無敬畏地凝望著她，可是忽然間她的表情變得黯然了；然后，我轉身面對群山，感覺到在兩人之間霧靄滾滾降落；過了片刻，一切俱已消失；暝色四下，一片昏暗；霎時間，我遠離群山。在綿延無際的牛津大街的燈光下，再一次和安漫步街頭——就像十七年前我們漫步一樣，那時我倆還是兩小無猜。

楊自伍在《英國文化選本》中認為德昆西“曾對夢境進行心理分析，研究兒童經歷化為夢中象征后與文學創作源泉的聯系”，其散文“充滿激情并將經歷、書卷、夢境融為一體”。Dreams生動地描寫了“我”的一次夢中經歷，展現了奇特的夢中幻境，表達了“我”對已故情人的懷念，作品真摯感人，如詩如畫。原作開頭，“我”在恍惚之中進入夢鄉，開始一場奇異的夢境游歷，as it seemed to me暗示“我”所描繪的是虛幻的景象，exalted、solemnized描寫夢中景象帶給“我”的莊嚴肅穆的感受。楊譯“恍恍惚惚之中”準確地表達了as it seemed to me的含義，“超凡出塵”、“肅穆氣象”傳達了夢中景象帶給“我”的感受和體驗。There were the same mountains，and the same lovely valley at their feet用兩個same強調夢中景色讓“我”感到十分熟悉和親切，楊譯“叢山依舊，山麓令人神往的幽谷依舊”用兩個“依舊”強調了“我”的一種親切感。but the mountains were raised to more than Alpine height，and there was interspace far larger between them of savannahs and forest lawns；the hedges were rich with white roses描寫“我”夢境中的迷人景色。楊譯“挺然參天”、“空曠”、“豐草如茵”、“林地開闊”、“錯落其間”、“娟娟彌望”生動地再現了“我”夢境中那旖旎的自然風光。

“我”看見教堂庭院里一個小孩的墳墓，勾起了對往事的回憶，green verdant用綠色象征生命，與象征死亡的墓地形成強烈對比，“我”從靜臥的牛群（cattle tranquilly reposing）聯想到安臥在墓地里的小孩。楊譯“蒼翠、郁郁蔥蔥”與上文的“豐草如茵，林地開闊，錯落其間”相照應，描寫墓地周圍草木蔥蘢；“一腔柔情”表達了“我”對那位已故小孩的深切懷念。“我”觸景生情，思緒萬千，不禁喃喃自語。西方文學對自然景色的描寫往往帶有濃厚的宗教色彩。原文中“我”夢中游歷的時間背景是復活節星期日，是人們慶祝耶穌復活的節日?！拔摇笨吹叫『⒌膲災箖刃谋瘋?，但又想從耶穌的復活中尋求精神的寄托和安慰。楊譯用四字語（紋絲不動、綿延不絕、滿目蔥蘢、寂靜無聲），富于文采，“教堂庭院滿目蔥蘢，宛如林中空地，林中空地寂靜無聲，宛如教堂庭院”保留了the churchyard is as verdant as the forest lawns，and the forest lawns are as quiet as the churchyard的chiasmus（回文）手法，再現了原作語言節奏的回環美。原作的場景描寫構思巧妙，“我”的夢中景象分為兩幅畫面：右邊描寫大自然的蔥蘢和墓地的寂靜，左邊展現“我”與已故女友重逢的場面。作者將女友昔日的容貌與現在的形象做了比較，事過境遷，往事如煙，女友的容顏在“我”眼里已變得模糊朦朧，飄忽不定（Sometimes she seemed altered；yet again sometimes not altered；and hardly older． Her looks were tranquil，but with unusual solemnity of expression，and now I gazed upon her with some awe． Suddenly her countenance grew dim）?！拔摇备∠肼擊?，迷離恍惚之中仿佛又回到了十七年前，與女友漫步在牛津街頭。楊譯“霧靄滾滾降落”、“暝色四下”、“一片昏暗”、“綿延無際”生動地再現了原文朦朧縹緲的氛圍和意境，“兩小無猜”傳達了“我”對昔日女友的深切懷念。