原作意境含蓄美的传达

第四节

原作意境含蓄美的传达

文学作品的意境是实境和虚境的融合，实境与虚境相互触发，把读者的想象和联想不断引向深远广阔的艺术空间。译者要通过译语最大限度地保留原作意境的含蓄美和朦胧美，龚光明在《翻译思维学》中认为抒情艺术的意境“充满美感和回味的神入式体验及表现”，韵味是指“由物色、意味、情感、事件、风格、语言、体势等因素共同构成的美感效果”。译者阐释原作时“须有神入式体验，然后才能通过艺术语符号去表达原文的神韵。艺术语言中的神韵由凝练简省的词语所负载。译者必须拓展既广且深的心理生活空间（mental life space），才能把握原文巨大而复杂的内涵、奇诡的想象、迷离的变幻、启迪性的象征、谜一般的暗示，然后才能用译语语词（信息代码）去构建译语语境”。钱钟书在《林纾的翻译》中认为文学翻译的最高理想是“化”，译者把作品从一国文字转变成另一国文字，既能不因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原作的风味，那就算得入于“化境”。译者追求化境并不是要一味地得意忘言，主动放弃再现原作语言形式的努力。译作要达到化境，难就难在既要在语言形式上贴近原作，又要“不因语文习惯的差异而露出生硬牵强的痕迹”，“原作里没有一个字可以溜过滑过，没有一处困难可以支吾扯淡。一部作品读起来很顺利容易，译起来马上出现料想不到的疑难，而这种疑难并非翻翻字典、问问人就能解决。不能解决而回避，那就是任意删节的‘讹’；不敢或不肯躲闪而强作解人，那更是胡猜乱测的‘讹’。”于德英在《“隔”与“不隔”的循环：钱钟书“化”境论的再阐释》中探讨了钱钟书化境论的哲学美学渊源，化境论提出的译论背景，化境论与“打通”思想的关系，化境论与信达雅、神韵、气韵、神似论的关系。下面是宋朝诗人柳永的《八声甘州》和许渊冲的译文：

对潇潇暮雨洒江天，一番洗清秋。渐霜风凄紧，关河冷落，残照当楼。是处红衰翠减，苒苒物华休。唯有长江水，无语东流。

不忍登高临远，望故乡渺邈，归思难收。叹年来踪迹，何事苦淹留！想佳人妆楼望，误几回，天际识归舟？争知我倚阑干处，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！

柳永是宋词婉约派的代表，是宋词长调的开创者。葛晓音在《唐诗宋词十五讲》中认为柳词创造了“以白描见长、铺叙层次分明、细致而又直露的艺术表现手法”。柳词往往“曲尽形容、淋漓尽致，不求含蓄，但讲究结构严谨、层次清楚、首尾完整、工于点染”。原词传达了一位漂泊在外的男子对故乡爱人的深深思念，上阕写清秋时节万物肃杀，游子登楼远眺，黯然神伤，“暮雨”、“江天”、“霜风”、“关河”、“残照”、“红”、“翠”、“长江水”等意象渲染了深秋时节凄凉冷清的氛围。下阕写游子漂泊在外，思乡之情油然而生。他想象远方的爱人也在登楼远望，期盼自己早归故里。他收回思绪，内心充满对爱人的思念之情。从“佳人妆楼”、“天际”、“归舟”到“阑干处”，意象的描写经历了从远到近的空间位置变化。

许译上阕shower、evening rain、sky、river、frost、hill or rill、fading sunlight、bower、the red and the green、waves of Rivers Long保留了原词的意象。原词“潇潇”用叠字描写秋雨绵绵，令人伤感，许译shower by shower也用叠词，shower的第一个元音与“潇”的韵母相近，意美和音美巧妙融合。In fading sunlight is drowned my bower用drowned描写游子的小楼被笼罩在夕阳暮色中，传达了原词阴沉郁闷的氛围，现在分词fading具有动态感，表现了一种时间的变化。下阕My native land is lost in mist so thick用lost in描写游子的故乡被笼罩在茫茫雾霭中，与上阕的drowned in意境相同。游子与远方的爱人天各一方，对着苍茫大地彼此望眼欲穿。Why should I helplessly linger here？保留了原词的反问句式，传达了游子内心的苦闷彷徨，helplessly描写了游子的孤苦无助。From her bower my lady fair/Must gaze with longing eye用表猜测的情态助词must，语气强烈，传达了游子与爱人彼此深深的牵挂和关切之情。How oft has she mistaken home-bound sails/On the horizon for mine？用疑问句式，传达了佳人对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！保留了原词的感叹句式，frozen和助词do传达了游子流落他乡的郁闷忧伤和对远方爱人深沉的思念。下面是宋朝诗人苏轼的《水龙吟·次韵章质夫杨花词》和许渊冲的译文：

似花还似非花，也无人惜从教坠。抛家傍路，思量却是，无情有思。萦损柔肠，困酣娇眼，欲开还闭。梦随风万里，寻郎去处，又还被莺呼起。

不恨此花飞尽，恨西园落红难缀。晓来雨过，遗踪何在？一池萍碎。春色三分，二分尘土，一分流水。细看来，不是杨花，点点是离人泪。

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．

该词通过描写春天里纷扬飘洒的杨花细腻地刻画了一位妇女对情人的思念之情。作品上阕描写杨花飘落在地，无人怜惜，妇人触景生情，联想到自己孤苦飘零的境遇。她对远方的情人朝思暮想，梦萦魂绕。下阕写妇人的好梦又被莺声惊扰，醒来时眼前已不见杨花，只剩一池浮萍，这使她更加伤心。在她眼里，喜人的春色不过是路上的尘土和池里的流水，那纷洒的杨花就像她思念情人时落下的点点泪花。整首词如泣如诉，凄楚哀婉，读来令人动容。许译上阕，Their grief o'er-laden bowlers tender/Like willow branches slender/Their wistful eyes，like willow leaves，near shut with sleep保留了原词的拟人手法，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），许译用tender、slender、wistful生动地再现了妇人娇柔倦乏的神态。wistful与willow形成头韵，wistful willow喻指wistful woman，富于意美和音美。许译下阕，drop by drop、fall without stop生动地再现了原词所描绘的花瓣（妇人的泪花）纷纷洒落的场面，传达了妇人内心深处无尽的哀愁和苦闷，drop的叠用、drop与stop的谐韵再现了叠字“点点”的音美和意美。许译忠实地再现了原词缠绵悱恻、凄楚哀婉的婉约风格。下面是宋朝诗人秦观的《江城子》和许渊冲的译文：

西城杨柳弄春柔，动离忧，泪难收。犹记多情，曾为系归舟。碧野朱桥当日事，人不见，水空流。

韶华不为少年留，恨悠悠，几时休？飞絮落花时候，一登楼。遍做春江都是泪，流不尽，许多愁。

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．

葛晓音在《唐诗宋词十五讲》中认为秦观词“构思炼意十分新巧微婉”，往往“景中含情，情中见景”，其“写景多有巧思，善于选择富有感染力的典型景象烘托情思，往往达到不言情而情自无限的境地”。原词上阕写诗人在春天踏青赏柳，触景生情，思念起昔日的情人。下阕写诗人感叹时光飞逝，青春不在，内心无比伤感，“飞絮落花时候”与贺铸的“满城风絮”有异曲同工之妙。许译上阕，West of the town the willows wave in wind of spring中willows、wave、wind形成头韵，具有音美。杨柳是中国古诗中一个常见的文化原型意象，表达亲友分离时的惜别之情，寄托对远方亲友的思念。动词wave生动地刻画了杨柳随风摇曳、似乎在向人招手的姿态。杨柳使诗人想起了当年他与情人挥手告别的情景，这样wave就与下文的parting联系了起来。Thinking of our parting would bring/To my eyes everflowing tears中ever-flowing tears描写诗人黯然神伤，潸然泪下，热泪就像流水一样绵延不尽，与下文的the water is still flowing away相呼应。I still remember the sympathetic tree采用拟人手法，sympathetic修饰tree，传达了诗人的移情体验。下阕，The youthful days once gone will never come again中never语气强烈，传达了诗人对青春易老的深刻体验。When will my endless sorrow end？O when？通过疑问副词when的叠用，强调了诗人对时光飞逝、人生易老的深刻感受。下面是秦观的《踏莎行》和许渊冲的译文：

雾失楼台，月迷津渡，桃源望断无寻处。可堪孤馆闭春寒，杜鹃声里斜阳暮。

驿寄梅花，鱼传尺素，砌成此恨无重数。郴江幸自绕郴山，为谁流下潇湘去！

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？

原词上阕用“失”、“迷”、“望断”、“暮”描绘了一幅雾霭茫茫、迷离朦胧的景象，渲染了一种凄凉孤苦的氛围。许译The bowers lost in mist/Dimmed ferry in moonlight/Peach Blossom Land ideal beyond the sight．用lost in mist、dimmed、beyond the sight再现了原词苍茫迷离的景象，传达了其凄苦的氛围，ideal传达了诗人对世外桃源般的理想生活的渴望，beyond the sight传达了诗人对世外桃源无处可寻的一种失落感。shut up与下阕的assail相呼应，表现诗人被困孤馆，内心无比悲伤凄苦，lonely inn与下阕的lonely river、lonely hill相呼应，强调了诗人心中深重的孤独感，can I bear the cold spring？用问句形式，让读者直接感受诗人内心的悲苦忧伤。I hear at lengthening sunset homebound cuckoos sing用现在分词lengthening强调了原词所暗含的时间变化：随着暮色渐深，诗人的愁绪也越来越深沉。原词下阕写亲友寄给诗人的书信愈发加重了其思乡之情，他感慨有家难归，许译Nostalgic thoughts uncounted assail me oft in host中uncounted、in host强调了诗人内心无尽的哀愁离绪。The lonely river flows around the lonely hill中用两个lonely，借景写人，强调了诗人内心的孤苦。Why should it southward flow，leaving me sad and ill？中sad and ill表达了诗人内心的悲苦。下面是明朝诗人何景明的《秋江词》和许渊冲的译文：

烟渺渺，碧波远，白露，翠莎晚，泛绿漪，蒹葭浅。浦风吹帽寒发短。美人立，江中流。暮雨帆樯江上舟。夕阳帘栊江上楼。舟中采莲红藕香，楼前踏翠芳草愁。芳草愁，西方起，芙蓉花，落秋水。江白如练月如洗，醉下烟波千万里。

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．

原诗描写了一幅烟波浩渺的秋江图，诗人与“美人”泛舟江上，采莲赏景。夕阳西下，暮色渐深，诗人内心涌起一丝惆怅。“江中流”、“江上舟”、“江上楼”描写了景物空间位置的变化，富于立体感。“芳草愁”与上句的“楼前踏翠芳草愁”运用了顶针手法，一咏三叹。“醉下烟波千万里”，景象开阔辽远，与作品开头的“烟渺渺，碧波远”前后呼应，把读者的思绪引向遥远苍茫的意境。许译grey mists/waves/white dew/grasses/ripples/reeds/sands再现了原诗的意象，hover/flow/spread/sway/beam富于动感。Her boat with mast and sail is steeped in evening rain中steeped准确地再现了原诗“一番秋雨洒江天”的景象。Before her bower grass feels sad on which we tread中grass feels sad明写草愁，暗写人（“美人”和诗人）内心之愁。

Sweet grass in glooms中glooms与上句的sad相呼应，与下句Red lotus blooms中的blooms形成行间韵，富于意美和音美。On green waves lie/Drunk，I sail down for miles on the river silk-white中green/silk-white富于视觉美。The moon seems steeped in water，the stream in moonlight中seems/steeped/stream压头韵，具有音美，steeped与上文Her boat with mast and sail is steeped in evening rain中的steeped相呼应，再现了原诗遥远苍茫的意境。下面是宋朝诗人苏轼的《永遇乐》和许渊冲的译文：

明月如霜，好风如水，清景无限。曲港跳鱼，圆荷泄露，寂寞无人见。？如三鼓，铿然一叶。黯黯梦云惊断。夜茫茫，重寻无处，觉来小园行遍。

天涯倦客，山中归路，望断故园心眼。燕子楼空，佳人何在？空锁楼中燕。古今如梦，何曾梦觉？但有旧欢新怨。异日对黄楼夜景，为余浩叹。

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！

原词上阕写诗人在一个明月朗照的夜晚在小园里漫游，内心充满对远方佳人的思念，作品通过静景的描绘渲染了一种凄清寂寥的氛围。下阕，诗人直接抒情，他与佳人天各一方，望眼欲穿，只能在梦中相会，内心无比惆怅失落。许译上阕bright moonlight、breeze、haven、fish、dewdrops、lotus leaves、drums beat保留了原词的视觉、听觉和触觉意象，night so deep与sound so loud形成静与响的对比，用sound so loud反衬night so deep，渲染了一种安宁静谧的氛围。That，gloomy，I awake from my dream of the Cloud将gloomy放在主语I前面，强调了诗人黯然神伤的内心感受，Under the boundless pall of night中boundless再现了原诗苍茫辽远的意境，pall意思是something heavy or dark which covers seems to cover，与gloomy相呼应，情与景相融：夜色茫茫，诗人内心也茫然惆怅。No where again can she be found将no where放在句首，强调了诗人寻觅佳人时的一种茫然不知所向的感受。下阕，Vainly through mountains and hills may roam将状语Vainly through mountains and hills放在行首，强调诗人浪迹天涯，为寻觅佳人而跋山涉水，不辞辛劳，却仍未能如愿。原词“古今如梦/何曾梦觉”通过“梦”的迭用强调诗人思念远方的佳人，梦萦魂绕，许译Both the past and the present are like dreams/From which we have ne'er been awake，it seems用dreams、it seems传达了诗人思念佳人时的一种恍惚迷离的心理体验。Would they then sigh for me！用祈使句，语气强烈，传达了诗人内心的惆怅无助。