祖利軍

(對(duì)外經(jīng)濟(jì)貿(mào)易大學(xué),北京,100029)

1. 引言

戲擬(parody)是一種互文現(xiàn)象,在漢語中,也稱為“滑稽的模仿”、“拼湊模仿”、仿擬”等。蒂費(fèi)納·撒莫瓦約(2003:41)列舉了《小羅伯特辭典》、《法語語言詞庫》、《19世紀(jì)大拉羅斯辭典》對(duì)“戲擬”做出的種種定義:“對(duì)嚴(yán)肅作品的滑稽模仿。引申義:可笑的偽造”,“只能部分地、膚淺地還原原作的粗略的模仿”,“最好的戲擬也總不如原文”?！犊屏炙褂⒄Z辭典》(1979:1068)在“parody”詞條下有這樣的釋義:

1. a musical, literary, or other composition that mimics the style of another composer, author, etc., in a humorous or satirical way. 2. mimicry of someone’s individual manner in a humorous or satirical way. 3. something so badly done as to seem an intentional mockery; travesty.

從這個(gè)釋義可以看出,戲擬就是一種幽默性或諷刺性的模仿,模仿的對(duì)象可以是音樂、文字或個(gè)人的說話方式。這樣,戲擬就自然會(huì)對(duì)原文進(jìn)行某種形式的轉(zhuǎn)換、挪用或改寫,其形式經(jīng)常是扭曲的。本文要探討的戲擬形式有諧音戲擬和仿作戲擬。

《紅樓夢(mèng)》這部巨著中使用了大量的戲擬互文。這一手段的運(yùn)用不僅起到了潤色語言、塑造人物性格的作用,而且也強(qiáng)化了作品的主題。實(shí)際上,戲擬的運(yùn)用是《紅樓夢(mèng)》語言魅力永存的重要因素之一。那么如此有魅力的語言手段在英譯文中是否得到了體現(xiàn)呢？譯者們又是如何處理這些語言手段的呢？許建平(2008)用“飛白”這種修辭現(xiàn)象歸納了它的主要特點(diǎn)以及翻譯轉(zhuǎn)化策略。王金波、王燕(2004)研究了《紅樓夢(mèng)》譯本中的地名、人名雙關(guān)語的翻譯,指出譯者的雙關(guān)語翻譯方法充分體現(xiàn)了譯者的翻譯思想和翻譯策略。楊譯以原語文化為導(dǎo)向,表現(xiàn)出強(qiáng)烈的異化傾向；霍譯則以譯語文化為導(dǎo)向,歸化與異化傾向兼而有之。洪濤(2004)在其專著《〈紅樓夢(mèng)〉中的雙關(guān)語及其翻譯問題》中對(duì)雙關(guān)語的翻譯進(jìn)行了專項(xiàng)研究,指出了存在的問題。以上文章和著作雖然沒有提到戲擬這一互文現(xiàn)象,但實(shí)際上“飛白”和“雙關(guān)”就是互文性理論中的戲擬。以上幾位作者總結(jié)了這兩種戲擬形式的翻譯策略以及文化動(dòng)因,但沒有強(qiáng)調(diào)譯者主體性在翻譯過程中的作用。本文試圖以《紅樓夢(mèng)》最被認(rèn)可的兩個(gè)譯本(英國漢學(xué)家霍克斯和閔福德的譯本和中國翻譯家楊憲益和戴乃迭夫婦的譯本,下文分別簡稱霍譯和楊譯)為語料,從譯者主體性的視角對(duì)戲擬這一互文現(xiàn)象做一探討。

2. 譯者主體性

譯者主體性(translator’s subjectivity)并沒有一個(gè)結(jié)論性的定義。要理解譯者主體性,首先要看主體性是什么?！俄f氏三版》(2002:2276)是這樣解釋subjectivity的:

Subjectivity: Subjective character, quality, state, or nature;specif. in artistic and literary works, individuality of the artist as expressed through his work or performance

《蘭登書屋字典》(1987:1893)是這樣解釋subjectivity和其形容詞subjective的:

Subjectivity: the state or quality of being subjective

Subjective: 1. existing in the mind; belonging to the thinking subject rather than to the object of thought(opposed to objective). 2. pertaining to or characteristic of an individual; personal; individual. 3. placing excessive emphasis on one’s own moods, attitudes, opinions, etc.; unduly egocentric

《簡明牛津英語字典》(2002:3086)是這樣解釋subjectivity的:

Subjectivity: the quality or character of being subjective, esp. the ability or tendency to present or view facts in the light of personal or individual feelings or opinions

Regenia Gagnier(轉(zhuǎn)引自Hall 2004:2)認(rèn)為,subjectivity這一術(shù)語同時(shí)可以有很多意指:

First, the subject is a subject to itself, an “I”, however difficult or even impossible it may be for others to understand this “I” from its own viewpoint, within its own experience. Simultaneously, the subject is a subject to, and of, others; in fact, it is often an “Other” to others, which also affects its sense of its own subjectivity...Third, the subject is also a subject of knowledge, most familiarly perhaps of the discourse of social institutions that circumscribe its terms of being. Fourth, the subject is a body that is separate (except in the case of pregnant women) from other human bodies; and the body, and therefore the subject, is closely dependent upon its physical environment.

根據(jù)以上三部權(quán)威英語字典和一個(gè)哲學(xué)家對(duì)subjectivity的定義,我們可以把主體性的主要特點(diǎn)總結(jié)如下:

1. 主體性是人腦的活動(dòng)。

2. 主體性表現(xiàn)出極強(qiáng)的個(gè)體性。

3. 主體性具有社會(huì)機(jī)制制約性。

4. 主體性具有“他者”性。

譯者主體性自然是譯者在翻譯過程中表現(xiàn)出的以上若干特點(diǎn)。實(shí)際上,譯者主體性并沒有一個(gè)結(jié)論性的定義。學(xué)者們的看法有所差異。屠國元、朱獻(xiàn)瓏(2003:8-14)認(rèn)為,“譯者的主體性就是指譯者在受到邊緣主體或外部環(huán)境及自身視域的影響制約下,為滿足譯入語文化需要在翻譯活動(dòng)中表現(xiàn)出的一種主觀能動(dòng)性。它具有自主性、能動(dòng)性、目的性、創(chuàng)造性等特點(diǎn),體現(xiàn)出一種藝術(shù)人格自覺和文化、審美創(chuàng)造力?！痹S鈞(2003:6-11)認(rèn)為譯者主體性,即譯者主體意識(shí),“指的是譯者在翻譯過程中體現(xiàn)出的一種自覺的人格意識(shí)及其在翻譯過程中的一種創(chuàng)造意識(shí)?！辈槊鹘?、田雨(2003:19-24)認(rèn)為,“譯者主體性是指作為翻譯主體的譯者在尊重翻譯對(duì)象的前提下,為實(shí)現(xiàn)翻譯目的而在翻譯活動(dòng)中表現(xiàn)出的主觀能動(dòng)性,其基本特征是翻譯主體自覺的文化意識(shí)、人文品格和文化審美創(chuàng)造性?！?/p>

筆者認(rèn)為許和查的定義略顯模糊,而屠的定義更加具體,并與英文主體性的定義相符。我們姑且運(yùn)用譯者主體性的一些具體、主要特點(diǎn)來解釋本文的戲擬互文翻譯現(xiàn)象。勿容置疑,翻譯離不開作為主體的譯者的主觀能動(dòng)性,作品的意義必須靠譯者去建構(gòu),正像法國文學(xué)社會(huì)學(xué)家埃斯卡皮(Robert Escarpit)(轉(zhuǎn)引自謝天振2007:73)所說的那樣,“翻譯總是一種創(chuàng)造性的叛逆”。創(chuàng)造離不開主體以及主體的能動(dòng)性。就翻譯這項(xiàng)創(chuàng)造性活動(dòng)來說,它離不開譯者的主體性。下面我們先分析一下兩種戲擬互文的翻譯情況,然后討論霍克斯和楊憲益夫婦的譯者主體性在戲擬互文翻譯中是如何體現(xiàn)的。

3. 諧音戲擬的翻譯

諧音戲擬就是我們通常所說的諧音雙關(guān),是利用語音的近似性將原文進(jìn)行轉(zhuǎn)換從而取得戲劇性效果?！都t樓夢(mèng)》中使用了大量的人名諧音戲擬、地名諧音戲擬以及普通諧音戲擬。普通諧音戲擬在本文中指人名諧音戲擬和地名諧音戲擬以外的諧音戲擬。下面我們將這三類諧音戲擬的翻譯分別做一探討。

3.1 人名諧音戲擬的翻譯

《紅樓夢(mèng)》中的人名諧音戲擬都有很深刻的寓意。二位譯者的處理方法有同有異,有時(shí)同一位譯者在處理同一類現(xiàn)象時(shí)采用的手法也不盡相同?？聪吕?

1) [終身誤]都道是金玉良姻,俺只念木石前盟?？諏?duì)著,山中高士晶瑩雪,終不忘,世外仙姝寂寞林。嘆人間,美中不足今方信?？v然是齊眉舉案,到底意難平。(曹雪芹1994:103)

霍譯:

[The Mistaken Marriage]

Let others all

Commend the marriage rites of gold and jade;

I still recall

The bond of old by stone and flower made;

Andwhilemyvacanteyesbehold

Crystallinesnowsofbeautypureandcold,

Frommymindcannotbebanished

Thatfairywoodforlornthatfromtheworldhasvanished.

How true I find

That every good some imperfection bolds!

Even a wife so courteous and so kind

No comfort’ brings to my afflicted mind.(Cao 1973-1986: 141)

楊譯:

[A LIFE MISSPENT]

Well-matched, all say, the gold and the jade;

I alone recall the pledge between plant and stone.

Vainlyfacingthehermitinsparklingsnow-cladhills

Iforgetnotthefairyinlonewoodsbeyondtheworld.

I sigh, learning that no man’s happiness is complete:

Even a pair thought well-matched

May find disappointment.(曹雪芹、高鶚1999:147)

這首曲子是以賈寶玉的口氣寫的,表達(dá)的是賈寶玉和“釵黛”之間無可奈何的感情糾葛。原文的“雪”和“林”分別諧音寓指薛寶釵和林黛玉。顯然,霍譯和楊譯都做了歸化處理。區(qū)別是:霍譯使用了韻體詩,楊譯使用了無韻體詩；霍譯雖文筆飛揚(yáng),但無法使讀者聯(lián)想到“雪”暗指薛寶釵、“林”暗指林黛玉；楊譯由于使用了hermit和fairy兩個(gè)名詞,似乎可以使讀者想到這兩個(gè)詞指的是兩個(gè)人。

又如下例:

2) 鴛鴦笑道:“鮑二家的,老祖宗又拉上趙二家的?！辟Z母也笑道:“可是,我那里記得什么抱著背著的,提起這些事來,不由我不生氣!……”(755)

霍譯:

“It wasBaoEr’s wife, my old love, notZhaoEr’s,” said Faithful, laughing.

“That’s what I said, didn’t I?” Grandmother Jia snapped. “Well, ‘Zhao’ or ‘Bao’ or brown cow how can !be expected to remember such things? The very mention of them makes me feel angry....”(435)

楊譯:

Amid general laughter Yuanyang put in, “Bao Er’s wife, not Zhao Er’s wife, Old Ancestress.”

“That’s right.” The old lady smiled. “How do you expect me to remember their names, whether they mean ‘carriedinthearmsorontheback’?...”

此例是人名諧音戲擬和普通諧音戲擬的結(jié)合?！氨А蓖磅U”和“趙”兩個(gè)姓氏諧音,賈母誤把這兩個(gè)姓氏聽成“抱”。霍譯對(duì)“抱著背著”的處理體現(xiàn)了諧音戲擬,即cow與Bao、Zhao諧音。這是很成功的歸化處理。楊譯采用直譯,雖然傳遞了原文的字面意義,但沒有體現(xiàn)原文的諧音,應(yīng)該說沒有達(dá)到交際效果。

下面也是霍譯做了很好的諧音歸化處理、楊譯處理欠妥的例子。

3) 黛玉道:“……今兒得罪了我的事小,倘或明兒寶姑娘來,什么貝姑娘來,也得罪了,事情豈不大了?！?483)

霍譯:

“...It’s a good job it was only me they were rude to. IfMissBaoorMissCowwere to call and they behaved like that toher, that would be really serious.”(44)

楊譯:

“ ...It doesn't matter their offending me, but think what trouble there'll be if next time they offendyourpreciousBaochai!”(769)

《紅樓夢(mèng)》中還有許多寓意深刻的人名諧音戲擬。有的戲擬霍譯在行文中用括號(hào)提供解釋,如甄士隱(真事隱去)—— Zhen Shi-yin(序言:Zhens—another word-play—who are a sort of mirror-reflection of the Jia family),賈雨村(假語存焉) ——Jia Yu-cun( 序言:Jia... a pun on this other jia which means “fictitious”),卜世仁(不是人)——Bu Shiren( 序言:a name that could be roughly anglicized as Mr Hardleigh Hewmann)。而楊譯則使用腳注的形式,如甄士隱——Zhen Shiyin(腳注:Homophone for “true facts concealed”;Courtesy name Shiyin),賈雨村——Jia Yucun( 腳注:Homophone for “fiction in rustic language”),賈化——Jia Hua(腳注:Homophone for “false talk”)。

還有些人名諧音戲擬二位譯者都只用了漢語拼音,也就是異化的方法,沒有加任何解釋或腳注,如卜固修(不顧羞),單聘仁(善騙人),秦鐘(情種),秦可卿(情可傾),賈政、賈敬(假正經(jīng)),元春、迎春、探春、惜春(原應(yīng)嘆息),抱琴、司棋、待書、入畫(琴棋書畫),等等。

3.2 地名諧音戲擬的翻譯

《紅樓夢(mèng)》中的地名諧音戲擬也同樣寓意深刻?？聪吕?

4) 原來女媧氏煉石補(bǔ)天之時(shí),于大荒山無稽崖練成高經(jīng)十二丈,方經(jīng)二十四丈頑石三萬六千五百零一塊.媧皇氏只用了三萬六千五百塊,只單單剩了一塊未用,便棄在此山青埂峰下。(1)

霍譯:

Long ago, when the goddess Nǚ-wa was repairing the sky, she melted down a great quantity of rock and, on theIncredibleCragsoftheGreatFableMountains, moulded the amalgam into thirty-six thousand, five hundred and one large building blocks, each measuring seventy-two feet by a hundred and forty-four feet square. She used thirty-six thousand five hundred of these blocks in the course of her building operations, leaving a single odd block unused, which lay, all on its own, at the foot ofGreensicknessPeakin the aforementioned mountains.(47)

楊譯:

When the goddess Nu Wa melted down rocks to repair the sky, atBaselessCliffintheGreatWasteMountainshe made thirty-six thousand five hundred and one blocks of stone, each a hundred and twenty feet high and two hundred and forty feet square. She used only thirty-six thousand five hundred of these and threw the remaining block down at the foot ofBlueRidgePeak.(5)

此句中的“大荒山無稽崖”是諧“荒唐無稽”之音,暗示本故事情節(jié)純屬荒唐、無從查考?！扒喙》濉迸c“情根峰”諧音,脂硯齋評(píng):“自謂墮落情根,故無補(bǔ)天之用。”霍譯把“大荒山無稽崖”翻譯成Incredible Crags of the Great Fable Mountains,把“青埂峰”翻譯成Greensickness Peak,基本傳達(dá)了原文作者的本意,但諧音并沒有體現(xiàn)出來。楊譯把這兩個(gè)諧音地名分別譯作Baseless Cliff in the Great Waste Mountain和Blue Ridge Peak。這種異化處理方式?jīng)]有表達(dá)出原文要表達(dá)的含義,并且和霍譯一樣,也沒能體現(xiàn)諧音。

《紅樓夢(mèng)》中其他一些地名諧音戲擬,霍譯和楊譯是這樣的:

十里街(勢(shì)力街)(8)

霍譯:

Worldly Way(52)

楊譯:

Ten-liStreet

仁清巷(人情巷)(8)

霍譯:

Carnal Way(52)

楊譯:

The Lane of Humanity and Purity(11)

葫蘆廟(糊涂廟)(8)

霍譯:

Bottle-gourd Temple(52)

楊譯:

Gourd Temple(11)

我們看到,霍譯對(duì)“十里街”和“仁清巷”作了歸化處理,所用的兩個(gè)詞worldly和carnal基本表達(dá)了原文的寓意。worldly意為“俗氣的,追名逐利的”,與“勢(shì)力”的含義恰好吻合;carnal意為“肉欲的,好色的,世俗的”,表面上看與“人情”不符,但仔細(xì)閱讀原文,就會(huì)明白,“仁清巷”和“十里街”、“葫蘆廟”、“甄士隱”處于同一個(gè)貶義諧音語境,這里所謂的“人情”只不過是行賄受賄和徇私枉法。楊譯對(duì)“十里街”做了異化處理,對(duì)“仁清巷”做了歸化處理。二人對(duì)“葫蘆廟”的處理都是異化。為什么同一個(gè)譯者對(duì)同是諧音的戲擬卻做了完全不同的處理呢？這個(gè)問題我們?cè)谙挛挠懻摗?/p>

3.3 普通諧音戲擬的翻譯

本文的普通諧音戲擬指人名地名諧音戲擬以外的其他種類戲擬,《紅樓夢(mèng)》中也不乏此種例句。

5) 二人正說著, 只見湘云走來,笑道: “二哥哥,林姐姐,你們天天一處頑,我好容易來了,也不理我一理兒?！摈煊裥Φ? “偏是咬舌子愛說話,連個(gè)‘二’哥哥也叫不出來,只是‘愛’哥哥‘愛’哥哥的?；貋碲s圍棋兒,又該你鬧‘幺愛三四五’.” ……湘云笑道: “這一輩子我自然比不上你。我只保佑著明兒得一個(gè)咬舌的林姐夫,時(shí)時(shí)刻刻你可聽‘愛’‘厄’去。阿彌陀佛,那才現(xiàn)在我眼里!”(352)

霍譯:

Just then Xiang-yun burst in on them and reproved them smilingly for abandoning her:

“Couthin Bao, Couthin Lin: you can thee each other every day. It’th not often I get a chanthe to come here; yet now Ihavecome, you both ignore me!”

Dai-yu burst out laughing:

“Lisping doesn’t seem to make you any less talkative! Listen to you: ‘Couthin!’ ‘Couthin’ Presently, when you’re playing Racing Go, you’ll be all ‘thicktheth’ and ‘theventh’!”

...

“I shall never be a match for you as long as I live,” Xiang-yun said to Dai-yu with a disarming smile. “All I can thay ith that I hope you marry a lithping huthband, tho that you have ‘ithee-withee’ ‘ithee-withee’ in your earth every minute of the day. Ah, Holy Name I think I can thee that blethed day already before my eyeth!”(412-413)

楊譯:

They were interrupted by Xiangyun’s arrival.

“Why,AiBrother and Sister Lin!” she cried cheerfully. “You can be together every day, but it’s rarely I have a chance to visit you; yet you pay no attention to poor little me.”

“The lisper loves to rattle away,” said Daiyu with a laugh. “Fancy sayingaiinstead oferlike that. I suppose, when we start dicing, you’ll be shouting one, love, three, four, five....”

...

“Naturally I’ll never come up to you in this lifetime. I just pray that you’ll marry a husband who talks like me, so that you hear nothing but ‘love’ the whole day long. Amida Buddha! May I live to see that day!”(559-561)

史湘云是個(gè)咬舌子,把“二”發(fā)音成“愛”?；糇g利用英語中被稱之為lisping的類似現(xiàn)象,即把/s/或/z/發(fā)音成/θ/或//,來翻譯咬舌,堪稱絕妙無比,取得了奈達(dá)所說的功能對(duì)等的效果。然而,楊譯沒能使讀者看出原文的說話人是咬舌子。

比較典型的普通諧音戲擬還有“群芳髓”(燒香的名稱)、“千紅一窟”(茶的名稱)、“萬艷同悲”(酒的名稱)等?！八琛敝C音“碎”,寓指小說中無數(shù)女子的心碎?！扒Ъt”和“萬艷”指代千千萬萬資質(zhì)美好的女子,“窟”諧音“哭”,“杯”諧音“悲”,是說千千萬萬美好靈秀的女子遭遇不幸,令人悲哭傷悼,寓意《紅樓夢(mèng)》是一部創(chuàng)造了眾多女子悲劇形象的作品。二位譯者將這三個(gè)詞語翻譯如下:

群芳髓(101)

霍譯:

Belle Se Fanent(138)

楊譯:

Marrow of Maniford Fragance(143)

千紅一窟(101)

霍譯:

Maiden’s Tears(138)

楊譯:

Thousand Red Flowers in One Cavern(143)

萬艷同杯(102)

霍譯:

Lachrymae Rerum(139)

楊譯:

Ten Thousand Beauties in One Cup(145)

我們看到,霍譯都采用歸化策略,楊譯都采用直譯的異化方法。到底是譯者主體的哪些因素導(dǎo)致了兩種不同的翻譯結(jié)果呢？這個(gè)問題也放在下文討論。

4. 仿作戲擬的翻譯

為了和諧音戲擬區(qū)分開來,本文將仿作戲擬界定為:以非諧音且戲謔的方式模仿一句話、一個(gè)短語或一個(gè)詞。請(qǐng)看以下各句:

6) 黛玉點(diǎn)頭嘆笑道: “蠢才,蠢才!你有玉,人家就有金來配你,人家有‘冷香’,你就沒有‘暖香’去配?”(336)

霍譯:

Dai-yu shook her head pityingly.

“Don’t be so dense! You have your jade. Somebody has a gold thing to match. Somebody has Cold Fragrance,ergoyou must haveWarmFragranceto go with it!”(395)

楊譯:

Daiyu shook her head with a sigh. “How dense you are! You have jade, and someone else has gold to match it. So don’t you have awarmscentto match her cold scent?”(533-535)

7) 晴雯道: “寶二爺今兒千叮嚀萬囑咐的,什么‘花姑娘’‘草姑娘’,我們自然有道理。你只依我的話,快叫他家的人來領(lǐng)他出去?！?831)

霍譯:

“What I am giving you are Master Bao’s own orders,” said Skybright. “He was most particular that she Should be dismissed immediately. I don’t see thatMissAroma—orMissSweetscentsorMissSmellypotsforthatmatter—has got anything to do with it. I know what I’m doing. Just do as I say. Go and get someone from her family to come here immediately and take her away.”(548)

楊譯:

“Master Bao was most emphatic,” insisted Qingwen. “Never mind aboutthis‘Miss’orthat‘Miss,’ we’ll answer to her. Just do as I say. Tell her family to come and take her away.”(1497)

8) “……我是橫了心的,當(dāng)著眾人在這里,我這一輩子莫說是‘寶玉’,便是‘寶金’‘寶銀’‘寶天王’‘寶皇帝’,橫豎不嫁人就完了!”(747)

霍譯:

“...But I’ve made my mind up, and I’m telling Your Ladyship here, in front of all these witnesses.Idon’tcarewhetherit’sMasterBaoorPrinceBaoortheEmperorBao, I don’t ever want to marry anyone.”(423-424)

楊譯:

“...Well, my mind’s made up. Everybody here can bear witness. I shall never marry so long as I live,neitherBaoyuwithhispreciousjade,norsomeonebornwithsilverorgold,notevenaHeavenlyKingorEmperor!”(1313)

9) 薛蟠只覺沒意思,笑道: “誰知他‘糖銀’‘果銀’的.”(456)

霍譯:

Xue Pan realized that he had made a fool of himself, but passed it off with an embarrassed laugh.

“Oh,Tankin’orwankin’,” he said, “what difference does it make, anyway?”(521)

楊譯:

Xue Pan grinned sheepishly.

“Whocareswhetherthefellow’snamemeans‘sweet-silver’or‘nut-silver’?” he spluttered in his embarrassment.(729)

從以上例句我們看到,霍譯和楊譯的方法有同有異。在例6)中,霍譯和楊譯將“暖香”都做了直譯,盡管用詞不同。二位譯者對(duì)例7)中的“花姑娘”和“草姑娘”的處理不盡相同:霍譯的戲擬手法表現(xiàn)得淋漓盡致,而楊譯雖然基本表達(dá)了原文的意義卻很難使讀者看到戲擬的影子?；糇g和楊譯對(duì)例8)的處理酷似例7),也就是說,霍譯體現(xiàn)了戲擬,而楊譯沒有體現(xiàn)戲擬。二位譯者對(duì)例9)的處理都體現(xiàn)了戲擬,只是霍譯在音韻上與原文更加貼近。

5. 討論

以上我們對(duì)《紅樓夢(mèng)》中的諧音戲擬和仿作戲擬的翻譯作了比較詳細(xì)的分析。在分析過程中,我們發(fā)現(xiàn),對(duì)同樣一種語言現(xiàn)象,如人名的諧音戲擬,同一位譯者的譯文有時(shí)體現(xiàn)戲擬,有時(shí)沒有體現(xiàn)戲擬;有時(shí)用英語翻譯,有時(shí)只用漢語拼音。這其中的原因是什么呢？是什么因素使得譯文時(shí)而平淡,時(shí)而令人叫絕呢？本文的第二部分,我們介紹了譯者主體性。正是譯者的主體性才使得戲擬的翻譯時(shí)而令讀者拍案叫絕,時(shí)而令人感覺翻譯腔十足。

從前文提到對(duì)譯者主體性的論述來看,譯者主體性有幾個(gè)突出的特點(diǎn)。

第一,譯者的能動(dòng)性使得譯者能夠運(yùn)用自己的心智活動(dòng)根據(jù)語言規(guī)律對(duì)譯文做積極變通。比如,霍譯對(duì)“花姑娘”和“草姑娘”的變通是Miss Aroma—or Miss Sweetscents or Miss Smellypots for that matter。這個(gè)譯文把花之芳香(aroma,sweetscent)、草之平凡(smellypot)展露得一覽無余。

第二,譯者主體性具有很強(qiáng)的個(gè)體性。也就是說,個(gè)體所受的教育會(huì)有差異,智慧靈光的閃爍時(shí)刻會(huì)有不同,對(duì)同一事物的觀念也有所差異。以“群芳髓”和“萬艷同杯”為例?；糇g用了兩個(gè)拉丁文,分別是Belle Se Fanent和Lachrymae Rerum。前者意為“凋謝的美麗”,后者意為“萬物之淚”,引自羅馬詩人維吉爾的長詩《埃涅阿斯紀(jì)》(Aeneid)。這不能不說是譯者的知識(shí)水平或智慧靈光所起的作用。

第三,主體性具有社會(huì)機(jī)制制約性。我們知道,霍克斯是英國本族人,1948年來北京大學(xué)中文系學(xué)習(xí)漢語,1951年回國后潛心研究包括《楚辭》和《紅樓夢(mèng)》在內(nèi)的中國古典作品的翻譯,并在1959年成為牛津大學(xué)中文系教授。他對(duì)中國社會(huì)文化和本國社會(huì)文化的諳熟使他成為偉大的漢學(xué)家。上文中“花姑娘”、“草姑娘”、“群芳髓”和“萬艷同杯”的翻譯展示了霍克斯作為譯者主體所受到的社會(huì)機(jī)制制約性。

有必要指出的是,楊憲益先生對(duì)戲擬的翻譯要稍遜于霍克斯的翻譯,原因可能是楊憲益先生翻譯《紅樓夢(mèng)》是作為當(dāng)時(shí)外文局的一項(xiàng)任務(wù)來做的。這一工作的“任務(wù)性”制約了譯者語言水平的充分發(fā)揮。另外,楊憲益先生一生的大多數(shù)時(shí)間都處于漢語語言氛圍里,漢語的社會(huì)機(jī)制性對(duì)他的翻譯是有影響的。在這一點(diǎn)上,霍克斯則完全相反。

第四,譯者主體性具有“他者”性。也就是說,譯者對(duì)于原文本來說是“他者”,原文本對(duì)“他者”有阻抗性。一方面每種語言都有自己的特殊規(guī)律,都會(huì)受自我文化的制約,從而使其與另一種語言產(chǎn)生某些難以彌合的差異。另一方面,譯者也會(huì)成為自我的“他者”?；蛘哒f,譯者可能受情感因素影響,表露出一定程度的隨意性。還以人名諧音戲擬為例。二位譯者分別給“甄士隱”、“賈語村”、“賈化”、“卜世人”做了括號(hào)解釋和腳注,而對(duì)其他人名沒有這樣做。有人可能認(rèn)為,其他人名沒有這些人名重要。但實(shí)際情況是,賈政、賈敬、元春、迎春、探春、惜春在《紅樓夢(mèng)》里都是核心人物。這些人名的翻譯為什么只給了拼音呢？又如,在同一段落中,霍克斯把“群芳髓”、“千紅一窟”、“萬艷同杯”都做了很歸化的處理,為什么把“葫蘆廟”只做了直譯呢？顯然是原文的“他者”性和譯者的自我“他者”性使然。霍克斯(1973:46)在他的翻譯序言里表示,“……我的一個(gè)堅(jiān)持不渝的原則, 是把每樣?xùn)|西都譯出來, 甚至包括雙關(guān)語。因?yàn)檫@雖然是一部‘未完成的’ 小說(我已經(jīng)指出了這一點(diǎn)), 但它是由一位偉大的藝術(shù)家用他的血淚寫成的。所以, 我這樣設(shè)想, 不管我在小說里遇到什么東西, 它們?cè)谀抢锒际怯衅湟饬x的, 因此都必須認(rèn)真對(duì)待。我不能假裝總是譯得很成功, 但我如能把這部中國小說給我的愉快傳達(dá)一點(diǎn)點(diǎn)給讀者,我就可以算是沒有虛度此生了?！比欢g者良好的意愿與“他者”矛盾的調(diào)和談何容易！

6. 結(jié)論

戲擬作為一種互文手段,翻譯的難度極高。本文通過對(duì)《紅樓夢(mèng)》中戲擬現(xiàn)象翻譯的研究,揭示了譯者主體性在文學(xué)翻譯中的重大作用。和以往的觀點(diǎn)有所不同,筆者沒有把歸化或異化作為理論支撐,而是挖掘其背后的“人”的因素,也就是譯者的主觀能動(dòng)性。筆者認(rèn)為,譯者主體性的不同展現(xiàn)是戲擬翻譯在譯文中存在種種悖論現(xiàn)象的根本原因。本文的觀點(diǎn)的正確與否,還有待方家不吝指教。

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