瓊·克雷格黑德·喬治

She thought of her childhood on the Eskimo island of Nunivak in the Bering Sea， and of her maidenhood in Barrow on the Arctic Ocean. Then she thought of the day she had left that town desperate to end an arranged marriage. She had gone out on the tundra planning to walk to Point Hope and take a boat to San Francisco to meet her pen pal， Amy. On the tundra wildness she had become hopelessly lost.

She tried not to think about the lovable wolf pack that had felled a caribou and saved her life. She must put them in the past. She had found her beloved father and was going home to him.

Yesterday he had welcomed her in this very house. Heart had lightened and her burden of loneliness had fallen away. Her head had danced with joyful thoughts.

Her happiness had not lasted long. Within a short time she had realized Kapugen was not the same father who had taken her hunting and fishing with the seasons on Nunivak.

He was not the father who had lived in grace with the sea and land. Kapugen had changed. He had a white-American wife， a gussak. He had radios， a telephone， and a modern stove. Julie could have accepted these things had not her eyes fallen on Kapugen’s airplane pilot helmet and goggles. She had seen them on the man in the airplane window who had shot Amaroq， the magnificent leader of her wolf pack. This she could not reconcile. When Kapugen had left the house， she had put on her pack and returned to her camp along the barren river.

There， alone in the crackling Arctic night with the hoarfrost spangling her tent with ice ferns， she knew she must return. No matter what he had done， Kapugen was her father， and she loved him.

“We do not judge our people，” she heard the Eskimo elders say， and Julie pointed her boots toward Kapugen.

Now， only a wooden door stood between them.

She opened it and stepped inside. Kapugen was home. He was seated on a caribou skin on the floor sharpening his man’s knife. He was alone.

He did not look up， although Julie knew he had heard her enter. She tiptoed to the iglek， a pile of furs stacked into a couch almost as tall as she. She climbed up on it， sat， and folded her hands in her lap.

她想起了自己的童年，那是在白令海上愛斯基摩人的努尼瓦克島上度過的。她還想起了在北冰洋上的巴洛鎮(zhèn)度過的少女時(shí)代。然后又想到了她不顧一切離開小鎮(zhèn)的那一天，只為結(jié)束那個(gè)包辦婚姻。她只身跑到凍土荒原上，只是計(jì)劃著要走到波因特霍普市，然后乘船去舊金山見她的筆友艾米。但在凍土荒原上，她絕望地迷路了。

她試圖不再去想那個(gè)可愛的狼群，是它們殺死了一只北美馴鹿救了她的命。她必須把狼群置之腦后。她已經(jīng)找到了親愛的父親，要回家，回到他身邊。

昨天父親就在這棟房子里歡迎她歸來。她的心一下子變得輕松，孤獨(dú)的重?fù)?dān)卸下來了。她因?yàn)闅g快的想法而搖頭擺腦。

可是她的幸福卻沒有持續(xù)多久。過了一小會(huì)兒，她就發(fā)現(xiàn)卡普根變了，不再是那個(gè)在努尼瓦克島上狩獵季帶她打獵和捕魚的父親了。

他不再是那個(gè)跟大海和陸地和睦相處的父親了?？ㄆ崭兞恕Ｋ幸粋€(gè)美國(guó)白人妻子，一個(gè)古薩克人。他有收音機(jī)、電話和現(xiàn)代火爐。所有這些其實(shí)朱莉都是可以接受的，但是當(dāng)她看到卡普根的飛行員頭盔和護(hù)目鏡，態(tài)度就變了。她從飛機(jī)窗口看到過頭盔和護(hù)目鏡，正是戴著它們的那個(gè)人射殺了阿馬羅克——朱莉所在狼群的偉大頭領(lǐng)。這一點(diǎn)讓她無法接受。卡普根離開家的時(shí)候，朱莉背上自己的背包，回到那寸草不生的河邊營(yíng)地。

回到自己的營(yíng)地，孤單一人，待在北極冷得（冰凍）劈啪作響的夜里，看著白霜和冰花在帳篷上閃爍，朱莉知道自己必須回去。無論他做過什么，卡普根都是自己的父親，而且自己愛著他。

“我們不評(píng)判自己人?！敝炖蛟?jīng)聽愛斯基摩老人們這樣說過。然后她就朝著卡普根的方向走去。

現(xiàn)在，在自己和父親之間，就只隔著一扇木門而已。

朱莉推開門，邁步進(jìn)去?？ㄆ崭诩?。他坐在地上鋪的一張北美馴鹿皮上，正在磨一把男士刀。他自己一個(gè)人。

卡普根沒有抬頭看，但朱莉知道父親聽到她進(jìn)門了。她踮著腳走到座位那里，那是一大堆毛皮，堆成沙發(fā)的樣子，跟她幾乎一樣高。她爬上座位，坐下來，兩手交叉放在膝上。

【背景知識(shí)】《朱莉》（Julie）是朱莉三部曲的第二部，緊跟《狼女朱莉》之后。在狼群的幫助下，朱莉活了下來，并且成功走出了荒原，最后還找到了失散已久的父親。然而，父親殺死頭狼的做法讓朱莉非常痛苦，在仇恨和原諒之間痛苦地抉擇。最后，朱莉原諒了父親，決定回到父親身邊，重溫家庭的快樂。

【第一段】這一段有特殊的句式，即主要信息在前，修飾語后置，構(gòu)成排比關(guān)系。根據(jù)中文習(xí)慣，這些句式可以顛倒過來，但如此有損原文的信息結(jié)構(gòu)和排比修辭。譯者選擇保留原文的組織形式，使得譯文略帶翻譯腔，有點(diǎn)詩歌的味道。

【第二段】這一段的第一句同樣是修飾語后置，有一個(gè)定語從句。譯文仍然保留了原文的句序，因?yàn)檫@是作者有意為之的語言形式。

【第三段】第二句和第三句都使用名詞作主語，這給翻譯帶來一定困難。尤其是最后一句，譯者只能改變主語，變換語序，否則中文會(huì)不通順。

【第四段】原文如直譯將會(huì)是“不是……的同一個(gè)人”，這樣定語太長(zhǎng)，中文啰唆。譯文轉(zhuǎn)換為“變了”，然后用“不再是那個(gè)……父親了”句式融入定語從句。

【第五段】第五句是一個(gè)虛擬語氣句式，直譯應(yīng)為“朱莉本來可以原諒這一切，如果不是……的話”，但這樣翻譯腔過重。所以譯文改為“但是當(dāng)她……態(tài)度就變了”，目的是為了中文更加通順。原文第七句是典型的為強(qiáng)調(diào)而使用的倒裝句：This she could not reconcile.中文照搬原文語序也完全行得通。

【第六段】第一句很難理解和翻譯。譯文保留了原文詩歌一樣的語序，并且加了“冰凍”使譯文更明晰。

【第七段】第一句中的Julie pointed her boots toward Kapugen如果直譯為“朱莉把靴子指向卡普根的方向”會(huì)非常費(fèi)解，所以譯文明晰化為“然后她就朝著卡普根的方向走去”。

【第九段】該段有一個(gè)愛斯基摩語的詞匯，即iglek，其文化特色很難傳譯，譯文只是簡(jiǎn)化為“座位”。但有了緊接著的解釋，讀者也能明白愛斯基摩人的特殊文化。

【小結(jié)】這一選段是對(duì)朱莉內(nèi)心思想的描寫，屬于意識(shí)流，翻譯難度很大，因?yàn)樵牡恼Z言特色明顯，語序特別，好似詩歌一樣。譯者面臨兩難選擇：是把原文的語序全都中文化、正?；?？還是盡量保留原文特色，讓譯文保留一點(diǎn)點(diǎn)翻譯腔？譯者在極力傳譯原文文學(xué)性的同時(shí)，也在盡量做到讓中文通順易懂。? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?□