鲁迅小说的隐喻翻译——《狂人日记》的三个英译本比较研究

付晓朦，王树槐



鲁迅小说的隐喻翻译——《狂人日记》的三个英译本比较研究

付晓朦，王树槐

（华中科技大学外国语学院，湖北武汉 430074）

鲁迅小说以其丰富的隐喻而闻名，《狂人日记》尤甚。杨宪益夫妇、蓝诗玲和莱尔的英译本最负盛名，译本风格也有所差别。从隐喻的文体角度入手，从书写隐喻、词汇隐喻、句法隐喻、语域隐喻四个方面具体分析小说中的隐喻翻译。研究发现，莱尔的隐喻意识最强，通过大量的隐喻来重现源语含义和风格，具有隐喻爆发倾向；蓝诗玲的隐喻意识次之，注重词汇的选择与语言的美学规范，具有隐喻散发倾向；杨宪益夫妇的隐喻意识最低，但他们注重译文与原文本的准确对应，具有隐喻休眠倾向。

鲁迅；文体隐喻；《狂人日记》；译本比较

一、引言

《狂人日记》于1918年出版，是中国文学史上第一篇白话短篇小说。虽然当时辛亥革命推翻了清王朝的封建统治，但人们的封建思想仍然根深蒂固。小说以狂人的视角来审视周围的世界，虽然日记中全是狂人语无伦次的疯言疯语，但这些狂语却道出了事实，引人警醒。故事开始于狂人对周围人要迫害他的恐惧，结束于对年轻人的希望，呐喊出“救救孩子”的呼声。表面上满篇尽是“吃人”的胡话，但实际上揭示了封建制度“吃人”的本质，批判了封建礼教和宗族制度的腐朽。《狂人日记》以启蒙主义思想为新文化运动奠定了基础。迄今为止，共有18位国内外学者将鲁迅小说译为英文并发表或出版，但在这众多英译本中，杨宪益夫妇、蓝诗玲和莱尔的译本最负盛名，影响力也最大（杨坚定、孙鸿仁，2010）。本文将从文体角度入手，详细分析《狂人日记》三个译本中的隐喻翻译。

二、文体隐喻

传统理论认为，隐喻是修辞层面的语义交换，1980年，莱考夫和约翰逊（Lakoff & Johnson，1980）在《我们赖以生存的隐喻》中提出了概念隐喻理论，认为隐喻是思维层面的概念转换。1985年，韩礼德在《功能语法导论》一书中提出了语法隐喻概念，认为语法隐喻包含话语意义、词汇语法和音系三个层次，是指语义单位和语法单位的重新组合，并提出了一致式和隐喻式（或不一致式）两个概念。所谓一致式，就是指母语中最自然的常用表达，其词汇语法层的表层意义和话语意义层的深层含义相一致。隐喻式则是指语义和语法单位的非自然重组，即通过用名词表达过程或属性等方式，使得词汇语法层的表层意思与话语意义层的深层含义不相符（Halliday，2012）。文体则是指运用各种语言特征、手段、模式而达到艺术或主题的相关效果（申丹，1995：19）。利奇和肖特（Leech & Short，2003：11-13，137-138）在《小说文体论》一书中指出文体分析要基于韩礼德功能语法理论。他们将韩礼德的层次思想进一步深化，添加书写层，提出了文体分析的四个层次，即语义层、句法层、书写层和音系层（ibid.：127-132），同时也提出了文体分析清单，包括词汇、语法、修辞、语境连贯（ibid.：75-80）。本文中所讨论的文体隐喻是指在书写、词汇、句法、语域等方面上所发生的变异，即词汇语法的表面含义与话语意义深层含义的偏离，从而通过陌生化的艺术效果达到强调其隐喻意义，凸显主题的目的。

三、译本分析

1 书写隐喻

书写隐喻是指书写形式对自然形式的有意识的偏离，主要包括拼写、大写、连字符、斜体等。只有当作者故意或多次使用非常规的书写形式时，才构成其显著的文体特征，如故意的拼写错误或大写等（Leech & Short，2003：131）。例如：

（1）歪歪斜斜的每叶上都写着“仁义道德”几个字。我横竖睡不着，仔细看了半夜，才从字缝里看出字来，满本都写着两个字是“吃人”！

杨译：I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: “”. Since I could not sleep anyway, I read intently half the night until I began to see words between the lines. The whole book was filled with the two words—“”.

蓝译：When I flick through the history books, I find no dates, only those fine Confucian principles “” snaking their way across each pages. As I studied them again, through one of my more implacably sleepless nights, I finally glimpsed what lay between every line, of every book: “!”

莱译：There were no dates in this history, but scrawled this way and that across every page were the words. Since I couldn’t get to sleep anyway, I read that history very carefully for most of the night, and finally I began to make out what was written between the lines; the whole volume was filled with a single phrase:!

原文中“仁义道德”和“吃人”都加了引号，鲁迅先生想要通过引号给予这两个词以高光，突出它们之间的对比关系，讽刺满篇尽是“仁义道德”的史书实际上是封建制度“吃人”的工具。对比三个译本，杨宪益使用引号加首字母大写，蓝诗玲只使用了引号，而莱尔采用了全大写的方式。读者不难发现莱尔的译本中这两个词最为醒目，给予了最强的高光突出，也更加能让读者意识到这两个词之间的隐喻关系。又如：

（2）前几天，狼子村的佃户来告荒，对我大哥说，他们村里的一个大恶人，给人家打死了；几个人便挖出他的心肝来，用油煎了吃，可以壮壮胆子。

杨译：A few days ago a tenant of ours from Wolf Cub Village came to report the failure of the crops and told my elder brother thatin their village had been beaten to death; then some people had taken out his heart and liver, fried them in oil and eaten them, as a means of increasing their courage.

蓝译：A few days ago, one of our tenants—a farmer from Wolf Cub Village—came to report a famine.in the village had been beaten to death, he told my brother, and some of the villagers had dug out his hear t and liver, then fried and eaten them, for courage.

莱译：A few days back one of our tenant farmers came in from Wolf Cub Village to report a famine. Told my elder brother the villagers had all ganged up on“and beaten him to death. Even gouged out his heart a liver. Fried them up and ate them to bolster their own courage!

文中的大恶人并非真正的恶人，而是封建礼教和宗族势力的反抗者。世人都被封建礼教蒙蔽了眼睛，蛊惑了心神，接受不了像狂人和大恶人一样看清了事实，摆脱了束缚，具有新思想的人。愚昧的世人给这些反叛者安上污名，以求得心理的慰藉。莱尔在译文中将bad加了引号，意在强调大恶人并非真正的恶，引发读者去思考bad背后的意义。原文虽未加引号予以突出，但属于高语境的中国人自然能想到这个词背后的意义，而处于低语境的西方读者在未加引号的译文中并不一定能抓住其隐喻意义，这也可能会造成对文中人物理解上的偏差或缺失。

（3）记得什么书上说，有一种东西，叫“海乙那”的

杨译：I remember reading somewhere of a hideous beast with an ugly look in its eye called “”

蓝译：I remember reading in some book somewhere about a fearfully ugly creature called a

莱译：I remember reading in a book somewhere about something called the.

The three Chinese characters are used here for phonetic value only—that is, hai-yi-na is a transliteration into Chinese of the English word ‘hyena’.

海乙那是生活在非洲和南亚地区的一种外形丑陋，非常凶猛的腐食动物。虽然海乙那有对应的英文词hyena，但狂人连书名都不记得了，还能清楚记得什么书上说的海乙那怎么写，这似乎不太符合狂人思维混乱、语无伦次的特点。莱尔译本选择将其音译为hai-yi-na，并用连字符连接，正符合狂人记忆模糊、意识混乱的特点。但是使用脚注解释hai-yi-na会影响读者阅读的连贯性。

2 词汇隐喻

利奇和肖特将词汇分析列为文体分析清单中的第一大类，韩礼德也将词汇隐喻中的名词化视为语法隐喻的重要来源之一，认为在一致式中属性应由形容词来实现，但在隐喻式中属性却转化为了名词。在本文中词汇隐喻是指译者通过词汇的选择赋予其生动的意象，扩展和深化词汇的表层意义，使其富于张力，从而突出其隐喻意义，凸显主题。例如：

（4）屋子里全是黑沉沉的

杨译：It wasin there

蓝译：A stiflingthe room

莱译：It wasinside

原文“黑沉沉”一词包含了颜色和重量，既表达了房屋里的漆黑，又表达了狂人内心的沉重。杨氏夫妇和莱尔都使用了pitch dark作表语，仅表达出颜色。但pitch dark更为贴切的含义是黑漆漆而不是黑沉沉。蓝诗玲将原本应该作为形容词出现的属性名词化，并搭配了hung over这一动词，巧妙地给darkness增添了重量，不仅表达出了房间的黑暗，更表达出了封建礼教思想对狂人的压迫，与原文有异曲同工之妙，张力极大。

（5）我便从头直冷到脚跟

杨译：Ifrom head to foot

蓝译：I prickled withfear

莱译：from the top of my head clear down to the tips of my toes

莱尔将本应作为状态的冷转化为名词来表达，将冷这一抽象概念实体化，并用run修饰shiver，通过拟人化的表达给予shiver主观能动性，使其更具有画面感和动态感，从而突出封建思想如同黑夜里刺骨的寒冷无情地残害着像狂人一样的热血青年。

（6）还有书上都写着，通红崭新！

杨译：and you can see it written all over the books, in.

蓝译：it’s written in all the books, in.

莱译：And it’s written in all the books, too, written in.

杨宪益夫妇和蓝诗玲都将“通红崭新”译为fresh red ink，而莱尔则译为bright red blood。fresh red ink与原文字面意义相对应，而此处“通红崭新”喻指封建统治的血腥历史。由于西方读者属于低语境文化，话语表面意义就是其所要表达的意义，仅译为ink这一意象，西方读者可能只能理解为墨迹，无法掌握封建血腥历史这一隐喻意义。相比之下，莱尔用blood代替ink，映射封建血腥历史，不仅表达出了字面意义，更译出了词语所要表达的隐喻意义。

（7）只有廿年以前，把古久先生的陈年流水簿子，踹了一脚，古久先生很不高兴。

杨译：I can think of nothing except that twenty years ago I trod on’s old ledgers, and Mr. Gu was most displeased.

蓝译：All I could think of was that twenty years ago, I stamped on the Records of, and it has been my enemy since.

莱译：The only thing I can think of is that twenty years ago I trampled the account books kept by, and he was hopping mad about it too.

“古久先生”喻指古老悠久的封建历史，“古久”所隐含的意义比其发音更为重要。杨宪益夫妇仅仅将其音译为Mr. Gu Jiu，造成了“古久”意义的缺失，读者并不能在音译中感受到人物意象的隐喻意义。而将其译为the Past或Mr. Antiquity虽不能与原文发音相对应，但却让读者在字面含义中充分领会人物背后的隐含意义。

（8）歪歪斜斜的每叶上都写着“仁义道德”几个字。

杨译：all over each page are the words: “Virtue and Morality”.

蓝译：those fine Confucian principles “benevolence, righteousness, morality”their way across each pages.

莱译：this way and that across every page were the words BENEVOLENCE, RIGHTEOUSNESS, and MORALITY.

蓝诗玲用snaking一词修饰书上歪歪斜斜写着的“仁义道德”。在《圣经·创世纪》中，亚当和夏娃就是受到了蛇的蛊惑偷吃了伊甸园中的禁果才被上帝惩罚。在西方蛇通常被认为是罪恶的源泉，在中国蛇也同样是邪恶的象征。在蓝诗玲译本中，蛇的邪恶正喻指封建传统思想的邪恶。蛇这一具体意象可以给予读者形象的视觉感受，使读者充分理解封建传统思想的丑陋和腐朽本质，同时也揭示了封建传统思想是中华五千年残酷吃人历史的根源，更是阻碍新文化、新思想的祸根。

3 句法隐喻

句法隐喻是指通过在语法层面改变句子本身的自然形态，包括句子长度、句子结构以及复杂性等，来表达话语意义的深层含义。句法隐喻是作者有意识地改变最平实、最常用的句子形式，以突出文体效果，达到隐喻目的。例如：

（9）谁晓得从盘古开天辟地以后，一直吃到易牙的儿子；从易牙的儿子，一直吃到徐锡林；从徐锡林，又一直吃到狼子村捉住的人。

杨译：But actually since the creation of heaven and earth by Pan Ku men have been eating each other, from the time of Yi Ya’s son to the time of Hsu Hsi-lin, and from the time of Hsu Hsi-lin down to the man caught in Wolf Cub Village.

蓝译：We all know it’s been going on—since the creation of the earth itself. That revolutionary, Xu Xilin, a few years back—didn’t they eat his heart and liver? Then there’s the Wolf Cub Villagers;

莱译：All the way from the time when Pan Gu separated heaven and earth down to Yi Ya’s son, down to Xu Xilin, and on down to the man they killed in Wolf Cub Village.

原文中用三个“一直到”构成排比句，使语气更加强烈，更表达出吃人历史一代代漫长的延续。对比三个译本，只有莱尔使用了三个down to并列，不仅内容准确，语言简练，更揭示了封建统治腐朽的延续，在其影响下人性也跟着衰退的真相。在杨宪益夫妇的译本中也使用了两个from the time of…to…的并列结构，但句子相对较长。原文中并没有复杂冗长的句子，短句和简单句居多，这正符合狂人癫狂的特点，使用长句略显不符。

（10）记得什么书上说，有一种东西，叫“海乙那”的，眼光和样子都很难看；时常吃死肉，连极大的骨头，都细细嚼烂，咽下肚子去，想起来也教人害怕。

杨译：I remember reading somewhere of a hideous beast with an ugly look in its eye called “hyena” which often eats dead flesh. Even the largest bones it crunches into fragments and swallows; the mere thought of this makes your hair stand on end.

蓝译：I remember reading in some book somewhere about a fearfully ugly creature called a hyena, with terrifying eyes and a fondness for dead meat, capable of chewing the most enormous bones down to a pulp. I shiver just to think of it.

莱译：I remember reading in a book somewhere about something called the hai-yi-na. Its general appearance is said to be hideous, and the expression in its eyes particularly ugly and malicious. Often eats carrion, too. Even chews the bones to a pulp and swallows them down. Just thinking about it’s enough to frighten a man.

三个译文都表达出了海乙那凶狠的特性，从而隐喻出吃人的人的凶狠。在翻译“眼光和样子都很难看；时常吃死肉，连极大的骨头，都细细嚼烂，咽下肚子去”时，杨氏夫妇用了两个完整句，蓝诗玲用了一个完整句，莱尔用了三个完整句。其中杨译中ugly look作状语，hideous作定语，eat dead flesh作从句。蓝译中“难看的样子”作定语，“眼光”、“吃死肉”、“嚼骨头”都作状语。从属成分往往传递从属信息，若A从属于B，则A为背景，B为主要信息（Leech & Short，2003：221）。而莱译中“难看的样子”、“吃死肉”、“嚼骨头”都用独立的主谓结构表达，这就使得每一个形容都是重点，语气更加强烈，更能表现出海乙那的凶狠。利奇和肖特（ibid.：217）在《小说文体论》中指出，句号具有最大的分割功能，标点符号的密度和种类也会影响读者阅读的节奏。不难发现莱尔的译文短句、简单句居多，这样不仅给每个信息以高光突出，更能加快读者的阅读速度，从心理上让读者感受到海乙那的凶狠，同时也更符合狂人的语言习惯和思维逻辑。

（11）我看出他话中全是毒，笑中全是刀。他们的牙齿，全是白厉厉的排着，这就是吃人的家伙。

杨译：I realize all the poison in their speech, all the daggers in their laughter. Their teeth are white and glistening: they use these teeth to eat men.

蓝译：I now see that their speech is poisoned, their laughter knife-edged, their teeth fearfully white—teeth that eat people.

莱译：Those worlds were poison! That laughter, a knife! Their teeth are bared and waiting—white and razor sharp! Those people are cannibals!

杨宪益夫妇译为两个完整句，蓝诗玲译为一个完整句，而莱尔则译为结构简单的四句话。莱译的第二句甚至没有动词，不构成一个完整的句子。这种简单且不完整的句子正符合狂人的精神疾病。标点符号也具有重要的文体作用（ibid.：216），莱译中的四句话全部用感叹号结尾，将狂人内心的呐喊表现得淋漓尽致。较之其他两个译本，莱尔译本更多地使用了感叹号，将狂人的情感加入其中，凸显吃人的人的凶狠和狂人的勇敢无畏。

（12）他们可是父子兄弟夫妇朋友师生仇敌和各不相识的人，都结成一伙，相互劝勉，相互牵制，死也不肯跨过这一步。

杨译：Yet fathers and sons, husbands and wives, brothers, friends, teachers and students, sworn enemies and even strangers, have all joined in this conspiracy, discouraging and preventing each other from taking this step.

蓝译：But they are all part of it—fathers, sons, brothers, husbands, wives, friends, teachers, pupils, enemies, perfect strangers, pulling each other back.

莱译：But what do they do instead? What is it that these fathers, sons, brothers, husbands, wives, friends, teachers, students, enemies, and even people who don’t know each other really do? Why they all join together to hold each other back, and talk each other out of it! That’s it! They’d rather die than take that one little step.

杨宪益夫妇和蓝诗玲都译为一个完整句，而莱尔则译为五个完整句，还改变了原来的句式，使用自问自答的形式。患有精神疾病的人往往会自问自答，这种句式很符合狂人的语言特点。而杨译和蓝译使用带有伴随状语的长句，更像是一个思维严谨的人的话语。自问自答的形式更能给答案以高光突出，从而讽刺人们不想改变封建思想的愚昧。

4 语域隐喻

语域是指语言根据其使用环境的不同而发生的变化，如正式与非正式语言、口语与书面语言、科技、宗教、法律语言等（Leech & Short，2003：80）。语域隐喻是指作者有意识地根据语言使用环境使得语言正式程度、使用范畴发生变异，从而给读者塑造一个多维视角。例如：

（13）某君昆仲，今隐其名，皆余昔日在中学校良友，分隔多年消息渐缺……记中语误，一字不易，惟人名虽皆村人，不为世间所知，无关大体，然亦悉易去。至于书名，则本人愈后所题，不复改也。七年四月二日识。

今天晚上，很好的月光。我不见他，已是三十多年；今天见了，精神分外爽快。

杨译：Two brothers, whose names I need not mention here, were both good friends of mine in high school; but after a separation of many years, we gradually lost touch…I have not altered a single illogicality in the diary and have changed only the names, even though the people referred to are all country folk, unknown the world and of no consequence. As for the title, it was chosen by the diarist himself after his recovery, and I did not change it.

Tonight the moon is very bright. I have not seen it for over thirty years, so today when I saw it I felt in unusually high spirits.

蓝译：At school I had been close friends with two brothers whose names I will omit to mention here. As the years went by after we graduated, however, we gradually lost touch…While I have not altered a single one of the author’s errors, I have changed all the local names used in the original, despite the personal obscurity of the individuals involved. Finally, I have made use of the title chosen by the invalid himself following his full recovery.（2 April 1918）

The moon is bright tonight. I had not seen it for thirty years; the sight of it today was extraordinarily refreshing.

莱译：There was once a pair of male siblings whose actual names I beg your indulgence to withhold. Suffice it to say that we three were boon companions during our school years. Subsequently, circumstances contrived to rend us asunder so that we were gradually bereft of knowledge regarding each other’s activities…As to the lapsus calami that occur in the course of the diaries, I have altered not a word. Nonetheless, I have changed all the names, despite the fact that their publication would be of no great consequence since they are all humble villagers unknown to the world at large. Recorded this 2nd day in the 7th year of the Republic.

Moonlight s really nice tonight. Haven’t seen it in thirty years. Seeing it today, I feel like a new man.

鲁迅先生在序言中以一个正常人的视角，使用文言文来叙述日记的由来，而在日记正文中则使用白话文，以匹配狂人的精神疾病。寇志明（2013）曾评论过蓝诗玲译本，称在三个译本中只有莱尔译本试图使用晦涩难懂的古英语来重现序言中的文言文风格，而在日记正文中又使用现代日常英语来表达。莱尔的序言译文相较于其他两个译本确实更加晦涩难懂。例如，“某君昆仲”在杨译和蓝译中都为two brothers，而莱尔则译为siblings，是“兄弟”的正式形式。beg your indulgence更是excuse me的极正式表达。经牛津字典查证，contrive，rend，asunder，bereft，lapsus calami等也都是正式、过时或生僻的词汇。莱尔在序言中都使用语法结构复杂、逻辑严谨的长句，而在正文中则多使用结构简单的短句，还时而使用语法结构不完整的短句。因此，在莱尔译本中读者可以明显感觉到序言由一位思维严谨的正常人书写，而日记则由思维混乱的狂人书写。这更凸显了狂人与其他人的格格不入，与主题隐喻——狂人是这个腐朽封建社会中具有新思想、新文化的真正的人相呼应。

四、结语

利奇和肖特（Leech & Short，2003：70）曾说过数量分析是文体分析中不可或缺的重要手段。经过一系列的举例论证和定性分析，本文也定量分析了三位译者的文体特点。

文体隐喻总数 书写隐喻词汇隐喻句法隐喻语域隐喻 杨译00000 蓝译03003 莱译334111

通过图表可以看出，莱尔译本中的隐喻最多，有意地介入隐喻来呼应主题，使内容更加连贯。廖美珍和周晓萍（2010）曾指出，隐喻变化程度和语篇组织程度呈线性关系，“隐喻语篇变化频率越低，隐喻变化跨度越小，则概念之间的差距越小，意象之间的冲突越小，因而语篇组织程度越高”。莱尔在译本中有意识地使用一系列趋于主题的隐喻来凸显主题，使得译文更加连贯，更能让读者抓住小说背后所要表达的主题意义。

总体来说，《狂人日记》以其隐喻风格而著名，鲁迅先生将敏感晦涩的思想用具体的物、事、人来表达，让读者在具体意象中体会抽象概念，引发读者深思。根据以上分析，本文根据隐喻意识的强弱对三个译本进行了归纳，莱尔隐喻意识最强，蓝诗玲次之，杨宪益夫妇隐喻意识最弱。杨宪益夫妇更注重翻译的准确性，译文中除了原文中已有的必要隐喻外，几乎没有其他隐喻，具有隐喻休眠倾向。蓝诗玲隐喻意识居中，更注重词汇的选择和美学效果，具有隐喻散发倾向。莱尔隐喻意识最强，从段落、句子、词汇甚至到标点符号都处处体现隐喻的存在，具有隐喻爆发倾向。莱尔译本也最能重现《狂人日记》的写作风格和隐喻特点。

参考文献：

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[7] 寇志明, 罗海智. 2013.“因为鲁迅的书还是好卖”：关于鲁迅小说的英文翻译[J].鲁迅研究月刊, (2): 38-50.

[8] 廖美珍, 周晓萍. 2010. 我们赖以建构和组织语篇的隐喻——隐喻变化与语篇组织程度[J].外国语文, (2): 51-56.

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（责任编辑：于 涛）

H315.9

A

1008-665X（2016）3-0045-05

2015-12-17；

2016-04-07

付晓朦，女，硕士研究生，研究方向：翻译学 王树槐，男，教授，博士，研究方向：翻译学