論《 紅樓夢(mèng)》中典故的翻譯

汪小祥，佟和龍

(1.常州信息職業(yè)技術(shù)學(xué)院 外國(guó)語學(xué)院，江蘇 常州 213164；2.上海海事大學(xué) 外國(guó)語學(xué)院，上海 200135)

論《 紅樓夢(mèng)》中典故的翻譯

汪小祥1，佟和龍2

(1.常州信息職業(yè)技術(shù)學(xué)院 外國(guó)語學(xué)院，江蘇 常州 213164；2.上海海事大學(xué) 外國(guó)語學(xué)院，上海 200135)

典故是千百年來民族集體智慧之結(jié)晶、悠久文化之瑰寶。典故根據(jù)不同的來源主要分為歷史典故、神話傳說、文學(xué)典故三大類。文化是典故賴以存在的前提和基礎(chǔ)，典故是文化的載體和精髓，能夠反映特定的社會(huì)文化。翻譯《紅樓夢(mèng)》中的典故時(shí)不應(yīng)僅僅實(shí)現(xiàn)來源語和目標(biāo)語之間字、詞、句形式上的對(duì)等轉(zhuǎn)換，更應(yīng)該盡可能再現(xiàn)典故的文化內(nèi)涵，根據(jù)具體情況可以采用直譯、意譯、意譯加注以及增譯等翻譯方法。

《紅樓夢(mèng)》；典故；文化內(nèi)涵；翻譯方法

《紅樓夢(mèng)》是中國(guó)古典四大名著之一，其語言藝術(shù)達(dá)到了中國(guó)古典小說的最高峰?！都t樓夢(mèng)》兩個(gè)頗具影響力的英譯本為翻譯家楊憲益、戴乃迭(Gladys Yang)合譯的ADreamofRedMansions和英國(guó)漢學(xué)家霍克斯(Hawkes)、閔福德 (Minford)合譯的TheStoryoftheStone。典故是千百年來民族集體智慧之結(jié)晶、悠久文化之瑰寶。《紅樓夢(mèng)》中典故俯拾皆是，散發(fā)著濃郁的人文氣息。在中西文化交流日益頻繁的今天，準(zhǔn)確、恰當(dāng)?shù)胤g《紅樓夢(mèng)》典故，對(duì)于中國(guó)文化的對(duì)外傳播起到一定的促進(jìn)作用。目前《紅樓夢(mèng)》典故翻譯研究主要集中在翻譯目的論、闡釋學(xué)、功能翻譯理論以及語用學(xué)角度，而從文化視角進(jìn)行的研究相對(duì)較少。鑒于此，本文對(duì)楊譯本和霍譯本進(jìn)行對(duì)比研究，探討《紅樓夢(mèng)》歷史典故、神話傳說以及文學(xué)典故的翻譯方法，旨在再現(xiàn)典故中的文化內(nèi)涵。

人的本質(zhì)屬性是一切社會(huì)關(guān)系總和，個(gè)人的生存與發(fā)展總是離不開一定的社會(huì)環(huán)境。由于中西方文化淵源不同，因而在價(jià)值觀念、家族觀念、思維方式、生活方式、風(fēng)俗習(xí)慣等方面存在很大的差異。生活在不同國(guó)家中的人們，其生活經(jīng)歷必然受到各自文化的影響和熏陶，往往對(duì)于同一個(gè)典故產(chǎn)生不同的聯(lián)想意義。為了使譯文讀者對(duì)于《紅樓夢(mèng)》中的典故產(chǎn)生與原作讀者相同的聯(lián)想意義，翻譯時(shí)應(yīng)該盡可能再現(xiàn)典故中的文化內(nèi)涵，根據(jù)具體情況，使用直譯、意譯、意譯加注以及增譯等翻譯方法。

一 歷史典故的翻譯

例1：什么“好話”！宋徽宗的鷹，趙子昂的馬，都是好畫。什么“喜事”！狀元痘兒灌的漿兒又滿是喜事。(《紅樓夢(mèng)》第四十六回)

譯文A：What’s all this talk of “good news” and “good fortune”? No wonder, though. (楊憲益、戴乃迭譯)[1]

譯文B：She shouted, pointing at her angrily. “Wonderful news” indeed! (Hawkes譯)[1]

宋徽宗和趙子昂都是中國(guó)古代著名歷史人物。宋徽宗既是一代國(guó)君，又是著名的畫家和書法家。趙子昂是元代杰出的藝術(shù)家，善篆、隸、真、行、草書，尤以楷、行書著稱于世。譯文A和B 沒有對(duì)這兩個(gè)人物的姓名進(jìn)行翻譯，因而未能傳達(dá)其中的文化內(nèi)涵，筆者建議把“宋徽宗的鷹，趙子昂的馬，都是好畫”譯成“The ‘hawk’ by Song Huizong, a famous painter, calligrapher and the emperor of Song Dynasty(1100-1125), is a good painting; the ‘horse’ by Zhao Ziang，a great artist in Yuan Dynasty, is a good painting too”。然后加上說明“In Chinese ‘good painting’ and ‘good news’ sound identical”。

例2：阿房宮，三百里，住不下金陵一個(gè)史。(《紅樓夢(mèng)》第四回)

譯文A：Vast O Pang Palace, Fit for a king, Isn’t fine enough For the Shis of Jinling(楊憲益、戴乃迭譯)[1]

譯文B：The Ah-bang Palace Scrapes the sky, But it could not house The Nanking Shi. (Hawkes譯)[2]

阿房宮是秦代重要的宮殿建筑遺址，位于陜西西安阿房村。宮殿前殿建于始皇三十五年(公元前212年)，全部工程至秦亡時(shí)猶未完成，故未正式命名，時(shí)人因其前殿所在的地名為阿房，故稱“阿房宮”。規(guī)模極為宏達(dá)，“東西五百步，南北五十丈，上可以坐萬人，下可以建五丈旗”(《史記·秦始皇本紀(jì)》)。秦亡，為項(xiàng)羽所焚毀。譯文A把“阿房宮”譯成Vast O Pang Palace，譯文B則譯成The Ah-bang Palace scrapes the sky。譯文A強(qiáng)調(diào)阿房宮占地面積之大，譯文B則強(qiáng)調(diào)阿房宮高聳入云的特點(diǎn)，但是阿房宮建于哪個(gè)朝代？哪個(gè)地方？現(xiàn)在是否依然保存完好？這些信息未能表達(dá)清楚。在翻譯《紅樓夢(mèng)》中有關(guān)名勝古跡的術(shù)語時(shí)，如果對(duì)地理、歷史方面的知識(shí)做詳細(xì)的交代，則能吸引廣大的外國(guó)游客，有利于促進(jìn)涉外旅游業(yè)的蓬勃發(fā)展和中西文化之間的進(jìn)一步交流。筆者建議把“阿房宮”譯成The vast O Pang Palace scrapes the sky，然后加上注釋：Built in O Pang village of Xi’an, in 212 BC of Qin Dynasty, it was an unfinished project. After Qin Dynasty was overthrown, it was burnt down by the general, Xiang Yu.

例3：寶釵笑道：“原來這叫做‘負(fù)荊請(qǐng)罪’！你們通今博古，才知道‘負(fù)荊請(qǐng)罪’，我不知道什么是‘負(fù)荊請(qǐng)罪’！”一句話還未說完，寶玉黛玉二人心里有病，聽了這話早把臉羞紅了。(《紅樓夢(mèng)》第三十回)

譯文A：“Abject Apologies, is it” retorted Baochai. “You two are the ones well versed in ancient and modern literature, so of course you know all about ‘a(chǎn)bject apologies’—that’s something quite beyond me.” As both Baoyu and Daiyu were conscience-stricken, they immediately blushed. (楊憲益、戴乃迭 譯)[1]

譯文B：“The Abject Apology?” said Bao-chai. “Well, no doubt you clever people know all there is to know about abject apology. I’m afraid it’s something I wouldn’t know about.” Her words touched Bao-yu and Dai-yu on a sensitive spot, and by the time she had finished, they were both blushing hotly with embarrassment. (Hawkes譯)[2]

《史記·廉頗藺相如列傳》記載了“負(fù)荊請(qǐng)罪”的故事。廉頗屢建戰(zhàn)功，不服藺相如以口舌之勞而居上位，欲加凌辱，相如以國(guó)事為重，一再忍辱避讓，“廉頗聞之，肉袒負(fù)荊，因賓客至藺相如門謝罪”。譯文A和譯文B對(duì)“負(fù)荊請(qǐng)罪”這一成語的翻譯基本相同，都采用了意譯的翻譯方法。采用意譯時(shí)，譯者一方面要使譯文讀者能夠深入理解原作的真實(shí)意義(authentic meaning)，另一方面要使譯文明白曉暢、朗朗上口、易于理解。[3]41Abject Apologies和The Abject Apology都可以回譯成“卑賤的道歉”。負(fù)荊請(qǐng)罪這一成語里面蘊(yùn)含的文化內(nèi)涵絕非“卑賤的道歉”所能表達(dá)。在不影響譯文讀者理解的情況下，可以采用直譯，因?yàn)橹弊g能夠“在形式和內(nèi)容上最大限度地忠實(shí)原文”[3]76。筆者建議翻譯成bearing the rod and willingly taking the punishment for wrongdoing。這樣一來，藺相如背著荊條上門真誠(chéng)道歉的歷史畫面立刻展現(xiàn)在譯文讀者的面前。

例4：寶釵笑道：“我說你‘得隴望蜀’呢。我勸你今兒頭一日進(jìn)來，先從園東角門，從老太太起，各處各人你都瞧瞧，問候一聲兒，也不必特意告訴他們說搬進(jìn)園來……”(《紅樓夢(mèng)》第四十八回)

譯文A：“The more you get, the more you want!” chuckled Baochai. “As this is your first day here, I advise you to start by paying your respects to all the ladies in the different apartments outside the Garden’s east gate, beginning with the old lady. You needn’t tell them specially that you’ve moved into the Garden…”(楊憲益、戴乃迭譯)[1]

譯文B：Bao-chai laughed. “You’re like the famous general: ‘one conquest breeds appetite for another. I advise you to take things more gently. Today is your first day in the Garden. If I were you, I should go out of that corner gate and, beginning with Lady Jia’s, call in at all the different apartments and pay your respects to everybody. You needn’t go out of your way to tell them that you have moved into the Garden…”(Hawkes譯)[2]

后漢光武帝劉秀下命令給岑彭：“人苦不知足，既平隴，復(fù)望蜀?！苯趟蕉]右以后領(lǐng)兵南下，攻取西蜀。(《后漢書·岑彭傳》)。后來“得隴望蜀”用來比喻貪得無厭。譯文A和B都采取了意譯的翻譯方法，譯文A所表達(dá)的意思是“你得到的越多，想要得到的就越多”，譯文B回譯成“(你)一次征服取得成功，便渴望著進(jìn)行下一次征服”。盡管兩個(gè)譯文都清楚地表達(dá)了“得隴望蜀”的核心意義，但其文化內(nèi)涵并未得到充分的呈現(xiàn)。相對(duì)主子來說，奴仆的地位低下。香菱“央求”主子寶釵教她作詩(shī)，根本談不上什么“征服”。聯(lián)系這一上下文可以發(fā)現(xiàn)譯文A更加恰當(dāng)。為了使西方讀者更深入地了解“得隴望蜀”的文化內(nèi)涵，筆者建議加上注釋：General Cen Peng should lead his troops southward to attack Xishu, after taking Longyou(around present-day Gansu )。

二 神話、傳說的翻譯

例5：一個(gè)是閬苑仙葩，一個(gè)是美玉無瑕。(《紅樓夢(mèng)》第五回)

譯文A：One is an immortal flower of fairyland, The other fair flawless jade. (楊憲益、戴乃迭譯)[1]

譯文B：One was a flower from paradise, One a pure jade without spot or stain. (Hawkes譯)[2]

閬苑指?jìng)髡f中的神仙住處，常用指宮苑。譯文A采用了直譯的方法，把“閬苑”譯成fairyland(仙境)，譯出了原文中的文化信息，譯文B采用了意譯的方法，把“閬苑”譯成paradise(天堂)，因?yàn)椤疤焯谩笔腔浇逃谜Z，更能為閱讀譯文的西方讀者所理解。兩種譯文都有可取之處，但是基于佛教從印度傳入中國(guó)后，被儒教吸收和融合這一客觀歷史，從文化翻譯角度來看，譯文A比譯文B更加忠實(shí)原文。

例6：因又自嘆道：“若真也葬花，可謂‘東施效顰’，不但不為新特，且更可厭了?！?《紅樓夢(mèng)》第三十回)

譯文A：He wondered in some amusement. “If so, she’s ‘Dong Shi imitating Xi Shi,’ which isn’t original but rather tiresome.”(Note: Xi Shi was a famous beauty in the ancient Kingdom of Yue. Dong Shi was an ugly girl who tried to imitate her ways.) (楊憲益、戴乃迭譯)[1]

譯文B：“Can this be some silly maid come here to bury flowers like Frowner?” he wondered. He was reminded of Zhuang-zi’s story of the beautiful Xi-shi’s ugly neighbor, whose endeavours to imitate the little frown that made Xi-shi captivating produced an aspect so hideous that people ran from her in terror. The recollection of it made him smile. (Hawkes譯)[2]

《莊子·天運(yùn)》：“故西施病心而顰其里，其里之丑人見而美之，歸亦捧心而顰其里。其里之富人見之，堅(jiān)閉門而不出；貧人見之，挈妻子而去之走。彼知顰美而不知顰之所以美?！焙笠蛑^以丑拙學(xué)美好為“效顰”。譯文A和B中首先對(duì)“東施”和“西施”采取了拼音翻譯法。譯文A中“which isn’t original but rather tiresome”采用了意譯方法，并對(duì)“東施”和“西施”進(jìn)行了注釋說明。譯文B中采取了增譯的方法，對(duì)“東施效顰”這一歷史典故的作者、故事情節(jié)等進(jìn)行了詳細(xì)的介紹，對(duì)東施的“效顰”的動(dòng)作進(jìn)行了形象生動(dòng)的描述，讓讀者歷歷在目，達(dá)到了很好的語言表達(dá)效果。

例7：我成日家和人說笑，有個(gè)唐僧取經(jīng)，就有個(gè)白馬來馱他，劉智遠(yuǎn)打天下，就有個(gè)瓜精來送盔甲，有個(gè)鳳丫頭，就有個(gè)你。(《紅樓夢(mèng)》第三十九回)

譯文A：It’s as I always say: When Monk Tripitaka was searching for Buddhist scriptures, a white horse turned up to carry him; when Liu Zhiyuan was fighting for the empire, a melon spirit appeared to give him armour. In the same way, Xifeng has you. (note: Tripitaka is Monk Xuan Zang of the Tang Dynasty; Liu Zhiyuan is King of the Later Han in the Five Dynasties Period.) (楊憲益、戴乃迭譯)[1]

譯文B：I tell them: Just as you can’t imagine a Tripitaka going off to India to fetch the scriptures without his white horse or a Liu Zhi-yuan conquering the Empire without a Spirit of the Melon Fields to give him his armour，so you can’t imagine a Wang Xi-feng without a Patience alongside helping her．(Hawkes譯)[2]

例7中含有兩個(gè)典故。第一個(gè)典故是唐僧西天取經(jīng)的故事。第二個(gè)故事出自《大藏經(jīng)》。對(duì)于第一個(gè)故事，中國(guó)讀者可謂家喻戶曉、婦孺皆知。白龍馬是唐僧的腳力，在他西天取經(jīng)的過程中發(fā)揮了很大的作用。譯文A和B都譯出了“唐僧取經(jīng)”，不同的是，譯文B提到了取經(jīng)的目的地：印度。譯文A對(duì)“唐僧”和“劉志遠(yuǎn)”進(jìn)行了注釋說明，給讀者提供了更多的信息。雖然西方讀者不一定非常了解《西游記》以及《大藏經(jīng)》，但在例7的原文中，有關(guān)唐僧西游的主要目的、白龍馬在《西游記》中起到的主要作用以及瓜精送鎧甲及頭盔給劉志遠(yuǎn)這一情節(jié)描述得非常細(xì)致，因此沒有必要在譯文中再詳細(xì)說明。譯文A和B基本上采用了直譯的方法，把原典故的內(nèi)容、形式、精神都輸入到譯文中，保留了原語形象。

例8：龜呈洛浦之靈，獸作咸池之舞。(《紅樓夢(mèng)》第七十八回)

譯文A：The Divine Tortoise manifests itself in the River Luo, wild beasts dance to the melody Xianchi.(Note: It is said that when the Divine Tortoise showed its back with a magic sign on it, there was peace and prosperity in the world; and when the Xianchi melody composed by the Yellow Emperor was played, all the wild beasts danced to it) (楊憲益、戴乃迭譯)[1]

譯文B：The Luo River turtle brings her his magic offering; to the heavenly music wild beasts gambol and prance. (Hawkes譯)[2]

《易·系辭上》說：“河出圖，洛出書，圣人則之?！眰髡f伏羲氏時(shí)，有龍馬從黃河出現(xiàn)，背負(fù)“河圖”；有神龜從洛水出現(xiàn)，背負(fù)“洛書”。伏羲氏根據(jù)這種“圖”、“書”畫成八卦，這就是《周易》的來源。一說禹治洪水時(shí)，上帝賜給他以《洪范九疇》(《尚書·洪范》)。咸池亦成《大咸》，西周制定的六代舞之一。相傳為堯時(shí)代的樂舞；一說為黃帝所作，堯增修而用之。周代用以祭祀地神(見《周禮·春官·大司樂》，《禮記·樂記》鄭炫注)。譯文B采用了直譯的翻譯方法，未能譯出“神龜負(fù)書”背后的神話故事。譯文A運(yùn)用了直譯加注釋的翻譯方法。譯文A中注釋部分的回譯如下：“據(jù)說當(dāng)神龜?shù)谋成巷@示出具有魔力的符號(hào)時(shí)，會(huì)給世界帶來繁榮與和平；當(dāng)演奏黃帝編制的咸池樂曲時(shí)，百獸隨之跳舞。”從文化傳播角度來看，譯文A比譯文B更勝一籌。

三 文學(xué)典故的翻譯

例9：(寶釵)便笑道：“我看的是李逵罵了宋江，后來又賠不是?！睂氂癖阈Φ溃骸敖憬阃ń癫┕牛贾?，怎么連這一出戲的名字也不知道，就說了這么一串字……”(《紅樓夢(mèng)》第三十回)

譯文A：…smiled at this question. “One was that piece,” she answered, “in which Li Kui abuses Song Jiang and then apologizes.”(Note：From the novel Shui Hu. Li Kui was a peasant rebel. Song Jiang, the leader of the outlaws, was a capitulationist.) Baoyu Laughed. “Why, cousin,” he cried, “Surely you’re sufficiently well versed in ancient and modern literature to know the title of that opera. Why do you have to describe it? … ” (楊憲益、戴乃迭譯)[1]

譯文B：The smiling answer she gave to Dai-yu’s question was therefore not without a touch of malice. “The play I saw was Li Kui Abuses Song Jiang and Afterwards Has to Say He Is Sorry.” Bao-yu langhed. “What a mouthful! Surely, with all your learning, cousin, you must know the proper name of the play…?”(Hawkes譯)[2]

李逵替狄太公捉鬼，殺了狄太公女兒和奸夫王小二。劉太公說他十八歲的女兒被宋江搶去了，李逵到忠義堂扯了杏黃旗，與宋江以頭相賭。經(jīng)查證后發(fā)現(xiàn)宋江是無辜的，李逵負(fù)荊請(qǐng)罪，去牛頭山殺了強(qiáng)盜，救出了劉女。(見《水滸傳》第七十三回)李逵和宋江都是文學(xué)作品《水滸傳》中的人物，為了讓譯文讀者能夠更好地理解寶釵所談?wù)摰膽蚯鷥?nèi)容，翻譯時(shí)必須對(duì)這兩個(gè)人物進(jìn)行注釋。譯文B采用了直譯的翻譯方法，忠實(shí)原文的形式，基本上傳達(dá)了交際的目的。譯文A的注釋對(duì)作品出處以及李逵和宋江所充當(dāng)?shù)纳鐣?huì)角色進(jìn)行了說明，給讀者提供了更多的文化信息。

例10:玉在櫝中求善價(jià)，釵于奩內(nèi)待時(shí)飛。(《紅樓夢(mèng)》第一回)

譯文A：The jade in the box hopes to fetch a good price,The pin in the casket longs to soar on high. (楊憲益、戴乃迭譯)[1]

譯文B：The jewel in the casket bides till one shall come to buy. The jade pin in the drawer hides, waiting its time to fly. (Hawkes譯)[2]

子貢曰：“有美玉于斯，韞櫝而藏諸？”孔子曰：“沽之哉！沽之哉！我待賈者也！”意思是講：有美玉在這里，子貢問：“是藏在櫝里頭，還是找個(gè)識(shí)貨的人來賣掉？”孔子說：“賣掉吧！賣掉吧！我是等待識(shí)貨的人來把它賣掉。”(見《論語·子罕》)在翻譯“玉在櫝中求善價(jià)”這一典故時(shí)，譯文A和B均采用了直譯的翻譯方法，但是這句話是誰在何種情況下說出來的？?jī)蓚€(gè)譯文均未提及。筆者建議加上注釋Zi Gong asked Confucius, “Do we hide our jade in the box or sell it to someone who can recognize its value?” Confucius answered, “Sell it of course. I am just waiting for a good judge to buy it”。

例11：雨荔秋垣，隔院希聞怨笛。(《紅樓夢(mèng)》第七十八回)

譯文A：As rain patters down on the vine-covered wall, one hardly hears fluting from the other court. (楊憲益、戴乃迭譯)[1]

譯文B：Rain wets the wall-fig; a flute’s complaint carries uncertainly from a near-by courtyard. (Hawkes譯)[2]

據(jù)《晉書·向秀傳》記載：向秀、嵇康、呂安三人是摯友。嵇康、呂安被殺后，有一天向秀經(jīng)過這兩人在山陽(yáng)的舊居時(shí)聽到了鄰人的笛聲，向秀頓時(shí)感到神傷。典故“山陽(yáng)聞笛”由此而來。譯文A把“怨笛”譯成fluting(笛聲)，沒有表達(dá)出“怨”字；譯文B譯成a flute’s complaint，從字面意義上看與原文完全吻合，但這兩個(gè)譯文均未回答“笛”聲因何事而“怨”。筆者建議采用譯文B的譯法，再加上注釋：Xiang Xiu, Ji Kang and lv An were talents in the Period of Three Kingdoms, and they were intimate friends. One day after the death of Ji Kang and lv An, Xiang Xiu heard the flute played by their neighbor and was caught in great sadness, as he passed their former residences in Shanyang。

四 結(jié)語

巴斯奈特(Bassnett)指出，譯者應(yīng)以文化為翻譯單位，而不應(yīng)僅僅停留在語篇之上。翻譯不只是一個(gè)簡(jiǎn)單的“譯碼—重組”的過程，更重要的是一種交流的手段。翻譯不應(yīng)局限于對(duì)原語文本的描述，而應(yīng)實(shí)現(xiàn)原文在譯語文化里功能的等值。[4]中國(guó)文化中有許多獨(dú)一無二的內(nèi)容，這些獨(dú)特的方面通常來自與眾不同的中國(guó)宗教、歷史、神話傳說、文學(xué)以及風(fēng)俗。[5]典故是文化的載體，是廣大勞動(dòng)人民在長(zhǎng)期社會(huì)實(shí)踐和人際交往中不斷凝練而成的語言精華，是民族文化的精髓。正如魯迅先生所說，民族的就是世界的。在翻譯《紅樓夢(mèng)》典故時(shí)，不應(yīng)僅僅實(shí)現(xiàn)源語和目標(biāo)語之間字、詞、句形式上的對(duì)等轉(zhuǎn)換，更重要的是傳遞典故所蘊(yùn)涵的文化信息。未能呈現(xiàn)典故文化內(nèi)涵的譯文必然平淡無奇、索然無味，而再現(xiàn)了典故文化內(nèi)涵的譯文一定豐富多彩、耐人尋味。夜觀蒼穹，繁星閃爍，交相輝映；放眼寰球，文化璀璨，共處和諧。在全球化日益不斷加深的今天，隨著中國(guó)的綜合國(guó)力迅速提升，我們一方面應(yīng)該虛心學(xué)習(xí)人類社會(huì)一切先進(jìn)的文化，另一方面更應(yīng)該積極致力于向世界傳播博大精深、歷史悠久的中華文化，為中華民族的偉大復(fù)興和永久屹立于世界民族之林做出應(yīng)有的貢獻(xiàn)。

[1] Yang Xianyi &Gladys Yang.ADreamofRedMansions[M]. Beijing : Foreign Languages Press ,1978～1982.

[2] Hawkes,D.& Minford ,J.TheStoryoftheStone[M]. London : Penguin Books ,1973～1986.

[3]Shuttleworth & Cowie.DictionaryofTranslationStudies[Z]. Shanghai: Shanghai Foreign Language Education Press, 2004.

[4]廖七一.當(dāng)代英國(guó)翻譯理論[M].武漢：湖北教育出版社，2004：362.

[5]馮慶華.紅樓藝壇——《紅樓夢(mèng)》翻譯藝術(shù)研究[M].上海:上海外語教育出版社，2006：146.

(責(zé)任編輯：王學(xué)振)

OntheTranslationofAllusionsinADreamofRedMansions

WANG Xiao-xiang1,TONG He-long2

(1.SchoolofForeignLanguages,ChangzhouCollegeofInformationTechnology,Changzhou213164,China;2.CollegeofForeignLanguages,ShanghaiMaritimeUniversity,Shanghai200135,China)

Allusions are the crystallization of a nation’s wisdom for thousands of years and the treasure of an ancient culture. Allusions are generally classified into three categories, namely, historical allusions, myths and legends, and literary allusions. Culture and allusions are closely associated with and therefore inseparable from each other. Culture is the prerequisite and foundation for the existence of allusions, while allusions are the vehicle and essence of culture and capable of reflecting a certain culture. In the translation of allusions inADreamofRedMansions, not only do we need to achieve the equally formal transformation between the source language and the target language in terms of words, phrases and sentences, but also we should attempt to represent the cultural connotation of allusions. In light of specific conditions, such translation methods as direct translation, indirect translation, indirect translation plus annotation, and amplification translation are adopted.

ADreamofRedMansions; allusions; cultural connotation; translation methods

江蘇省“青藍(lán)工程”

2014-05-07

汪小祥(1977-)，男，安徽懷寧人，常州信息職業(yè)技術(shù)學(xué)院外國(guó)語學(xué)院講師，碩士，研究方向：紅樓夢(mèng)翻譯、世界史；佟和龍(1977-)，男，安徽天長(zhǎng)人，上海外國(guó)語大學(xué)2013級(jí)英語語言文學(xué)方向博士研究生，上海海事大學(xué)外國(guó)語學(xué)院副教授，碩士生導(dǎo)師，研究方向：句法學(xué)。

H315.9

A

1674-5310(2014)-08-0139-06