第三节

原作意象通感美的再现

文学作品的意象美往往表现为通感美，即视觉美、听觉美等相互融合，带给读者一种新的审美体验。译者要充分发挥译语的表达力，力求再现原作意象的通感美，使译文栩栩如生，富于诗情画意。《红楼梦》第十八回描写皇妃元春归省巡游大观园，宝玉、黛玉等人题诗助兴。宝玉赋诗三首——《有凤来仪》、《蘅芷清芬》和《春夜即事》，描绘了大观园幽静清凉的环境和优美迷人的景色，作品充分运用了通感手法，原诗和译文如下：

秀玉初成实，堪宜待凤凰。竿竿清欲滴，个个绿生凉。

迸砌妨阶水，穿帘碍鼎香。莫摇清碎影，好梦昼初长。

《有凤来仪》

The fruit fresh formed on jade stalks rare

Makes for the phoenix fitting fare；

So green each stem they seem to drip

With coolness seeping from each verdant tip．

Bursting through stones，they change the water's track；

Piercing through screens，hold tripod's incense back；

Let none disturb these chequered shades，

That sweetly she may dream till daylight fades．

（杨宪益译）

Perfected now at last，this place is fit

For Bird of Paradise to enter it．

Each graceful wand lets fall a dewy tear；

Each glossy leaf breathes coolness on the air．

Through narrowparted blocks the pent stream leaps；

Through chinks of blind the incense thinly seeps．

Let none the checkered shade with violence rude

Disrupting，on the slumberer's dreams intrude．

（霍克斯译）

原诗首联意思是新鲜的竹实正好是凤凰的美食，霍译Perfected now at last，this place is fit/For Bird of Paradise to enter it对原文理解有误，杨译The fruit fresh formed on jade stalks rare/Makes for the phoenix fitting fare准确地传达了原文的含义，fruit、fresh、formed、fitting、fare形成头韵，富于音美。原诗第二联运用通感手法描写秀竹的翠绿带给人的心理感受，“竿竿清欲滴”描写了绿竹的鲜艳色彩和昂然生机，“个个绿生凉”描绘了大观园中竹林茂密、绿荫浓浓的清凉怡人的环境，与《有凤来仪对联》中“宝鼎茶闲烟尚绿，幽窗棋罢指犹凉”有异曲同工之妙。杨译So green each stem they seem to drip/With coolness seeping from each verdant tip用seem to drip准确地传达了这种心理感受，green stem、verdant tip和首联中的jade stalks描绘了秀竹的形状和色彩，富于视觉美。drip、seeping、tip形成谐韵[i]，与“滴”的韵母读音相近，具有音美。霍译Each graceful wand lets fall a dewy tear/Each glossy leaf breathes coolness on the air．用lets fall把“欲滴”带给人的心理感受变成了实际发生的事情。

原诗第三联意思是长在台阶上的竹根防止了水珠滴在石阶上四处溅射，门前的竹枝挡住了鼎香向帘外飘散，间接含蓄地描写了水珠轻滴的声音和从鼎炉飘出的幽幽香气，使读者如听其声，如闻其香。原诗含蓄地描绘了秀竹的茂密繁盛。冯其庸《红楼梦》校注本再版序解释为“竹子长得茂密，既挡住了阶下泉水不使溅上阶沿，又留住了鼎炉香烟不使穿帘散去”。霍译Through narrowparted blocks the pent stream leaps/Through chinks of blind the incense thinly seeps．用动词leaps、seeps比杨译Bursting through stones，they change the water's track/Piercing through screens，hold tripod's incense back中的change、hold back更具有动态美。原诗第四联意思是请微风不要摇散竹影，甜蜜的美梦还刚刚开头，杨译Let none disturb these chequered shades，/That sweetly she may dream till daylight fades用sweetly准确地传达了原诗浪漫温馨的氛围，霍译Let none the checkered shade with violence rude/Disrupting，on the slumberer's dreams intrude！中的violence rude、disrupting、intrude与原诗宁静安详的气氛不相吻合。

蘅芜满静苑，萝薜助芬芳。软衬三春草，柔拖一缕香。

轻烟迷曲径，冷翠滴回廊。谁谓“池塘”曲，谢家幽梦长。

（《蘅芷清芬》）

Alpinia fills the courtyard free from dust，

By climbing fig its fragrance reinforced；

Softly they heighten the fresh green of spring

Gently they trail their perfume，ring on ring．

A light mist hides the winding path from view，

From covered walks drips chill and verdant dew．

But who will celebrate the pool in song？

Lost in a dream，at peace，the poet sleeps long．

（杨宪益译）

Fragrance of flowerdrifts in these quiet confines

Mingles with headier scents of eglantines，

And summer's herbs in a soft，spicy bed

Their aromatic perfumes subtly spread．

Light mist half screens the winding walks from view，

Where chilly verdure soaks the clothes with dew．

Here，slumbering quiet at the fountain's side，

The dreaming poet all day long may bide．

（霍克斯译）

原诗描写了大观园里蘅芷、萝薜等香草的色彩和芬芳。首联，于舟先生解释为“蘅芜香草长满了宁静的亭苑，女萝、薜荔牵藤引蔓，缠绕其间，仿佛更增加了它们的芬芳”。杨译Alpinia fills the courtyard free from dust/By climbing fig its fragrance reinforced中fills、reinforced不够形象，霍译Fragrance of flowerdrifts in these quiet confines/Mingles with headier scents of eglantines把fragrance of flower放在句首，用drifts、mingles准确地再现了原诗所描绘的花木的芳香四溢。原诗第二联描写柔软的藤蔓像缭绕的轻烟曲折延伸，“满”、“助”、“衬”、“拖”、“迷”、“湿”生动地描绘了大观园花草繁盛、芳香悠长的醉人景象和优美环境。杨译Softly they heighten the fresh green of spring中heighten比较抽象，霍译summer's herbs in a soft，spicy bed用soft、spicy bed描绘了花草的柔软、芬芳和茂盛，再现了原诗意象的触觉美和嗅觉美。杨译Gently they trail their perfume，ring on ring用trail…ring on ring准确地传达了“柔拖一缕香”的含义，ring on ring与green of spring构成谐韵。霍译Their aromatic perfumes subtly spread中subtly、spread与第三行的summer、soft、spicy形成头韵，富于音美。

原诗第三联中“轻烟迷曲径”描写大观园里藤蔓缠绕延伸，似轻烟缭绕，林中小径蜿蜒，掩映其间，霍译Light mist half screens the winding walks from view中half screens比杨译A light mist hides the winding path from view的hides更生动地再现了林中曲径在藤蔓的掩映下若隐若现的画面。“冷翠湿衣裳”描写冰凉的露水带给人的寒意，霍译Where chilly verdure soaks the clothes with dew比杨译From covered walks drips chill and verdant dew更贴近原文的含义。原诗第四联隐含了南北朝诗人谢灵运梦中得佳句“池塘生春草”的典故，蔡义江《红楼梦诗词曲赋评注》解释道：“谁说只有写过‘池塘生春草’名句的谢灵运才有触发诗兴的好梦呢？”霍译Here，slumbering quiet at the fountain's side/The dreaming poet all day long may bide和杨译But who will celebrate the pool in song？/Lost in a dream，at peace，the poet sleeps long都没有完全准确地传达出原诗的含义。

霞绡云幄任铺陈，隔巷蟆更听未真。

枕上轻寒窗外雨，眼前春色梦中人。

盈盈烛泪因谁泣，点点花愁为我嗔。

自是小鬟骄懒惯，拥衾不耐笑言频。

（《春夜即事》）

The walls flaunt hangings as sunset clouds

To muffle the frogs' croaking in the lane；

The rain outside the window chills my pillow，

This vision of spring seems like the girl of my dreams．

The candle sheds slow tearsfor whom？

The blossoms fall as if reproaching me；

My maids are indolent from long indulgence；

Wearied by their laughter and prattle，I snuggle down in my quilt．

（杨宪益译）

Behind silk hangings，in warm quilts cocooned，

His ears half doubt the frogs' first muted sound．

Rain at his window strikes，the pillow' s cold；

Yet to the sleeper's eyes spring dreams unfold．

Why does the candle shed its waxen tears？

Why on each flower do angry drops appear？

By uncouth din of giggling maids distressed

He burrows deeper in his silken nest．

（霍克斯译）

贾宝玉《四时即事诗》描绘了大观园里春夏秋冬四季的景色，表现了其贵族少爷的生活情趣。原诗为其中的咏春篇，贾宝玉在大观园这“温柔富贵乡”里每天“或读书，或写字，或弹琴下棋，作画吟诗，以至描鸾刺凤，斗草簪花，低吟悄唱，拆字猜谜，无所不至，倒也十分快意”。他躺在温暖舒适的被窝里，听着窗外淅淅沥沥的春雨，沉醉于无尽的春梦之中。朱红色的帐幔像彩云晚霞般鲜艳，让他感到温暖，然而春寒料峭，绵绵春雨又让他感到一丝寒意。在《红楼梦》中“红”含义丰富，既喻指荣华富贵，也暗示男女之情。贾宝玉作为多情的“怡红公子”与林黛玉等人有着剪不断理还乱的恋情，“盈盈烛泪因谁泣，点点花愁为我嗔”细腻地刻画了他的多情善感。原诗首联，蔡义江先生解释为“任凭锦被铺着，秀帐挂着，深夜中隔巷更鼓之声已隐约可闻，但自己并无睡意”。

第一行，杨译The walls flaunt hangings as sunset clouds用sunset clouds传达出了“霞绡云幄”的视觉美，霍译Behind silk hangings，in warm quilts cocooned中warm quilts与第三行中的the pillow's cold传达出了霞绡云幄的温暖舒适与绵绵春雨带给人的寒意之间的对比，介词behind、in忠实地再现了“任铺陈”所表现的静态画面，cocoon作动词，意思是cover or wrap sth in any soft protective covering（Oxford Advanced Learner's Dictionary of Contemporary English），霍译用cocoon的被动语态，生动地表现了贾宝玉偎蜷在温暖的被窝里的那种慵懒的形象。第二行，杨译To muffle the frogs' croaking in the lane中croaking一词在英语中有不祥、凶兆的含义，与原诗浪漫温馨的气氛不相吻合，霍译His ears half doubt the frogs' first muted sound用half doubt、first muted sound准确地表达了“隔巷蟆更”带给人的隐约可闻的感觉。

原诗第二、三联描写在春寒料峭的雨夜，贾宝玉触景生情，眼前仿佛出现了林黛玉的形象，她娇弱柔美，多愁善感，常常郁郁寡欢，以泪洗面，那“盈盈烛泪”就好像是她落下的泪花。“点点花愁”好像是她在嗔怪自己，在贾宝玉眼中，林黛玉的一颦一笑、或嗔或喜都是那么迷人，让读者联想到《红楼梦》第三回对警幻仙姑的描写（“出没花间兮，宜嗔宜喜”），冯其庸解释为“无论是生气还是高兴，都使人感到美。《西厢记》第一折也有：‘我见他宜嗔宜喜春风面。’”这里涉及诗歌的隔与不隔，诗歌的意象美不是纯粹的绘画美或音乐美，而是意境美。意境是意象与情感相互交融所产生的一种艺术氛围。意象与情趣相融才能产生意境，意象与情趣分离则有象无境，在原诗中“霞绡云幄”、“隔巷蟆更”、“窗外雨”、“盈盈烛泪”、“点点花愁”等意象与其所表现的“听未真”、“眼前春色梦中人”、“因谁泣”、“为我嗔”等情趣融为一体，达到了意境的不隔。

杨译The rain outside the window chills my pillow/This vision of spring seems like the girl of my dreams/The candle sheds slow tearsfor whom？/The blossoms fall as if reproaching me用第一人称my、me和问句for whom？虚拟式as if reproaching me传达出了贾宝玉作为多情公子的心理感受，再现了原诗物我一体、情景交融的艺术意境，reproaching准确地传达了“嗔”的情感含义。杨译忠实地保留了原诗的拟人手法（以烛泪比人泪，以花比人），再现了原诗意境的不隔，霍译Rain at his window strikes，the pillow's cold/Yet to the sleeper's eyes spring dreams unfold用第三人称his，成了一种对客观场景的描写，没有传达出人物的内心感受，在艺术感染力上不如杨译。Why does the candle shed its waxen tears？/Why on each flower do angry drops appear？中waxen tears只是对物（烛泪）的描写，angry没有传达出“嗔”的情感含义。霍译没有再现出原诗所表现的人与物、情与景的交融，把原诗意境的不隔变成了隔。