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文学翻译论文
文学翻译论文

从形合与意合辩证法角度观古诗翻译策略

(潘静20084033042 英语师范三班)

摘要:形合( hypotaxis ) 和意合(parataxis)是英语和汉语篇章组织的常用手段,也是英汉两种语言的重要区别所在。本文提出应当运用哲学中的辩证法原理看待语言中的形合与意合,真正做到学术研究全面、客观、严谨以及科学。一方面,要重视句子及其以下层面的语言特点:英语侧重形合,汉语侧重意合;另一方面,更要研究英汉语的意合与形合在句子层面以上(段落、篇章)所具备的不同作用:英语篇章使用词汇手段等意合组织方式,而汉语篇章中则采用重复和骈偶等形合手段【1】。本文利用对《枫桥夜泊》这首古诗的英译研究分析,强调辩证地、动态地看待英汉语中的形意合问题,改进汉语古诗翻译策略,使译作体现并契合原诗作者的思想与内容,使译作读者明白并理解原诗的内涵与文化。

关键词:形合意合辩证法古诗翻译

Abstract: The very common means of English and Chinese discourse are hypotactic and paratactic, as well as the important differences. This paper argues that hypotaxis and parataxis in a language should be researched in a dialectic way. Only in this way, can academic research become more complete and objective. On the one hand, our attention should be paid to the characteristics of English and Chinese sentences and structures below the sentences leve l–English is more hypotactic while Chinese is more paratactic. On the other hand, it is very important and necessary to study the different functions of hypotactic and paratactic structures at the level of paragraphs in the two languages. Lexically paratactic structures are often found in English paragraphs, and hypotactic structures in the form of repetition and parallelism are frequently employed in Chinese. The author attaches the high importance to research languages in a dialectic way by the analysis of Mooring at night by Maple Bridge. So that we can find some strategies about the poem translation and make the successful exchange of two kinds of people with various background.

Key words: hypotaxis, parataxis, dialectic way, poem translation

1.引文

形合与意合是英汉对比研究和翻译理论研究的重要课题之一,也是英汉语篇组织的重要手段之一。所谓形合就是依仗形式(包括词的变化形态,词汇的衔接等)将语言符号由“散”(个体的词)到“集”(组织乃至语篇)的语言组织手段,具有外显性和刚性;而意合则是依仗意义,即内在的逻辑关系组织语言的手段,具有内隐性和柔性。

形合是组词造句的外在逻辑形式,意合则是遣词造句的内在认知事理【2】。

著名学者奈达在其Translating Meaning (1983年)一书中指出,就汉英语而言,也许在语言学中的一个最重要的区别,即形意合之对比。我国许多学者对此也进行了认真的研究,其中刘宓庆先生认为:形合和意合两种手段通常存在于一种语言当中,但是二者的作用绝不是等量奇观的。许多语言都表现出各自的侧重点:英语以形合见长,结构紧密,注重显性连接(overt cohesion),以形显义,注重句子形式;汉语以意合见长,行文散漫,注重隐性连贯(covert coherence),以神统形,注重逻辑事理顺序,注重功能、意义【3】。从英汉语的短语和句子结构来分析,“英语侧重形合,汉语侧重意合”这样的结论高度概括了两种语言的特点,具有普遍意义。

2.动态、辩证化的翻译策略

但是,随着研究的深入与研究视界的扩展,有不少学者发现,如果在语言研究与应用的过程中,有的人直接将这句话片面理解为“英语是形合语言,汉语是意合语言”,因此在翻译实践中直接套用这样的规律:英译汉即是形合变意合,汉译英则是一个逆过程。这样的理解过于片面化,绝对化,是极为不科学的。只有运用哲学中的辩证法来辩证地动态地看待这一问题,一分为二,具体问题具体分析,才不会犯片面化、绝对化的错误。

由此可见,英汉语种形合与意合的应用包含了丰富的辩证法:在一般情况下,形合与意合是对立地存在于英汉语当中的,只是在一定语境中,其功能又会发生变化【1】。具体来说,形合与意合的研究须包括两个层面:句子及句子以下(词组、单词)与句子以上(段落、篇章)。

从上面表格我们可以看出,英汉语在不同研究层面上的形合、意合侧重程度是有差异性的。英语形合为主,意合为辅;形合主要出现在句内,意合主要出现在篇中;汉语以意合为主,形合为辅;意合用于句中,形合出现在篇里【1】。因此,在讨论翻译策略时,我们不可以将其绝对化、公式化。翻译有法,但法无定法。也就是说翻译策略是有规律可循的,但是没有绝对化、公式化的规律。辩证法突破了形合和意合研究的局限性,也为英汉/汉英翻译研究提供了新思路。即英汉语在不同层面的形、意合侧重程度差异造成了汉英翻译中的独特技巧:增译和减译。英译汉可能会增加某些东西,但绝对必须减掉一些东西;汉译英时可能会减掉某些东西上,但是绝对会增加一些东西【4】。

+ 汉语表达的篇中格式

—英语表达的句内形式

英语汉语

+英语表达的句内形式(英语形合)

—汉语表达的篇中格式

3.运用动态、辩证化翻译策略进行古诗翻译

诗歌翻译别是一家。提“别”字在于诗歌翻译离不开创造性思维和高超的艺术手段。众所周知,诗歌是语言高度浓缩、形神兼备的艺术品。因此,诗歌中词汇容量大,文化内涵十分丰富,艺术风格独特,具有形式美、音韵美、意境美等特征。为达到翻译“忠实”和“达意”的基本翻译要求,运用前面所阐述的动态、辩证翻译策略,可使译诗达到形神兼备的境界。现以意境清远、情景交融的唐诗《枫桥夜泊》这首诗歌作为个案分析,具体分析古诗英译的相关策略。

枫桥夜泊

原文:月落乌啼霜满天,江枫渔火对愁眠。

姑苏城外寒山寺,夜半钟声到客船。

Mooring by Maple Bridge at night

译文一:The moon goes down, crows cry under the frosty sky;

Dimly lit fishing boats’ neath maples sadly lie.

Beyond the Gusu walls the Temple of Cold Hill;

Rings bell which reach my boat,breaking the midnight still.

(许渊冲,1998:224)

译文二:Anchored at Night Near Maple Bridge

The old moon is going down

And the crows make a ruckus

The world is covered with forest

There are maples on the riverbank

And the lights of fishing boats

Drift with the current

I fall into a sad sleep

跨行成句The monastery on Cold Mountain

It is outside the town of Gusu

The sound of its bell

Touches the guestboat at midnight

(王守义,约翰·诺弗尔合译)诗中描写了苏州城外江边的夜景:在逐渐西沉的残月下,天空布满了秋霜,耳边偶尔传来一两声乌鹊的啼鸣;在朦胧的夜色中,江边上的枫树只见黑黢黢的树影,江中的渔火在雾气茫茫中闪烁,这两种景色的对峙勾起了诗人的羁旅之思;附近寒山寺传来低沉而悠长的夜半钟声使诗人的乡愁更加深沉【5】。

A.从句子及句子以下的层面上来说,汉语诗歌注重意义连接,即使只是一堆名词堆砌在一块,也可以产生美的意境,产生新鲜的意义,让人产生无限的遐想。古诗英译增加了英语形合层面上而在汉语诗歌中隐含的东西。比如说:许译本中动词的三人称单数形式(goes),名词复数形式,形容词副词形式(dimly),全部倒装(第三小句),定语从句等汉语中缺省但是却隐含在古诗当中的信息;王诺合译本中的过去分词,动词的现在进行时,被动语态等等形式连接。(意合变形合,增译)英语中这些显性形式,给人带来了悠长的美感,正如汉语诗歌意义衔接上所带来的朦胧美、含蓄美。

B.从整个篇章结构来看,这两个译本在形式上均是以诗译诗,所不同的是,许译本用的是格律体,而王诺合译本当中运用的则是自由体。两首诗均突破了汉语诗歌的格式,减掉了诗歌篇章上的形合,转化为一种符合英译诗习惯的格式。王诺合译本比许译本突破的程度更大一些,采取了跨行成句和“and”这个连接词来进行篇章意义的衔接。(形合化意合,减译)不过这种减译的程度是有限的,是有其自身的存在条件。

从以上的分析,我们同样可以推断:在汉译诗当中,减掉英语中的形式连接时必定发生的,而增加一些汉语篇章上的形式却是可能发生的。(也许不需要增加汉语篇章衔接上的形合)

4.结语

根据对《枫桥夜泊》英译诗的句子及句子以下层面和句子以上层面辩证的分析,动态地看待这两个层面上的形合与意合存在程度,从而打开古诗英译的新思路。具体层面具体分析,不能一刀切、一把抓。什么时候要运用减译增译技巧,什么时候不需要,这个度的把握是极为重要的。一个优秀的译者应当对这些问题做到心中有数,胸有成竹,从而将整个语篇完整地成功地将其内容、内涵表达出来。

5.参考文献

【1】郭富强.形合与意合的辩证法及翻译策略【J】.中国科技翻译,2004,(2)

【2】王力.中国语法理论【M】.

【3】连淑能.英汉对比研究【M】.北京:高等教育出版社,1993:53

【4】潘文国.汉英语对比纲要【M】.北京:北京语言大学出版社,2003:336

【5】催永禄.文学翻译佳作对比赏析【M】.南开大学出版社,2000:503

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