文學(xué)相關(guān)外文翻譯---由石頭離開引發(fā)的開端——論《紅樓夢(mèng)》的敘事結(jié)構(gòu)的起源藝術(shù)

1、<p><b>　　中文2250字</b></p><p>　　英文文獻(xiàn)資料（要求達(dá)到2000字）</p><p>　　Beginnings and Departures:</p><p>　　——the dream of the red chamber</p><p>　　Yao Huashi</p&g

2、t;<p>　?。╓ake Forest University）</p><p>　　Abstract: Chapter One of the Dream of the Red Chamber (Honglou meng)consists of a series of beginnings or “false starts” as one critic has characterized them.

3、 The first of three narrative episodes which make up the prologue casts the protagonist’s mythic origin in the primordial past. </p><p>　　Key words: the beginning, innovation ,vestige of tradition</p>

4、<p>　　A brief summary of the familiar story runs as follows. In order to repair a leaky sky, the goddess Nüwa moulds 36, 501 five-colored rocks. In the end she finds use for only 36,500 of them. Having become

5、sentient and quasianthropomorphic, the supernumerary rock is despondent over his rejection. One day, while lamenting his misfortune, Stone sees a Buddhist monk and a Daoist prelate approaching and overhears them reminisc

6、ing about the prosperity of the sublunary world. Stone is sorely tempted to p</p><p>　　An immense time span separates the first episode from the next. Eons have passed before a Daoist named Vanitas chances u

7、pon Stone, who has since returned to the ethereal world. Or rather, the Daoist finds a rock bearing an inscription of Stone’s earthly sojourn; hence the original title of the novel, the Story of the Stone.5 After perusin

8、g it, the Daoist acknowledges to Stone, author of the inscribed tale, that it indeed has some interest, but he maintains that it is also seriously flawed. Despi</p><p>　　Vestige of Tradition or Sign of Innov

9、ation</p><p>　　Despite its exceedingly complex nature, scholars are curiously indifferent to the beginning of the Dream of the Red Chamber. Instead, they are fixated on the missing part — the ending — of the

10、 novel, looking for clues and hints in every conceivable place. A review of the scholarly and critical literature on the novel reveals few studies of the novel’s extraordinary beginning. In a way, that is only to be expe

11、cted. The prospect of “ completing” the novel in some way, or even figuring out its over</p><p>　　The absence of critical attention to the beginning of the novel can also be attributed to other factors, some

12、 of them ideological. Critics in mainland China dismiss the mythic elements of the Dream of the Red Chamber as dregs of a “ feudal” belief system, choosing to emphasize realistic elements instead.Expatriate scholars such

13、 as Zhao Gang hold that the allegorical elements in the Dream of the Red Chamber result from the influence of its commentator Zhiyan Zhai.8 Still others, Yu Pingbo and Wu </p><p>　　These stories are obviousl

14、y too superstitious to be convincing. They are hardly relevant to the central theme of the novel or to other stories. Even if they are well written, so many of them must be boring to any reader; and the great space they

15、occupy in the last forty chapters does little justice to the novel or to its reader. They look like grotesque buildings artificially scattered on one-third of a well-designed garden, neither serving any useful purpose or

16、 adding any pleasant sight for the</p><p>　　“It has their inordinate length…] their lack of faith in the interestingness of the everyday world, leading to the conviction that a realistic story must necessari

17、ly be set in a supernatural framework. It has the storyteller’s tendency to put far more art into the technique of the individual séance or chapter, than into the construction of the work as a whole. It has the same

18、 moralizing tendency; for as I have said, Chinese fiction is always on the defensive — is always, with an eye on official </p><p>　　According to Waley, what makes the Dream of the Red Chamber such a mileston

19、e in Chinese literature is its realism. Waley asserts that all realistic novels are autobiographical. Following Hu Shi’s lead, Waley asserts that Cao Xueqin’s innovation lies in modeling his characters upon himself and h

20、is family. Indeed, only by using a “ rigid framework imposed by tradition” is Cao able to prevent himself from committing “ the error of transcribing with too careful a fidelity the monotonies of actual li</p><

21、;p>　　To Waley, then, the beginning is paradoxically a shortcoming as well as an asset. However, the novel’s debt to tradition appears rather modest if one examines the Honglou meng carefully. The Dream of the Red Cham

22、ber departs from convention at the very outset in conspicuously lacking the customary prefatory poem and its attendant prose commentary.14 Even such a full-fledged literary work as The Scholars preserves the entire tradi

23、tional opening sequence. However, the oral residues in the Dream of </p><p>　　英文文獻(xiàn)中文翻譯（要求達(dá)到2000字）</p><p>　　來源：維克森林大學(xué)新西蘭雜志亞洲研究七</p><p>　　作者：姚華士（維克森林大學(xué)）</p><p>　　出版社：YILI

24、 PEOPLE’S PRESS</p><p>　　出版時(shí)間：2005年6月</p><p>　　由石頭離開引發(fā)的開端——論《紅樓夢(mèng)》的敘事結(jié)構(gòu)的起源藝術(shù)</p><p>　　姚華士（維克森林大學(xué)）</p><p>　　摘要：紅樓夢(mèng)第一章由一系列開端，或者說“假托”組成，就像一個(gè)評(píng)論家在表述。前三段的故事情節(jié)，為主角虛構(gòu)了遠(yuǎn)古時(shí)期他的神奇的來

25、源。下面探討一下這個(gè)讓人疑惑的小說開頭。</p><p>　　關(guān)鍵詞：開端，傳統(tǒng)延續(xù)，革新</p><p>　　為了修補(bǔ)有漏洞的蒼天，天神女媧鑄造了36501塊5色巖石。最后，她只使用了其中的36500塊。由于石頭已經(jīng)具有靈性，它對(duì)于自己被遺棄感到非常沮喪。一天，當(dāng)石頭對(duì)自己的不幸哀嘆不已，它看到一個(gè)和尚和道士走過來，并無意中聽到他們回憶起紅塵的榮華富貴。石頭被這兩個(gè)人生動(dòng)描繪的俗世浮華景

26、象所深深吸引，它急切地想體驗(yàn)一下其中的樂趣，于是它請(qǐng)求他們將它也帶到人世。因無意中引誘了石頭去凡間走一遭的欲望，和尚和道士試圖警告他俗世的繁華是短暫和虛幻的。但石頭一心只想著要去人世體驗(yàn)一番，他們的話就如隨風(fēng)過隙。接下來的故事，恰當(dāng)?shù)卣f，是整本小說，就是石頭離開天上后發(fā)生的事情。 </p><p>　　第一個(gè)情節(jié)與以后的故事相差的時(shí)間跨度很大。當(dāng)空空道人遇見已回到天上的石頭時(shí)，已經(jīng)過去很多時(shí)代了。更確切地說，道士

27、看到了石頭背后刻著文字才辨認(rèn)出了這塊就是曾經(jīng)由他攜帶入塵世的頑石，因?yàn)檫@些文字詳細(xì)地講述了石頭在塵世的際遇。因此，小說原來的書名是《石頭記》。細(xì)讀之后，道士認(rèn)為寫下故事的作者，石頭以及石頭上的故事確實(shí)有些趣味，但他同時(shí)認(rèn)為，它也有大的缺陷和不足。盡管如此，空空道人還是同意抄錄這個(gè)故事。這個(gè)情節(jié)，轉(zhuǎn)錄了石頭和道士之間對(duì)這個(gè)故事的文學(xué)價(jià)值和不足之處的長(zhǎng)篇討論，將一塊身心俱疲的石頭作為故事的出發(fā)點(diǎn)而形成的重要的敘事傳統(tǒng)。有鑒于此，本節(jié)在隨后的

28、討論中將著重這一部分。在序言第三部分也就是是最后一個(gè)情節(jié)中，一系列人物被牽引出來，其中包括窮困的文人賈雨村。通過他，人世和天上的故事巧妙地被鏈接起來。</p><p>　　傳統(tǒng)的延續(xù)，創(chuàng)新的標(biāo)志</p><p>　　盡管開頭很復(fù)雜，學(xué)者們卻難以置信地忽略了《紅樓夢(mèng)》的開頭。相反，他們關(guān)注小說的缺失部分，即結(jié)尾，期望從可能的地方找到線索和提示?；仡櫼幌卵芯考t樓夢(mèng)的研究文獻(xiàn)，我們可以看到，研究

29、其與眾不同開頭的文獻(xiàn)很少。在某種意義上說，這是我們可以預(yù)料的。在某種程度上對(duì)于“完成”小說來說，人們情不自禁地想要找出它的整體設(shè)計(jì)的前景。隨著研究的不斷發(fā)展新的理論不斷提出，有一些看起來似乎比以前的更有說服力。誠(chéng)然，故事的意義在一定程度上取決于它的結(jié)尾。如果沒有結(jié)尾，對(duì)小說的評(píng)價(jià)將變得更困難。 </p><p>　　缺乏對(duì)小說開頭的必要關(guān)注還有一些其它的因素，其中不乏意識(shí)形態(tài)的原因。中國(guó)大陸的評(píng)論家將《紅樓夢(mèng)》中

30、的神話作為封建意識(shí)形態(tài)的糟粕而將其剔除，轉(zhuǎn)而側(cè)重其中的現(xiàn)實(shí)基礎(chǔ)。移居國(guó)外的學(xué)者，譬如趙鋼則認(rèn)為《紅樓夢(mèng)》中的寓言來源于它的評(píng)論者脂硯齋對(duì)其批注的影響。然而，研究者中的俞平伯和吳石昌，在原本中去掉了神化類的框架，他們把這些看作是被小說的第一版編者高鶚篡改的。吳石川提到這些故事明顯過于迷信，不能相信。它們與小說的中心思想和其他故事幾乎沒有關(guān)系。即使這些故事寫得很好，但太過于繁雜，任何一個(gè)讀者都會(huì)厭煩；在最后四十章中，它們占據(jù)大量的篇幅，這對(duì)

31、小說本身和讀者閱讀來說，都是極其不合理的。它們看起來像分散在一座精致花園的三分之一處奇怪的人工建筑，既不是為了實(shí)用的目的，也不能令游者更悅目。其他一些評(píng)論家則將小說的開頭看作作品的文學(xué)因襲。老漢學(xué)家阿瑟瓦利在王持成翻譯的《紅樓夢(mèng)》英文版中評(píng)論說該小說把它的框架和中國(guó)的敘事傳統(tǒng)聯(lián)系在一起。瓦利首先注意到，控制中國(guó)文學(xué)和書面語(yǔ)言的歷史上的等級(jí)。在這種等級(jí)中，儒家教義排在最上面，而小說則最底下。因此，為了能夠獲得更多的尊敬，作者在他作品的白話

32、敘事中添加一些說教的框</p><p>　　根據(jù)瓦利的觀點(diǎn)，使《紅樓夢(mèng)》成為中國(guó)文學(xué)一個(gè)里程碑最主要是它的現(xiàn)實(shí)主義因素。瓦利稱，所有現(xiàn)實(shí)主義小說都是自傳性的。在借鑒胡適關(guān)于曹雪芹的考證說瓦利提出曹雪芹的創(chuàng)新來源于他自己和他的家庭，據(jù)此他高于現(xiàn)實(shí)，站在文學(xué)的高度擬寫故事情節(jié)和塑造人物形象。事實(shí)上，曹雪芹只有用“因襲傳統(tǒng)的硬性框架”才能避免犯下小心翼翼地轉(zhuǎn)錄現(xiàn)實(shí)的枯燥生活的錯(cuò)誤。瓦利對(duì)于故事的開頭有個(gè)似非而是的評(píng)價(jià)是

33、開頭是缺陷，也是好的。不過，如果誰仔細(xì)看過《紅樓夢(mèng)》，那么應(yīng)該不難發(fā)現(xiàn)該小說對(duì)傳統(tǒng)的背離還是比較適中的?！都t樓夢(mèng)》每章開頭缺少序詩(shī)，結(jié)尾缺少散文評(píng)論，這明顯地與以往的傳統(tǒng)相異。即使這樣一個(gè)完全成熟的文學(xué)作品還只是剛剛拉開了整個(gè)傳統(tǒng)故事框架的開放的序幕，我們可以看到，紅樓夢(mèng)中的口頭語(yǔ)微乎其微。他們只限于保留傳統(tǒng)框架和一些口頭故事的術(shù)語(yǔ)。不過，正如我想說的，該框架提出了這樣一個(gè)根本不同的目的，即它不再是話本傳統(tǒng)的倒退。</p>