四大古典小说名著ppt

null第四章 四大古典小说名著第四章 四大古典小说名著Contents:Contents:第一节 《红楼梦》选段英译 第二节 《三国演义》选段英译 第三节 《西游记》选段英译 第四节 《水浒传》选段英译GoGoGoGo 第四章 汉语四大古典小说名著选段英译 第四章 汉语四大古典小说名著选段英译翻译四大古典小说名著，至少有三大难题：语言文字、文化和文学艺术。如前所述，四大古典小说名著并不是古代汉语材料，严格地说，都是用浅近的古代汉语写成的，虽然都夹杂着古奥的古代汉语成分。尽管如此，四大古典小说名著的语言文字与现代汉语的语言文字还是有很大差距的。四大古典小说名著的语言文字与现代汉语语言文字的差距还不是翻译的最大障碍，翻译四大古典小说名著的最大障碍是小说所涉及的文化。四大古典小说名著既涉及共时文化也涉及历时文化。所谓共时文化就是小说成书时的中国文化，所谓历时文化就是书中涉及与小说赖以为背景的在小说成书之前到成书之时的中国历史文化。这些文化包括姓名文化、职官文化、器物文化、建筑文化、园林文化、医药文化、地理文化、民俗文化、语言文字文化、文学艺术文化、各种宗教文化等。null另外作者的艺术手法也是翻译的一大难题。四大古典小说名著之所以在中国家喻户晓、妇孺皆知，之所以不断地被翻译成各种文字介绍到世界各地，除了集中反映中国古代文化因而充满魅力之外，艺术手法出神入化也是重大原因之一。例如《红楼梦》它从一问世就不断有人探索，有人研究，以致出现了“红学”，而且还分成了旧红学、新红学、现代红学等许多流派。但无论分成多少流派，无论大家再研究多少年，总还有探索与研究的空间，总会有新的发现，新的收获。研究是全方位的，包括对小说的作者、续书的作者、脂评中的评论者、小说人物和现实人物的关系、曹氏家史、贾氏家史和曹氏家史的关系的索隐，然而这部小说的艺术魅力无疑是研究的一个重点。例如，该书的对称结构，一干多枝情节布局，前文伏笔、后文交代接榫方式，人物姓名、语言、诗词歌赋都与情节相关联的手法等，都创下了我国古典小说之最。而且，文学作品的艺术性又有赖于它的语言和它赖以生存的文化。因此，翻译四大古典小说名著，就不仅仅是翻译，而且是研究了。  研究四大古典小说名著的人很多，有中国人也有外国人，有些人可以说研究了一辈子如研究《红楼梦》的俞平伯、冯其庸、周汝昌等。他们研究的问题很多，涉及的领域也十分辽阔，研究也非常富有深度。《红楼梦》与《三国演义》的版本问题就有不少人研究过，例如刘世德先生对《三国演义》版本的研究。关于《三国演义》版本问题，刘世德先生在为北京燕山出版社出版的《三国演义》所写的《前言》中认为，《三国演义》的版本很多，细说起来颇费周章，“简单地说来，分为四个系统。第一、第二系统是二百四十节本。第三、第四系统则是一百二十回本。  “第一系统包括嘉靖本、周曰校本、夷白堂本、夏震宇本等。在作者罗贯中的署名上，它们都冠有‘后学’二字。每段都有一个单句的‘节目’。大多载有庸愚子（蒋大器）和修髯子（张尚德）的序文。有的分为二十卷（每卷十节），有的分为十二卷（每卷二十节）。早期的嘉靖本、周曰校本的书名叫作《三国志通俗演义》。  “第二系统不妨称为‘闵刊本’，包括余象斗本、‘评林’本、熊清波本、郑少垣本、杨起元本、郑世容本、刘龙田本、笈邮斋本、杨美生本、熊佛贵本、黄正甫本、美玉堂本、刘荣吾本、‘合像’本、朱鼎臣本、王泗源本、熊成治本、‘汤学士校正’本、魏某‘二刻’本等。它们绝大多数刊行于万历年间，而且都在第一系统的周曰校本之后。刊印的地点都在福建，而且基本上集中于建阳一地。它们分全书为二十卷，上图下文，基本上以《三国志传》为书名。在故事上，绝大多数插增了关索出身、入川的情节。   “第三系统为李卓吾评本、锺伯敬评本、李笠翁（渔）评本。它们开始把二百四十节本改造为一百二十回本。李卓吾评本不分卷，刊行于明末，包括吴观明本、宝翰楼本、绿荫堂本、藜光楼植楠堂本等。钟伯敬评本分为二十卷，刊行于明末。李笠翁评本分为二十四卷，刊行于清初，包括芥子园本、两衡堂本、遗香堂本等。李卓吾本和闽刊本有一定的血缘关系。李卓吾评本、钟伯敬评本出现于毛评本之前。李笠翁评本则出现于毛评本之后。   “第四系统由多种的毛评本组成。全书共分为六十卷，每卷两回。评者为毛纶、毛宗岗（1632-1709）父子二人。他们对底本（一种比较接近于罗贯中原本的版本）的许多地方进行了增删与修饰。卷首的凡例十条详细地介绍了他们的改动之处。他们还对全书和各回的文字进行了细致的评点。毛评本刊行于康熙年间。现知最早的刊本为醉耕堂本。其后的覆刻本以及各种派生本甚多。毛评本成为清代以来最流行的《三国志演义》版本。它的出现，扩大了《三国志演义》的传播范围，使《三国志演义》拥有了更多的读者。”null其他三种古典小说名著也都有版本问题，例如《红楼梦》的版本，同《三国演义》的一样，也非常复杂，限于篇幅，难以详细介绍。在进行翻译教学中适当地讲授四大古典小说名著选段英译，当然不会要求学生像专家们那样对之进行十分详尽的研究，我们之所以以《三国演义》的版本研究为例介绍一点这些书的研究情况目的在于提醒大家，今后如果有机会或者自己有兴趣从事四大古典小说名著翻译时，要适当地对之进行研究，要适当地参考专家们的研究成果。由于下面的翻译是课堂教学翻译，而且主要是针对英语专业本科生的，我们将主要研究所译段落的语言文字及其含义，适当地介绍一点有关段落所涉及的文化知识、作者的艺术手法和有关专家的研究成果。    第一节《红楼梦》选段英译第一节《红楼梦》选段英译  《红楼梦》是一本奇书，据周汝昌（2003）称，全书应为108回，分为两大扇，每扇54回。每9回为一个大段落，全书共12个大段落，前后两扇各含6个大段落。全书取对称结构。因此书的前二十四回有许多伏笔，前后接榫相当严密。用9和12这两个数字是受了中国传统文化的影响，奇数为阳，偶数为阴。用108是受到了《水浒传》108将的影响。全书写108位脂粉英雄，即108位历尽苦难、命运悲惨的女子，与《水浒传》中的108位绿林好汉相对应。根据这个思路去推测，周汝昌认为，现在通行的《红楼梦》中虽然只谈到“金陵十二钗”以及宝玉在“薄命司”见到的“正册”、“副册”、“又副册”，其实各册均有十二钗，一共应有9册，108钗（一说共5册，60钗）。当然，这仅是一种推测，没有证据。然而，《红楼梦》在结构、层次、伏线的安排上的确具有很高的艺术性，前半部分的每一个字都和后半部分的结局相呼应，这一点，可以说毋庸置疑。  周汝昌等专家们还认为，《红楼梦》的主旨不在于描写三角恋爱，从某种意义上说是纪实文学，是稗官野史，主要写作者曹雪芹家族在清代康、雍、乾三朝的兴衰史，尤其是作者亲身经历的曹家由于与皇室沾亲带故而兴隆，由于受到皇室内部的相互倾轧、受到“胜者为王败者为寇”的牵连，两度遭到抄没家产的打击以致一蹶不振的兴衰史。但作者受到“为寇”者的牵连，迫于“为王”者的政治压力，不能秉笔直书，只能“将真事隐去，而借‘通灵’说此《石头记》一书”。null因此，书中的许多人物都有原型，书中的许多地名也多有所指，书中的宁、荣两府，书中的“大观园”及园中的许多建筑多源于历史真实，书中的许多器皿、许多药方，也少有虚构，该书所描写的许多事件更是基于作者的亲身经历。因此，要想读懂《红楼梦》就必须了解一点清代康、雍、乾三朝的时局及各种事变，了解一点曹家与康、雍、乾三代帝王及其政敌之间的关系，了解一点曹家的兴衰史，对照曹家兴衰与贾家兴衰以了解二者之间的关系。  《红楼梦》既涉及中国清代的历史文化，也涉及清代以前的历史文化。清代是我国的一个特殊历史时期，由少数民族满族入主中原。满族在入主中原前后虽然也受到了中原文化的影响，但也有自己的民族文化。在与大明王朝逐鹿中原的过程中、在入主中原后的相当长的一段时间内，满族文化虽然逐渐与中原文化融合，但其本身的文化特色并没有完全消融。研读《红楼梦》如对满族文化一无所知，就很难读懂。null另外，《红楼梦》中还有大量的中国传统文化，例如中国的儒家文化、道教文化和虽从印度引进但已经本土化了的佛教文化等等。还有，清代的康、雍、乾虽是清王朝的鼎盛时期，但由于当时西方已经历了工业革命和文艺复兴的洗礼，中国也已经出现了资本主义萌芽，而这个时期，由于当权者继续推行和巩固和大明王朝逐鹿中原时曾发挥过积极作用的八旗，许多弊端已经显露出来。满清王朝实际上已成了一个外面看上去虽未尽倒、内底子却也尽上来了的注定要灭亡的朝代，大厦将倾，无可挽回。《红楼梦》全书和书中的许多描写都要结合这些情况来理解。  《红楼梦》是我国的文学艺术瑰宝。除上面所说的精心安排的对称结构、将真事隐去用假语村言演绎历史事实外，曹雪芹笔下的人物的姓氏排行、雅名俗称、言谈举止、诗词歌赋、社会交往甚至活动空间都完全符合人物的身份和人物的必然要走向悲剧结局的命运。  《红楼梦》的版本也颇为复杂，游国恩、王起等（1964）认为，《红楼梦》的版本可分为两大系统。“一是八十回抄本系统，题名《石头记》，大都附有脂砚斋评语。曹雪芹逝世前的抄本，已发现的有三种，即‘脂砚斋甲戌本’（1754）、‘已卯本’（1759）、‘庚辰本’（1760），都是残本。其中‘庚辰本’较完整，只缺两回。这些抄本因为离曹雪芹写作年代较近，所以比较接近原稿。此外重要的脂本还有：甲辰本（1784）、已酉本（1789）和一九一二年有正书局石印的‘戚蓼生序本’。”第二系统的主要版本有“乾隆五十六年（1781）程伟元排印本， 是‘程甲本’，第二年（1792）程伟元又在第一版的基础上有所增删，再度排印，这是‘程乙本’。此后还有许多版本出现，但都和程本相近。null现在我们常见的两个本子，一种是一九五五年文学古籍刊行社影印的《脂砚斋重评石头记》，它主要根据‘脂砚斋庚辰本’。另一种是一九五九年人民文学出版社出版的《红楼梦》，它主要根据‘程乙本’。”刘世德在为北京燕山出版社出版的《红楼梦》所写的前言中说，还有一个系统，他称之为混合系统，即脂本的八十回加上后人续的四十回混合在一起的版本。null《红楼梦》之所以有八十回本和一百二十回本，之所以有《石头记》、《金陵十二钗》、《情僧录》、《风月宝鉴》、《红楼梦》等书名，是因为曹雪芹只完成了该书的前八十回（一说是前七十八回，一说后四十回有过草稿，但没有来得及定稿就遗失了）就因贫病交加而英年早逝了。这是历史的遗憾，无法挽回。为使读者获得一部完整的书，高鹗续写了四十回（也有人认为，后四十回是一位不知名的作者所续，程伟元、高鹗只作了些搜集整理工作），构成一百二十回。《红楼梦》在成书过程中，曹雪芹本人对书稿进行了多次修改，修改过程中吸收了朋友们的建议，有的朋友还为书稿增添了评语甚至补写了少量情节。  如前所述，我们不打算详尽地介绍专家学者们对《红楼梦》的研究，也不打算引导学生去深入钻研。本节从《红楼梦》中选取15段原文，其中5段用于本书，10段用于。对本书所选用的5段原文中的涉及语言文化的问题，适当地予以阐释，然后提供两种现成译文，附上笔者的试笔。    4.1.1 此开卷第一回也。作者自云曾历过一番梦幻之后，故将真事隐去，而借“通灵”说此《石头记》一书也；故曰“甄士隐”云云。但书中所记何事何人？——自己又云：“今风尘碌碌，一事无成，忽念及当日所有之女子，一一细考较去，觉其行止见识皆出我之上；我堂堂须眉，诚不若彼钗裙；我实愧则有余，悔又无益，大无可如何之日也！当此日，欲将以往所赖天恩祖德，锦衣纨裤之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以至今日一事无成、半生潦倒之罪，编述一集以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳亭花，更觉润人笔墨；我虽不学无文，又何妨用假语村言，敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？故曰‘贾雨村’云云。……”  这段原文人民文学本有，燕山本无。有人认为本段为曹雪芹本人所写，旨在叙述自己写书的缘由，也有人认为它是脂砚斋的批语。但不管是曹雪芹写的还是出自脂砚斋的笔端，这一段确实交待了作者的写书缘由和写书的方法。因此这段文字对理解《红楼梦》极为重要。这里所说的曾历过一番梦幻是作者的隐笔，因为紧接着的将真事隐去，而借‘通灵’说此《石头记》一书就足以说明，作者是在经世历劫之后，感慨良多而萌发写作念头的。null至于写书的主旨，根据本段文字，是因为作者感到闺阁中历历有人，而这些人的行止见识皆出我之上，自己则是个背父兄教育之恩，负师友规训之德以致一事无成、半生潦倒的人，没有什么东西值得记述的，而且写书还会暴露自己的种种不端行为，但又不能因为写书会暴露自己的罪愆而埋没了这些女子。因此，处境虽然极端艰难，作者还是决心将她们写出来。如果单从《红楼梦》来看，似乎的确如此。但如果将贾家的兴衰际遇与曹家的兴衰际遇联系起来，似乎另有其解。如果真的如有些专家所认为的，贾宝玉为群芳之首，那么，千红一窟（哭），万艳同杯（悲）都是围绕贾宝玉发生的。或者说得更清楚一点，都是围绕曹家的两度沉沦发生的。旨在写群芳乎？旨在写宝玉乎？旨在写贾府兴衰乎？旨在写曹氏兴衰乎？可能是明修栈道，暗渡陈仓。  翻译本段有两大难处。第一是原文不少地方使用了骈俪句式，使用了四字格，难以译成英语，勉强翻译出来，原文的风格气势将丧失殆尽；第二是谐音双关如甄士隐与真事隐去，贾雨村与假语村言。如果处理不当，就有亏于作者的意旨和写作艺术。本段选配了杨宪益夫妇的译文，Hawkes和Minsford（Hawkes译前八十会，Minsford译后四十回，下文提到的《前言》实际上是Hawkes一人写的）没有正式翻译这一段，但译本《前言》中有一段文字基本上可视为本段的译文，由于这个缘故，下面也引用了。由于Hawkes翻译的是前八十回，Minsford翻译的是后四十回，我们的例子都选自前八十回，所以在下面采用他们的译文时，只注明Hawkes译。    4.1.2 This is the opening chapter of the novel. In writing this story of the Stone the author wanted to record certain of his past dreams and illusions, but he tried to hide the true facts of his experience by using the allegory of the jade of “Spiritual Understanding.” Hence his recourse to names like Chen Shih-yin. But what are the events recorded in this book, and who are the characters? About this he said:null“In this busy, dusty world, having accomplished nothing, I suddenly recalled all the girls I had known, considering each in turn, and it dawned on me that all of them surpassed me in behavior and understanding; that I, shameful to say, for all my masculine dignity, fell short of the gentler sex. But since this could never be remedied, it was no use regretting it. There was really nothing to be done.null“I decided then to make known to all how I, though dressed in silks and delicately nurtured thanks to the Imperial favor and my ancestors’ virtue, had nevertheless ignored the kindly guidance of my elders as well as the good advice of teachers and friends, with the result that I had wasted half my life and not acquired a single skill. But no matter how unforgivable my crimes, I must not let all the lovely girls I have known pass into oblivion through my wickedness or my desire to hide my shortcomings.null“Though my home is now a thatched cottage with matting windows, earthen stove and rope-bed, this shall not stop me from laying bare my heart. Indeed, the morning breeze, the dew of night, the willows by my steps and the flowers in my courtyard inspire me to wield my brush. Though I have little learning or literary talent, what does it matter if I tell a tale in rustic language to leave a record of all those lovely girls. This should divert readers too and help distract them from their cares. That is why I use the other name Chia Yu-tsun.” (Translated by Yang Hsien-yi and Gladys Yang)  杨宪益夫妇是红学家，也是著名的翻译家。他们的译文酣畅淋漓，用地道的英语说出了一位中国伟大文学家的心声。他们翻译例4.1.1时有如下一些特点。1）原文为一个自然段，译文分为四个自然段，虽改变了原文的语篇结构，但符合英语的行文规范；2）原文353个汉字，译文339个单词；原文357个字符，译文1524个字符，如果计算空格，有1860个字符，因此译文在篇幅上远远长于原文；3）原文在作者又云之后加了引号，译文也加了引号；但译文将作者所云的内容的三个层次译成了三个段落，虽改变了原文的语篇结构，原文的意义层次却更为清晰；4）译文在翻译甄士隐和贾雨村这两个人名时使用了威妥玛式拼音（全书同），没有使用汉语拼音，目的可能是为了方便英语读者，但结果是与用汉语拼音拼译汉语人名地名的通行做法相抵牾；5）两位译者在处理甄士隐与真事隐去、贾雨村与假语村言这两个谐音双关时感到棘手，没有采用增加译文的办法予以处理，而是增加了注释（笔者未引，下同）；6）译文虽然对语篇结构有所调整，但在词句层面上基本上是字对字、句对句的翻译，基本上不增不减，可能是受了“信、达、雅”理论的影响。因此，许多评论家都认为杨宪益夫妇翻译《红楼梦》，基本上采用的是异化译法。    4.1.3 … But he also tells us the book originally grew out of his brother’s desire to write something about the numerous girls who had surrounded him in his youth. ‘Who are the characters in this book,’ he asks, ‘and what was the author’s motive in writing it?’ He answers the question by quoting Cao Xueqin’s own words:   Having made an utter failure of my life, I found myself one day, in the midst of my poverty and wretchedness, thinking about the female companions of my youth. As I went over them one by one, examining and comparing them in my mind’s eye, it suddenly came over me that those slips of girls – which is all they were then – were in every way, both morally and intellectually, superior to the ‘grave and mustachioed signior’ I am now supposed to have become. The realization brought with it an overpowering sense of shame and remorse, and for a while I was plunged in the deepest despair. nullThere and then I resolved to make a record of all the recollections of those days I could muster – those golden days when I dressed in silk and ate delicately, when we still nestled in the protecting shadow of the Ancestors and Heaven still smiled on us. I resolved to tell the world how, in defiance of all my family’s attempts to bring me up properly and all the warnings and advice of my friends, I had brought myself to this present wretched state, in which, having frittered away half a lifetime, I find myself without a single skill with which I could earn a decent living. I resolved that, however unsightly my own shortcomings might be, I must not, for the sake of keeping them hid, allow those wonderful girls to pass into oblivion without a memorial.null Reminders of my poverty were all about me: the thatched roof, the wicker lattices, the string beds, the crockery stove. But these did not need to be an impediment to the workings of the imagination. Indeed, the beauties of nature outside my door – the morning breeze, the evening dew, the flowers and trees of my garden – were a positive encouragement to write. I might lack learning and literary aptitude, but what was to prevent me from turning it all into a story and writing it in the vernacular? In this way the memorial to my beloved girls could at one and the same time serve as a source of harmless entertainment and as a warning to those who were in the same predicament as myself but who were still in need of awakening. (Translated by David Hawkes)  上面的译文摘自Hawkes为他和Minsford所译的The Story of the Stone一书所写的前言，严格地说，不是翻译。从引文可以看出，他将“此开卷第一回也。作者自云……”一段看成了脂砚斋的批语，并将曹雪芹看成是脂砚斋的兄弟。从引文以及后面的翻译可以看出，Hawkes翻译《红楼梦》时多采用归化译法，许多地方甩开了原文的层结构和表层意义，按照自己的理解，按照自己认为的英语读者的写作与阅读习惯，下笔抒词。至于贾雨村、甄士隐这两个人物姓名与假语村言和真事隐去之间的关系，干脆略去不译，而将假语村言说成是vernacular。假语村言虽含有vernacular的意思，但重心在一个假字上，因而其真正的意思是说明作者用小说写生活、写经历，托石兄之名，说雪芹之实。null因此假语村言是作者写作目的、写作策略、写作方法的一部分。我们不主张讨论翻译损失，因为对不懂汉语的英语读者来说，无所谓损失可言，但译文与原文的差异是必须指出的，也是翻译研究和翻译批评始终关注的。另外，Hawkes和Minsford翻译时，将全书分成五卷，第一卷的书名为The Golden Days，因此上面的引文中出现了the golden days。    4.1.4 This is the first chapter of the novel, in which the author says, having experienced the life of dreams and illusions, he would like to write a book entitled The Story of the Stone by concealing the true facts and shamming the spirited jade, hence a character named Zhen Shiyin, meaning concealing the true facts. But who and what events will the book depict? To the question, the author adds: “Engaged as I have been in worldly trivial matters, I have accomplished nothing. Reflecting on all the girls I have made acquaintance with by examining them one by one scrupulously, I come to realize that they are all superior to me in knowledge and conduct. A man of dignity, I should fall behind the weaker sex. nullExtremely ashamed, I feel useless regretting and about this, nothing could be done! On such an occasion, I would like to compile a book about my misconducts. In the past, thanks to the imperial favor and my ancestors’ contributions to the empire, I was dressed in silk and fed up with precious food. However, having failed to follow my parents’ advice and teachers’ guidance, I have made no achievements though gray-haired already. With the book, I would like to let the world know that an impossible as I am, the girls in the world of the gentle sex are worthy mentioning. nullI would not like to let them go into oblivion through my reluctance to describe them, though the description would reveal my misconducts and shortcomings as well. Living in a thatched house with bare furnishing would not suffocate my ambition. In addition, the gentle breeze in the morning and the tender moon at night, the willows by the steps and the flowers in the yard, will all provide sources of inspiration. I am not a man of letters, nor am I expert at story writing. However, if I describe the events in fictional language as popular with villagers, so that girls can pass on the book among themselves to while away the time or the book may serve as a warning for the men with the turn of mind similar to mine, isn’t it a right thing to do? Hence another character named Jia Yucun, meaning the fictional language as popular with villagers. …”   拙译篇幅上长于杨译，但与杨译有几处不同。1）拙译和原文一样没有分段，因而没有改变原文的语篇结构；2）使用汉语拼音翻译人名；3）用the life of dreams and illusions点明了作者将自己的亲身经历说成了梦幻；用spirited jade翻译通灵，意在说明通灵是通灵宝玉的省略；用misconduct翻译罪，考虑到罪在古汉语里常用来指行为不端，而且书中的贾宝玉也没有犯过罪，只是行为不端而已，可能还是事出有因。是否是因为曹家由于卷入了政治漩涡吃尽了苦头而再也不愿卷入了？3）用增加说明性译文的办法译出了甄士隐与真事隐去、贾雨村与假语村言的谐音双关。就翻译手法而言，拙译既不象杨氏夫妇那样较多地采用异化译法，也不象Hawkes那样纯粹采用归化译法，只是对某些细节进行了删节或调整。例如，将原文的第一句和第二句翻译成一个句子，中间加了in which，使它们的意义衔接起来，对原文中某些修饰性词语做了淡化处理等。    4.1.5 却说封肃听见公差传唤，忙出来陪笑启问，那些人只嚷：“快请甄爷出来！”封肃忙陪笑道：“小人姓封，并不姓甄；只有当日小婿姓甄，今已出家一二年了。不知可是问他？”那些公人道：“我们也不知什么‘真’‘假’，既是你的女婿，就带了你去禀太爷便了。”大家把封肃推拥而去，封家各各惊慌，不知何事。    这是第二回的开头一段。有关情节可大致简述如下。贾雨村有一次在甄士隐家无意中看到了他家的丫头娇杏，而娇杏出于好奇看到雨村后又回头多看了两眼，雨村因此将娇杏误认为是红尘知己。后来士隐遭受火灾及随之而来的其他一些打击后看破红尘而出家，将妻子连同丫头娇杏留在丈人封肃家里。此间，雨村由于得到士隐的资助得以进京赶考，金榜得中，官授本县太爷。赴任的路上在轿中看到了封肃门口的娇杏，认为士隐就在封家，因而派人叫士隐到县衙去，名为谢恩，实为找他索要娇杏为妾（后来雨村娶了娇杏，雨村的正室去世，娇杏遂成了雨村夫人）。这段文字说明，雨村非常势利，本应亲自前来拜谢恩人，却派衙役前来召唤。另外，曹雪芹在为有关人物命名时大量使用谐音双关，并利用谐音双关为事件的未来情节埋下伏笔，如封肃者风俗也，意为俗人一个；娇杏者侥幸也，因为偶因一回顾，便从丫头一跃而成为雨村夫人。这段文字的翻译难点在于甄、真谐音，真、假反义，且谐音与反义相关联。此处的真、假与假作真时真亦假，无为有处有还无相关联，道出《红楼梦》一书的真真假假、假假真真的隐实手法。    4.1.6 Hearing the hubbub at his gate, Feng Su hurried out to see what the messengers wanted. “Ask Mr. Chen to come out,” they bawled. “Be quick about it.” “My name is Feng, not Chen,” he answered with an ingratiating smile. “My son-in-law’s name is Chen, but he left home a year or two ago to become a priest. Is he the man you want?” “How would we know? We’re here on the prefect’s orders. If you’re his father-in-law, you must come and clear this up with His Honor to save us another trip.” Giving Feng Su no chance to protest they dragged him off, while his whole household trembled, not knowing what this portended. (Translated by Yang Hsien-yi and Gladys Yang)  杨译根据英语行文习惯，改变了原文的语篇结构，将它译成了两段叙事中之夹三段对话的三明治式的英语语篇，但没有在正文中翻译甄、真谐音，真、假反义以及二者之间的关联，而是用增加注释的方法予以说明。    4.1.7 Hearing the clamor of yamen runners outside, Feng Su hurried to the door, his face wreathed in smiles, to ask what they wanted. ‘Tell Mr Zhen to step outside,’ they were shouting. ‘Hurry!’ Feng Su’s smile became even more ingratiating. ‘My name is Feng, not Zhen. My son-in-law’s name is Zhen, but he left home to become a Taoist more than a year ago. Could he be the one you want?’ ‘ “Feng” or “Zhen”, it’s all the same to us,’ said the runner; ‘but if you’re his father-in-law you’d better come along with us to see the magistrate.’ And they hustled him off, leaving the entire household in a state of panic, quite at a loss to know what the trouble could be. (Translated by David Hawkes)  Hawkes也改变了原文的语篇结构，将原文译成了三段，将对话与叙事交错在三段之中。他也没有译出甄、真谐音，真、假反义及其关联，但巧妙地使用了“Feng” or “Zhen”, it’s all the same to us的表达方法，使英语读者一看就懂。    4.1.8 On hearing being summoned by messengers from the prefect, Feng Su answered the door hurriedly with a smile to see why the summon, but the comers yelled: “Please let Lord Zhen out!” With an ingratiating smile, Feng Su replied: “My humble surname is Feng, not Zhen. However, my son-in-law’s surname is Zhen. But he became a monk one or two years ago. Is he wanted?” The messengers shouted: “We are not sure whether it is Zhen (literally meaning true) or Jia (literally meaning false) that is wanted. Since your son-in-law’s surname is Zhen, we will take you to His Honor, the prefect.” Then they dragged the old man away, leaving the family in panic without knowing what would happen.  拙译用增加译文的方式翻译甄、真谐音，真、假反义及其关联，但比较罗嗦，影响阅读，因而不够理想。另外，我的翻译采用的是叙事形式，没有改变原文的语篇结构，因而离写作较远。另外，杨氏夫妇将出家译为become a priest，Hawkes译成了become a Taoist，我译成了became a monk。如译成become a holy man也许会有利于避免这种尴尬。    4.1.9 却说雨村慌回头看时，不是别人，乃是当日同僚一案参革的张如圭；他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。    这是第三回的开头几句话。此时雨村被革职后在黛玉家当黛玉的老师。雨村谋求起复需要找人帮忙，恰好黛玉的父亲林如海是贾政的妹夫，她母亲新近逝世，黛玉在家中无人照料，她父亲正要将黛玉送往姥姥家即贾府代为关照。于是，便安排了船，写好了信，让雨村同黛玉一道进京。这一笔双管齐下，一方面贾雨村与贾府联系上了，有了攀龙附凤的机会，为日后的扶摇直上埋下了伏笔；另一方面也为黛玉进入贾府与宝玉结下深厚情谊埋下了伏笔。黛玉比宝钗早一步进入贾府，理应先入为主，最后却败下阵来。因此，黛玉此时进京带有一点跌宕起伏的色彩。另外，据有些评论家说，贾雨村在贾府倒台的问题上，起了重要的推波助澜的作用，表演了一个恩将仇报的角色，这是后话，但本段描写是这一情节的伏线。    4.1.10 To continue. Yu-tsun turned and saw that it was Chang Jukuei, a native of this place and his former colleague who had also been dismissed from his post for the same reason as himself, and had returned home to Yangchow. Now there was word from the capital that a request for the reinstatement of former officials had been sanctioned, and he was busily pulling strings to find some opening. He congratulated Yu-tsun the instant he saw him and lost no time, once greetings had been exchanged, in telling him the good news. (Translated by Yang Hsien-yi and Gladys Yang)  如前所述，这是《红楼梦》第三回的开头一段。我国的古代章回小说，有许多源于稗官野史，源于说唱文学，因此每回开头时常有话说、却说、上回说到等字样。《红楼梦》虽不源于稗官野史，但却保留了话说、却说等章回小说的开头形式。为此，杨译在每章开篇时常常使用to continue。    4.1.11 When Yun-cun turned to look, he was surprised to see that it was Zhang Ru-gui, a former colleague who had been cashiered at the same time and for the same reason as himself. Zhang Ru-gui was a native of these parts, and had been living at home since his dismissal. Having just wormed out the information that a motion put forward in the capital for the reinstatement of ex-officials had been approved, he had been dashing about ever since, pulling strings and soliciting help from potential backers, and was engaged in this activity when he unexpectedly ran into Yu-cun. Hence the tone of his greeting. (Translated by David Hawkes)  Hawkes的翻译较多地遵从英语行文习惯以便利英语读者，因而没有译出却说，在翻译奏准起复旧员时使用了motion和approved，用soliciting help from potential backers翻译寻情找门路，用Hence the tone of his greeting来翻译故忙道喜等，都是英语读者喜闻乐见的。  4.1.12 Turning his head, Yucun saw no one else but Zhang Rugui, dismissed from his post in the same case. A native of the place who had stayed at home since his dismissal and obtained information from the capital that the reinstatement of former officials had been sanctioned, Zhang Rugui was looking for help with his reinstatement. Upon his running into the latter accidentally, he lost no time to extend his congratulations to Yucun.  拙译非常接近Hawkes的翻译，用dismissed from his post in the same case翻译同案参革的似乎更接近于原文，译文也更为简洁，用upon his running into the latter accidentally, he lost no time to extend his congratulations to Yucun翻译故忙道喜，都是严格按照原文行事的。另外，我将描写张如圭的情况的文字译成了从属成分，而将寻情找门路作为句子的主要成分译出，实际上是对上述两种信息做了轻重不同的处理。    4.1.13 却说黛玉同姐妹们至王夫人处，见王夫人和兄嫂处的来使计议家务，又说姨母家遭人命官司等语；因见王夫人事情冗杂，姐妹们遂出来，至寡嫂李氏房中来了。    这是《红楼梦》第四回的开头一段。第三回中林黛玉已进了贾府，第四回主要描写贾家的亲戚皇商薛蟠因贪恋女色，在去京城的路上遇到了甄士隐丢失的女儿英莲（谐音应怜），便要强行购买。原来英莲被拐子拐去之后，已经长成了一个出挑的小姑娘。在薛蟠之前已被冯渊（谐音逢冤）买去，只等择日迎娶。但人贩子又将她卖给了薛蟠，因而引发了两个买主之间的争斗。争斗中，薛蟠指使家奴打死冯渊。接着是贾雨村审案，引出了护官符以及贾雨村徇情枉法等情节。这里的王夫人指贾政的正室夫人王氏，她的哥哥是王子腾，执掌朝廷兵权。姨妈指薛姨妈即薛蟠的母亲。李氏即李纨（字宫裁，名和字都与女红有关），宝玉的哥哥宝珠之妻。此时宝珠已经逝世，李氏孀居。作者总体上是站在叙事人(narrator)的角度进行叙述的，但兄嫂处显然是站在王夫人的角度说的，姨母家的说法表明叙事人已占到宝玉的角度。  第四回是《红楼梦》的重要一回，作者巧妙地借用“护官符”点出了贾、薛、史、王四大家族的权势富奢、他们之间的裙带