摘要
《红楼梦》的艺术成就在中国小说史上如壁立千仞,令人高山仰止。堪称中华民族传统文化大观园的《红楼梦》,是从中华民族开始到清朝中叶为止持续了四千多年的中国传统文化的结晶。就文化形态来说,诗、词、曲、赋、歌、赞、诔、匾额、对联、尺牍、谜语、笑话、酒令、说书、百戏、雕刻、泥塑、参禅、测字、占卜、医药、饮食、服饰、园林建筑等,应有尽有。没有深厚丰富的文化积累,读不通读不透《红楼梦》,也做不好《红楼梦》的翻译。
《红楼梦》荟萃了中华民族文化的多元:衣文化、食文化、茶文化、酒文化、园林文化等等。衣食住行,衣为先。代表物质与精神两个层面文化的服饰,足以映射出中国古代的美学文化、制度文化、习俗文化以及宗教文化等,是历史的缩影。而小说同样是历史的缩影,它能忠实地记录人类的心路历程,服饰文化的发展在小说中留有深深的印记,形成一种错综复杂的意象。小说中人物的服饰,不仅是文学的需要,还是历史的写照;不仅体现了人物的内心情感世界、社会地位和性格特征,还是对人物历史时期生活层面的写照及外观形态的表露;更是中国小说美学、服饰美学及文学传统的一部分。
服饰是人类智慧的结晶,是人类摆脱原始蒙昧时期,开始迈向文明世界的重要里程碑,是人类文化史上最光辉灿烂的篇章之一。服饰是记录人类跨向文明大门的具象符号,它负载着物质文化和精神文化的双重凝结,被誉为人类形体美的外延,是“人的第二皮肤”,是“无声的语言”。
在《红楼梦》中,曹雪芹以自己独特的艺术视角和对中国服饰文化的深刻理解,精心地描绘了小说人物——特别是那些禀山川灵秀之气的女性人物的服饰,向世人展示了中国服饰所固有的东方神韵和审美风采。服饰文化是《红楼梦》所描写的众多中国传统文化中很重要的一环,服饰体现人物个性特征,印证人物社会地位,传达人物审美意象,是小说中塑造人物、情节发展的重要内容。
研究《红楼梦》的翻译,离不开对《红楼梦》中传统文化的翻译的研究,而服饰文化的翻译研究正是其中重要的一部分。《红楼梦》是经天纬地的巨著,对它的研究已经开创了一门“红学”,对它的两个全译本的研究也有很多,侧重点各有不同。
本论文全方位地研究《红楼梦》中服饰文化的方方面面,包括服饰在描写和塑造人物上的作用、各种不同地位、性别的人物的服饰、一些典型服饰的描写、色彩的运用等。对前80回中写到服或饰的44回,共173条词语,进行深入的分析,继而讨论译文在展现原文服饰文化内涵上的得失,探讨服饰文化翻译的策略,分析影响译者翻译策略选择的因素,以及对文化翻译的启示。
要想译好《红楼梦》中像服饰文化这样充满着中华传统文化特色的文化内容,任何一种单一的翻译模式都难以实现。只有兼取语义翻译和交际翻译、异化翻译和归化翻译之长,既重视原语文化,又兼顾译语读者,才能做好文化内容的翻译。
文化共性和文化差异并存是语言文化信息的客观规律。在当前文化全球化的时代背景下,随着各国、各民族之间往来的日益频繁,不同文化之间将相互渗透、相互兼容、相互促进、相得益彰。从长远的角度看,我们在文化翻译中还是要尽力把原文的主体地位放在首要地位,积极主动地去传播原语文化,让译语读者逐渐接近、了解外来文化,从陌生到熟悉,从不理解到理解,尽量保留原语文化的独特性,最终达到多民族文化的共存共荣,这才是一个理想的翻译工作者应当为之奋斗的目标。传播中华文化、让世界了解中国则是每一位中国译者应该担负的神圣职责。
The artistic achievements of Hong Lou Meng stand bolt upright in the Chinese novel history and are greatly admired by Chinese people. As the Grand View Garden of the Chinese traditional culture, it is known as the quintessence of Chinese traditional culture during the period of 4000 years from the beginning of Chinese nation to the mid Qing Dynasty. So far as its cultural patterns are concerned, it has covered various forms, such as poetry, ci, verse, prose, ode, eulogy, plaques, couplet, riddles, jokes, story-telling, drama, sculpture, medicine, food, clothing, and garden architecture. Without deep and rich cultural accumulation, one cannot understand the novel well and thus cannot do the translation well.
It is no doubt about the status of Hong Lou Meng in the Chinese literary history, but we need the help of good translation to spread this masterpiece around the world so that people all over the world can have a taste of the extensive and profound Chinese literature and culture. Nevertheless, it is so difficult to translate Hong Lou Meng and cultural translation is one of the difficulties. However, today, we explore and study its cultural translation, seek a more appropriate translation, and try to show the foreign readers its complete picture more faithfully. All these are of great help to promote its dissemination in foreign countries and win its rightful position in the world history of literature. Therefore, the study is remarkably significant.
Hong Lou Meng depicts the multicultural society of Chinese nation: clothing culture, food culture, tea culture, wine culture, garden culture and so on. Clothing, food, housing and traveling are four important parts in our lives, among which clothing is the first. On behalf of the two levels of culture, material and spiritual, clothing, a cultural history in miniature, sufficiently maps out the ancient Chinese aesthetic culture, system culture, custom culture, religious culture and so on. The novel is also a microcosm of history that can faithfully record the mental development of human beings. The development of clothing culture has made a deep mark in the novels to form a complex image. The clothes of the characters in the novel not only meets the needs of literature but also portrays the history; not only embodies the characters’inner emotion, social status and personalities, but also represents the outer aspects of social lives during the specific historical period. Moreover, it is a part of Chinese novel aesthetics, clothing aesthetics and literary tradition.
Clothing is the crystallization of human wisdom, the important milestone in the progress of civilization, and one of the most brilliant chapters in the history of human cultures. Clothing is the specific symbol that records man’s steps into the gate of civilization. It is the condensation of both material culture and spiritual culture. Known as“the second skin of human beings”and“the silent language”, it is the extension of a person’s shape.
With the unique artistic perspective and the deep understanding of the Chinese clothing culture, Cao Xueqin elaborately depicted the clothes of the characters, especially those intelligent and elegant girls, which showed the distinctive oriental charm and aesthetic elegance of the Chinese clothing to the world. The clothing culture is one of the most important traditional Chinese cultures depicted in Hong Lou Meng. Clothing embodies personality, corroborates status and transmits image. It is the important content of the novel to portray the characters and develop the plot.
To study the translation of Hong Lou Meng cannot neglect the study on the translation of Chinese traditional cultures in Hong Lou Meng, among which the study on the translation of clothing culture is one of the most important. In China, the study on Hong Lou Meng, the great work, starts a subject of study, Redology, whereas the study on its two complete translation works varies with particular emphasis.
Mr. Qi Gong pointed out in his article,“The Eight Issues Need To Be Paid Attention To While Reading Hong Lou Meng”, that the issues which should be particularly paid attention to while reading and as well as the problems which should be solved while annotating Hong Lou Meng are common saying, clothing, utensils, bureaucracy, poetry, customs, social relations and identification of the actual situation. (Qi Gong, 2007: 48-49) Clothing is impressively placed the second in the list. It is thus evident that the research on the clothing is of great significance in the study of Hong Lou Meng.
After examining Hong Lou Meng carefully, we find there are forty-four chapters in the former eighty that writes about clothes and ornaments to a greater or lesser extent. There are one hundred and seventy-three words and expressions related to clothes and ornaments, of which complete clothing descriptions are twenty-six times. However, there are only seven chapters in the latter forty that writes about clothing in which thirty-eight words and expressions are about it, while no clothing descriptions appears in the other thirty-three chapters. In the whole book, there are fifty-one chapters depicting clothes and ornaments, among which more meaningful ones are in Chapter Three (twenty words and expressions), Chapter Six (six words and expressions), Chapter Eight (nine words and expressions), Chapter Forty-nine (twenty-two words and expressions), Chapter Fifty-one (six words and expressions), Chapter Fifty-two (twelve words and expressions), Chapter Sixty-three (nine words and expressions) and Chapter Seventy (six words and expressions). Although there are twenty-five words and expressions related to clothes and ornaments in Chapter One-hundred-and-one, they are the names of raw materials and clothes in the list of confiscating the property without typical meaning and connection to the depiction of the characters. Evidently, it is the former eighty chapters of Hong Lou Meng that focuses on the description of clothing and the author laid special stress on depicting the clothing of the main characters, such as Baoyu, Baochai, Daiyu, and Xifeng, and also their maids. From this we can spy on the differences between the former eighty chapters and the latter forty ones.
In order to faithfully reflect the depiction of clothing culture by Cao Xueqin, this paper has drawn its materials from the former eighty chapters to do the research on the translation of clothing culture. The source version selected is Hong Lou Meng (The Story of the Stone: eighty chapters) published by the People’s Publishing House in 2006 checked by Zhou Ruchang the famous master on Hong Lou Meng. Mr. Zhou said:“One sentence summarizes the whole effort of this book, that is, to try to restore the true picture, the main meaning and the original purpose of the source work written by Cao Xueqin. If it cannot fully fulfill this, it is still hoped to check out a version really closer to the original one so as not to pass off fish eyes as pearls and incorrectly relay an erroneous text with wrongs that cannot be redressed.”Naturally, the study on translation of Hong Lou Meng cannot be separated from the selection of the source version. Therefore, it is particularly important to select a version closest to the true picture of the original version by Cao Xueqin.
So far, there are only two complete English versions of Hong Lou Meng. One is the five-volume The Story of Stones translated by David Hawkes, the British sinologist and professor of Oxford University, and his son-in-law John Minfold, published by the Penguin Publishing House in 1973. The other is the three-volume A Dream of Red Mansions translated by the Chinese well-known translator Mr. Yang Xianyi and his wife Gladys Yang, published by the Foreign Languages Press of China in 1978. These two complete English versions have won wide recognition from both the academic community and the common readers.
The two English versions’meticulous selection of the source version is deserved to be mentioned. Hawkes pointed out in his Introduction:“It is a somewhat surprising fact that the most popular book in the whole of Chinese literature remained unpublished for nearly thirty years after its author’s death, and exists in several different versions, none of which can be pointed to as definitively‘correct’.”(Hawkes, 1973: 15)It is true that Hong Lou Meng has several different versions. Generally speaking, common readers will not notice the differences between different versions. However, these differences do bring a lot of trouble to those responsible translators. If the translator is a layman about the study on Hong Lou Meng, he may be completely unconscious of the differences between different versions. The translators before Hawkes and Yang Xianyi selected the source version at will while Hawkes and Yang Xianyi attached great importance to the cultural and artistic value of the translated version, thus they expended a lot of their energies on selecting the appropriate source version.
Taking into account the completeness of the plot and the popularization of the 120-chapter version in common readers, Hawkes selected the 120-chapter edition by Chen Weiyuan and Gao E as the source version. Nevertheless, he was very clear about the fact that Gao E had made deletions and changes on Cao Xueqin’s original work, thus the artistic value of the novel was reduced. Therefore, he had frequently followed the 80-chapter manuscript reading to make up the loss. In the Introduction, he stated clearly:“In translating this novel I have felt unable to stick faithfully to any single text. I have mainly followed Gao E’s version of the first chapter as being more consistent, though less interesting, than the other ones; but I have frequently followed a manuscript reading in subsequent chapters, and in a few, rare instances I have made small emendations of my own.”(Hawkes, 1973: 45-46)In other words, Hawkes combined the good qualities of different versions and then set up his own one in order to maintain the artistic value and consistence of the original work.
Mr. Yang Xianyi and Gladys Yang also meticulously selected the appropriate source text. Taking into account the fact that the manuscript copy had a higher cultural and artistic value and was closer to the original text of Cao Xueqin, their first eighty chapters had been translated from the manuscript copy kept by Chi Liaosheng, while the last forty ones from the 120-chapter edition revised by the People’s Literature Publishing House. In the Publisher’s Note, they elaborated:“Our first eighty chapters have been translated from the Photostat edition published by the People’s Literature Publishing House, Peking, in September 1973 according to a lithographic edition printed by the Yu-cheng Press, Shanghai, in about 1911. This Yu-cheng edition had been made from a manuscript copy kept by Chi Liao-sheng of the Chien-lung era. The last forty chapters are based on the 120-chapter edition reprinted by the People’s Literature Publishing House, Peking, in 1959 from the movable-type edition of 1792. The Chi Liao-sheng manuscript of the first eighty chapters is one of the earliest copies extant. In our translation certain minor errors and omissions made by the man who copied the original manuscript have been corrected according to other versions.”(The Yangs, 1978: 9)This elaborate explanation convincingly demonstrates the prudent attitude and scientific approach of their selection of the source version of Hong Lou Meng.
The translation examples of this dissertation are all from these two complete English versions. The translations by David Hawkes and John Minfold are called“Hawkes”, while the translations by Yang Xianyi and Gladys Yang are called“Yang”.
This dissertation gives a comprehensive study on the translation of the clothing culture in Hong Lou Meng, including the role of clothing in portraying the character, the clothes of different characters with different social status and gender, the depictions of some typical clothes, the application of different colors, and so on. It analyzes in depth the whole one hundred and seventy-three words and expressions related to clothing in the forty-four chapters of the first eighty. Then it discusses the success and failure of the two English versions on spreading out the connotation of the clothing culture of the original text, tries to put forward the author’s own proposal on translation and explores the strategies in translating clothing culture, the factors affecting the selection of the translation strategies of the translator and the enlightenment in cultural translation.
The paper is begun with the foreword in which the reasons for and the significance of the study are elaborated. Chapter One is the introduction in which the current situation and great significance of the study are clarified. From the analysis of the current thirty years’researches on the English versions of Hong Lou Meng, we find that the main focus of the researches lies on four aspects, namely, language, poetry, culture, and translation standard and theory. Moreover, we notice that no matter what different angles from which they examine the translation, cultural communication or translation purpose, more and more researchers study and discuss the translation from the height of the relationship between the translator, readers of the translation, the author and readers of the source text, thus they gradually free themselves from the shackle of contrasting the success and failure of the translations merely from the language and words.
Meanwhile, we also find that although the research on cultural translation of Hong Lou Meng becomes more and more popular, the research on its clothing cultural translation is very few. Taking a panoramic view of the fifty-two articles about the English translations of Hong Lou Meng published in the kernel journals in the recent thirty years, we find that none of them is about the study of clothing cultural translation. According to other statistics, only a few articles discuss the translation of the clothes of some main characters, the terms of clothing and different colors, but they are all published in non-kernel journals. It is thus obvious that the study of clothing cultural translation of Hong Lou Meng has not caught the attention of the numerous scholars who study the translation theory and practice. Consequently, the study of this field has a brilliant future.
Chapter Two studies the relationship between the clothes of the characters and the portrayal of the characters. As the circumstance next to the skin, clothing is the extension and projection of a person’s personalities and mental state. It forms the exterior and interior recognition of the person. Cao Xueqin’s Hong Lou Meng makes full use of clothing to construct a lot of fascinating images. With the delicate mind of a sensitive poet, Cao Xueqin precisely and patiently depicted the clothing of a series of characters in the Grand Garden. Through the flowing picture of clothing, the author heightened the environment, made the image stand out and relayed the particular mental feelings of the character.
With the same beauty, the characters wear different clothes and ornaments due to the different social status, environmental atmosphere and individual personality, whereas these differences in clothing give the readers entirely different visual and mental feelings. Therefore, the whole artistic beauty of the clothing of the character sufficiently corroborates his or her social status, embodies his or her personalities and relays his or her aesthetic image. It also demonstrates the profound knowledge and life experience of the author. It expresses the author’s true sentiment and is the extension and projection of his personalities and mental state, and thus the passage of feelings.
Chapter Three is about the clothing of the main characters and their translations. The paper elaborates the depictions of the clothes and ornaments of the main characters and their maids and analyzes the success and failures of translations in the two complete English versions and then tries to put forward some own suggestions in translation.
With the elegant appearance, rich colors, exquisite ornaments and luxurious materials, the clothing of the main characters in Hong Lou Meng can be called a colorful fashion exhibition. Cao Xueqin uses different artistic languages, especially the artistic language of clothing, to depict the appearance and looks of the character and to show his or her particular temperament, which accords with the social status and personalities of the character and unfolds before the readers’eyes the quintessence of the clothing culture of Hong Lou Meng. With his profound knowledge on clothing, Cao Xueqin spreads out specific and authentic descriptions on the material, appearance, color, design and even craft of clothing.
Because of the vivid, rich, detailed and authentic descriptions of the main characters’clothing, clothing plays an important role in portraying the characters, reflecting the aesthetics, constructing the images and developing the plot. Accordingly, the translator absolutely cannot neglect the translation of clothing of the characters. On the contrary, the translator should fully transmit the culture of the source text as far as possible, including the rich cultural connotation of clothing in the original text.
Chapter Four researches the depictions of those typical clothes and their translations, including the clothes worn by the officials and monks and the clothes worn in celebrations and funerals. The descriptions of the typical clothes in Hong Lou Meng embody the social customs and protocols. As the most important solid material culture of the human beings, clothing is not only the product of the customs and traditions of a people and nation but also the exterior expression of the deep cultural psychology of a people and nation. We can spy on some of the social customs and protocol systems of that era from the depiction of the typical clothes in Hong Lou Meng.
As for the translation of these typical clothes which is saturated by deep cultural connotation and traditional customs of a nation, the translator can only try his best to transmit both the meaning and the spirit of the original text faithfully with the approaches of both Literal Translation and Free Translation and the strategies of both Foreignizing Translation and Domesticating Translation. However, cultural translation is an undoubtedly painstaking task which needs the unceasing practice of the translator.
Chapter Five studies the depictions of different colors of the clothes and the translations of different colors in the novel. In Hong Lou Meng, the use of color is, just as the other aspects, skilled, natural, vivid and beautiful. His scheme of using color appears to be unique. It has achieved an exceptionally significant effect on expressing the theme, constructing the images and reflecting the author’s aesthetic principles. Whether we examine the meticulous description of the color itself or the portrayal of the characters’personalities, the description of color in Hong Lou Meng shines out with great brilliancy. It reflects the unusual charm with either light or heavy words, which verifies the author’s outstanding abilities of writing.
It cannot be separated from the basic question of“red or green”to talk about the translation of color in Hong Lou Meng.“Red”, the main and high-frequency color in the novel, represents the female characters the author wants to eulogize. It is the color which Jia Baoyu, the hero of the novel, loves and Cao Xueqin, the author, advocates. Hawkes turned Chinese“red”into English“green”while translating. In the Introduction, he said:“One bit of imagery which Stone-enthusiasts will miss in my translation is the pervading redness of the Chinese novel. One of its Chinese titles is red, to begin with, and red as a symbol– sometimes of spring, sometimes of youth, sometimes of good fortune or prosperity– recurs again and again throughout it. Unfortunately– apart from the rosy cheeks and vermeil lip of youth– redness has no such connotations in English and I have found that the Chinese reds have tended to turn into English golds or greens (‘spring the green spring’and‘golden girls and boys’and so forth). I am aware that there is some sort of loss here, but have lacked the ingenuity to avert it.”As Hawkes himself admitted, there is some sort of loss. The importance and symbolism of this color, redness, in this novel is unquestionable, which decides that the Domesticating Translation of changing“red”into“green”is undesirable. What the translator should undertake is to disseminate the culture and promote the communication, so in the translation of such rich and traditional culture of the original text the author should base on the original text and take the strategy of Foreignizing Translation to keep the connotation of the source text and provide the readers the chance of learning the exotic culture.
There are unique methods in translating the colors of the clothing. However, whether the translator uses Literal Translation or Free Translation, after all, he should transmit the correct meaning of the source text, so the basic criteria in translating the colors are“faithfulness”and“accuracy”.
Chapter Six contrasts different strategies on translating the clothing culture. The paper analyzes the following three main factors that affect the selection of the translator’s strategy: the translator’s recognition of the source culture and his translation aim, the position of the source culture in the system of the target literature, ideology and manipulation of the sponsor on translation. The Polysystem Theory of Even-Zohar provides us the theoretical basis of this analysis. Zohar extended the effect of the position of the translating culture on the norm, the mode of conduct and the strategy of translation according to the position of the system of the translation literature in the polysystem of culture.
These three factors make Mr. and Mrs. Yang put the Chinese traditional culture, traditional literature and their translation into the central position of the English cultural system, which causes them to take the approach of Semantic Translation and the strategy of Foreignizing Translation to spread out the Chinese traditional cultures.
On the Contrary, these three factors make Hawkes put the Chinese traditional culture, traditional literature and his translation into the peripheral position of the English cultural system, which causes him to take the approach of Communicative Translation and the strategy of Domesticating Translation to show consideration for the psychological expectation and cultural preference of the English readers.
However, no matter what strategy is, Foreignizing Translation or Domesticating Translation, they are only two relative concepts and there is no absolute dividing line between them. Generally speaking, the translation based on the strategy of Foreignizing Translation will have the reflection of Domesticating Translation and vice versa. These two strategies both play an irreplaceable role in translation. They permeate into and supplement with each other, and give full scope to intercultural communication. Consequently, when selecting the appropriate strategy, the translator should combine the two strategies perfectly according to the varied specific situations after taking into account different factors such as the aim, the reader, the cultural attitude and ideology of the translator.
The paper is ended with the conclusion. If one wants to translate the cultural content full of traditional Chinese cultural characteristics such as clothing in Hong Lou Meng, any translation of a single mode cannot achieve the target. Only when the translator learns the strong points of both the Semantic and Communicative Translation, Foreignizing Translation and Domesticating Translation, and not only thinks highly of the source culture but also takes the target language readers into account, can he do a good job in the translation of cultural contents.
The compatibility of cultural similarities and cultural differences is the objective law of language and cultural information. In the current era of cultural globalization, with the increasingly frequent exchanges between different countries and nations, different cultures will penetrate into, be compatible with, promote and complement each other. From a long-term point of view, we should give top priority to the dominant position of the source text in the cultural translation. We should try to spread the source culture actively to help the target language readers approach and understand the foreign cultures, from unfamiliar to familiar, from misunderstanding to understanding. It is the aim of an ideal translator to preserve the uniqueness of the source culture and eventually achieve the common prosperity of multinational cultures, whereas spreading Chinese culture to let the world know China is the sacred duty that each Chinese translator should undertake.
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