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【摘要】散文是一种常见的文学体裁，译者翻译散文时须再现原文之语音、词意、句构、修辞、语篇的主题意义的真实信息。文章以《荷塘月色》的四种英译本为例，赏析译者如何在词意层面再现原文的“真” 。
【关键词】散文 真实信息 再现 词意
一、引言
散文是文学中常见的一种体裁，因其文字优美又可称为“美文”，古今中外存有大量的散文名篇为读者所喜爱。散文主要特点是“形散神聚”，即用广泛的题材、自由的形式、灵活的结构来抒发明确的情思。
作者借散文表达真话、抒发真情、描绘实景， “真”贯穿散文始终。故散文的翻译必然要再现“真”。这就要求译者要在“意义、形式、趣味、格调等方面与原文等质等量”（胡显耀、李力，2009：172）， 即语音、词意、句子的结构、修辞、语篇的主题意义等信息要在译文中真实再现。
二、以《荷塘月色》的四种英译本为例，赏析英译散文如何在词意层面再现“真”
《荷塘月色》是朱自清1927年在清华园教书时描写的校园内月色下的荷塘。当时作者正为是否投身革命而矛盾彷徨，故“心里颇不宁静”， 夜深不能寐独赏月下荷塘。译界大师及前辈深谙译语及目的语，巧妙处理， 译文在词语的语意方面，将原文的“真”充分再现。
对偶词
例1：酣眠固不可少， 小睡也别有风味的。
译文一： a profound sleep is indispensable， yet a snatched doze also has a savor of its own.
译文二： though refreshing sleep is indispensable， short naps have a charm all their own.
译文三： a sound sleep is certainly necessary， but a nap also has its flavor.
译文四： we cannot do without deep sleep， admitted， but a quiet doze also has its pleasures.
译文一将酣眠译成profound sleep，虽然没有音响美的效果，却真实地再现了原文的语意信息，显然此处，作者本意是独赏荷塘，月色之美令人陶醉，夜深不免有些困意，故闭目小睡一会，profound sleep是那种没有外界打扰的深度睡眠，snatched doze是指条件不允许但又很困而不得不抓紧时间打个盹，两词对应得甚妙，与原文相得益彰。可见，准确选词可令读者感同身受如身临其境。自当感叹译界大师朱先生妙笔佳句，匠心独运。
动词
原文使用一系列生动形象的动词绘出一幅美轮美奂的油画：淡淡月光下荷叶朦胧：
例2：月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。
译文一： The moon sheds her liquid light silently over the leaves and flowers， which， in the floating transparency of a bluish haze from the pond， look as if they had just been bathed in milk， or like a dream wrapped in a gauzy hood.
译文二： Moonlight cascaded like water over the lotus leaves and flowers and a light blue mist floating from the pool made them seem washed in milk or caught in a gauzy dream.
译文三： The moonlight， like a cascade， was flowing down quietly to the leaves and flowers and a light blue mist shrouded the pond， which made the leaves and flowers look like being washed in milk or being caught in a gauzy dream.
译文四： The moonbeams spilled placidly onto this expanse of leaves and flowers like living water. A thin mist floated up from the lotus pond. The leaves and flowers seemed to be washed in milk， and at the same time trapped in a dream of flimsy gauze.
原文选用的动词很有意境，四种译文虽皆为直译，但译文一将 泻（大量而快速地流动）译为shed（pour out in drops or small quantities）； 把浮起译为floating； 洗译为bathed； 笼着译为wrapped in，更为传神，赋予静态的月光一种幻化的动感，有如仙境一般，更添朦胧月色下荷塘之神秘色彩。
量词
原文使用了一些不太常用的量词，如一丝、一道、一带、一两点等。
例3：叶子本是肩并肩密密地挨着，这便宛然有了一道凝碧的波痕.
译文一： The leaves， which have been standing shoulder to shoulder， are caught trembling in an emerald heave of the pond. 译文二： As the closely serried leaves bent， a tide of opaque emerald could be glimpsed.
译文三： And the leaves， which have been jostling and overlapping， are caught trembling in an emerald heave of the pond.
译文四： The leaves being so densely massed together， this gave the impression of an emerald wave.
heave：an upward movement （esp. a rhythmical rising and falling ）， 译文一和三将一道波痕译为a heave of the pond，与原文对等。emerald：意指翡翠、祖母绿， 四种译文都将“凝碧”译为emerald，词意精准。
例4：树色一例是阴阴的，乍看像一团烟雾
译文一： The shadowy shapes of the leafage at first seem diffused into a mass of mist，
译文二： All the trees were somber as dense as smoke，
译文三： The trees were all enshrouded in such heavy mass of mist at first sight，
译文四： The trees were all of somber hue， and at first sight looked like a bank of fog；
一团烟雾译为a mass of mist押头韵且意思准确，此处比译文四译得妙，而译文二未译出。另外阴阴的译为shadowy shapes头韵，处理甚好。看得出译者对译文三的处理颇为用心，enshrouded 词意准确，但at first sight置于句末使句式略显松散，此处译文一处理绝妙。
其它
原文多处使用修辞格，如明喻、排比、拟人， 对这类词的翻译，也很考验译者再现真实信息的能力。
例5：树缝里也露着一两点路灯光，没精打采的，是瞌睡人的眼。
译文一： Through the branches are also a couple of lamps， as listless as sleepy eyes.
译文二： And between the trees appeared one or two street lamps， listless as the eyes of someone drowsy.
译文三： Through the branches could be seen some light from a couple of street-lamps， which was as listless as sleepy eyes.
译文四： A few gleams from streets lights also leaked through the interstices of the trees， but they were wan and lifeless， eyes heavy with sleep.
listless意为无精打采，选词精准，译文一此处套用as同级比较短语，语言凝练，最真实地再现原文的语言风格；译文三在译文一的基础上，用被动could be seen以及非限性定语从句which was，笔者拙见，此处只是增加了字数实为不太必要的改动。相比之下译文四更显拖沓冗长。译文二用one or two 来修饰street lamps，似乎不妥。
三、结语
各位翻译界大师能用最精炼的词语再现原文真实的语意信息，其深谙双语之文字造诣另后生叹服。各位译者及英语学习者可通过比较、学习和赏析译界大师及前辈的译文来体悟如何再现原文语意层面的“真”。
参考文献：
[1]董晓波.大学汉英翻译教程[M].对外经济贸易大学出版社. 2011（01）.
[2]李明. 翻译批评与赏析[M].武汉大学出版社.2010（02）.
[3]朱自清著，朱纯深译.荷塘月色[J].中国翻译.1992（01）.
[4]杨宪益，戴乃迭译[J].英语学习.1999（05）.
[5]李明.翻译批评与赏析[M].武汉大学出版社.2010（02）.
[6] translated by David E. Pollard. From The Chinese Essay.1999.
【关键词】散文 真实信息 再现 词意
一、引言
散文是文学中常见的一种体裁，因其文字优美又可称为“美文”，古今中外存有大量的散文名篇为读者所喜爱。散文主要特点是“形散神聚”，即用广泛的题材、自由的形式、灵活的结构来抒发明确的情思。
作者借散文表达真话、抒发真情、描绘实景， “真”贯穿散文始终。故散文的翻译必然要再现“真”。这就要求译者要在“意义、形式、趣味、格调等方面与原文等质等量”（胡显耀、李力，2009：172）， 即语音、词意、句子的结构、修辞、语篇的主题意义等信息要在译文中真实再现。
二、以《荷塘月色》的四种英译本为例，赏析英译散文如何在词意层面再现“真”
《荷塘月色》是朱自清1927年在清华园教书时描写的校园内月色下的荷塘。当时作者正为是否投身革命而矛盾彷徨，故“心里颇不宁静”， 夜深不能寐独赏月下荷塘。译界大师及前辈深谙译语及目的语，巧妙处理， 译文在词语的语意方面，将原文的“真”充分再现。
对偶词
例1：酣眠固不可少， 小睡也别有风味的。
译文一： a profound sleep is indispensable， yet a snatched doze also has a savor of its own.
译文二： though refreshing sleep is indispensable， short naps have a charm all their own.
译文三： a sound sleep is certainly necessary， but a nap also has its flavor.
译文四： we cannot do without deep sleep， admitted， but a quiet doze also has its pleasures.
译文一将酣眠译成profound sleep，虽然没有音响美的效果，却真实地再现了原文的语意信息，显然此处，作者本意是独赏荷塘，月色之美令人陶醉，夜深不免有些困意，故闭目小睡一会，profound sleep是那种没有外界打扰的深度睡眠，snatched doze是指条件不允许但又很困而不得不抓紧时间打个盹，两词对应得甚妙，与原文相得益彰。可见，准确选词可令读者感同身受如身临其境。自当感叹译界大师朱先生妙笔佳句，匠心独运。
动词
原文使用一系列生动形象的动词绘出一幅美轮美奂的油画：淡淡月光下荷叶朦胧：
例2：月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。
译文一： The moon sheds her liquid light silently over the leaves and flowers， which， in the floating transparency of a bluish haze from the pond， look as if they had just been bathed in milk， or like a dream wrapped in a gauzy hood.
译文二： Moonlight cascaded like water over the lotus leaves and flowers and a light blue mist floating from the pool made them seem washed in milk or caught in a gauzy dream.
译文三： The moonlight， like a cascade， was flowing down quietly to the leaves and flowers and a light blue mist shrouded the pond， which made the leaves and flowers look like being washed in milk or being caught in a gauzy dream.
译文四： The moonbeams spilled placidly onto this expanse of leaves and flowers like living water. A thin mist floated up from the lotus pond. The leaves and flowers seemed to be washed in milk， and at the same time trapped in a dream of flimsy gauze.
原文选用的动词很有意境，四种译文虽皆为直译，但译文一将 泻（大量而快速地流动）译为shed（pour out in drops or small quantities）； 把浮起译为floating； 洗译为bathed； 笼着译为wrapped in，更为传神，赋予静态的月光一种幻化的动感，有如仙境一般，更添朦胧月色下荷塘之神秘色彩。
量词
原文使用了一些不太常用的量词，如一丝、一道、一带、一两点等。
例3：叶子本是肩并肩密密地挨着，这便宛然有了一道凝碧的波痕.
译文一： The leaves， which have been standing shoulder to shoulder， are caught trembling in an emerald heave of the pond. 译文二： As the closely serried leaves bent， a tide of opaque emerald could be glimpsed.
译文三： And the leaves， which have been jostling and overlapping， are caught trembling in an emerald heave of the pond.
译文四： The leaves being so densely massed together， this gave the impression of an emerald wave.
heave：an upward movement （esp. a rhythmical rising and falling ）， 译文一和三将一道波痕译为a heave of the pond，与原文对等。emerald：意指翡翠、祖母绿， 四种译文都将“凝碧”译为emerald，词意精准。
例4：树色一例是阴阴的，乍看像一团烟雾
译文一： The shadowy shapes of the leafage at first seem diffused into a mass of mist，
译文二： All the trees were somber as dense as smoke，
译文三： The trees were all enshrouded in such heavy mass of mist at first sight，
译文四： The trees were all of somber hue， and at first sight looked like a bank of fog；
一团烟雾译为a mass of mist押头韵且意思准确，此处比译文四译得妙，而译文二未译出。另外阴阴的译为shadowy shapes头韵，处理甚好。看得出译者对译文三的处理颇为用心，enshrouded 词意准确，但at first sight置于句末使句式略显松散，此处译文一处理绝妙。
其它
原文多处使用修辞格，如明喻、排比、拟人， 对这类词的翻译，也很考验译者再现真实信息的能力。
例5：树缝里也露着一两点路灯光，没精打采的，是瞌睡人的眼。
译文一： Through the branches are also a couple of lamps， as listless as sleepy eyes.
译文二： And between the trees appeared one or two street lamps， listless as the eyes of someone drowsy.
译文三： Through the branches could be seen some light from a couple of street-lamps， which was as listless as sleepy eyes.
译文四： A few gleams from streets lights also leaked through the interstices of the trees， but they were wan and lifeless， eyes heavy with sleep.
listless意为无精打采，选词精准，译文一此处套用as同级比较短语，语言凝练，最真实地再现原文的语言风格；译文三在译文一的基础上，用被动could be seen以及非限性定语从句which was，笔者拙见，此处只是增加了字数实为不太必要的改动。相比之下译文四更显拖沓冗长。译文二用one or two 来修饰street lamps，似乎不妥。
三、结语
各位翻译界大师能用最精炼的词语再现原文真实的语意信息，其深谙双语之文字造诣另后生叹服。各位译者及英语学习者可通过比较、学习和赏析译界大师及前辈的译文来体悟如何再现原文语意层面的“真”。
参考文献：
[1]董晓波.大学汉英翻译教程[M].对外经济贸易大学出版社. 2011（01）.
[2]李明. 翻译批评与赏析[M].武汉大学出版社.2010（02）.
[3]朱自清著，朱纯深译.荷塘月色[J].中国翻译.1992（01）.
[4]杨宪益，戴乃迭译[J].英语学习.1999（05）.
[5]李明.翻译批评与赏析[M].武汉大学出版社.2010（02）.
[6] translated by David E. Pollard. From The Chinese Essay.1999.