贝克特的长篇小说处女作《梦:从靓女到庸女》是引文、典故、元小说片段的拼缀物。其中,有关中国古典音律的片段译自拉卢瓦的法文版《中国音乐》,几乎就是中国《吕氏春秋》相关片段的严格重译。元叙事者挪用了“伶伦制律”“孔子击磬”和“凤凰涅槃”三个中国典故,将创作的困境进行类比,希望人物和情节像十二律吕那样,通过有序的排列、组合,构成线性的、单声部的曲调,而非众声喧哗的“交响乐”。作为“狂乱的思想”的体现,《梦》对中国音律的挪用和翻译展现了一幅“青年艺术家的肖像”;自《莫菲》之后,中国文化就很少出现在贝克特的作品中了。 Beckett’s novel “dream: from the beauties to the yung” is a quotation of quotations, allusions, metafiction fragments. Among them, the fragment of Chinese classical temperament translated from La Lova French version of “Chinese music” is almost a strict re-translation of the relevant sections of “Lu’s Spring and Autumn Annals” in China. The meta-narrator misappropriates three Chinese allusions, such as “Lingling System”, “Confucius Hitman” and “Phoenix Nirvana”, to analogy the dilemma of creation and to hope that the characters and plots pass like the 12th Luv Ordered, combined, forming a linear, monophonic melody, rather than all the noise “Symphony ”. As a manifestation of the “frenzied thought,” the “dream” appropriations and translations of the Chinese temperament show a “portrait of young artists.” Since “Murphy,” Chinese culture rarely appears in Beckett In the works