《德伯家的苔絲》中環(huán)境描寫翻譯對(duì)比研究

1PAGE1《德伯家的苔絲》中環(huán)境描寫翻譯對(duì)比研究ComparativeStudyonTranslationsofSettingDescriptioninTessoftheD’urbervilles論文摘要文學(xué)作品的翻譯有別于非文學(xué)作品之處主要在于它能夠再現(xiàn)原著的美學(xué)價(jià)值。小說翻譯即屬于該范疇，因此鑒賞小說翻譯的一個(gè)重要標(biāo)識(shí)就是看它是否通過深入細(xì)致的人物描畫，完整復(fù)雜的情節(jié)敘述，具體充分的環(huán)境描寫來再現(xiàn)原著的美學(xué)價(jià)值。而環(huán)境描寫又是襯托人物性格、展示故事情節(jié)的重要手段。童慶炳，《文學(xué)理論教程》，2004年所以只有充分地把環(huán)境描寫部分翻譯好，才可能如茅盾先生所言：“把原作的藝術(shù)意境傳達(dá)出來，供讀者在讀譯文的時(shí)候能像讀原作時(shí)一樣得到啟發(fā)，感動(dòng)和美的感受。童慶炳，《文學(xué)理論教程》，2004年本文旨在通過對(duì)《苔絲》兩個(gè)譯本的比較喚醒譯者在翻譯實(shí)踐中，充分重視環(huán)境描寫的翻譯，注重小說意境的烘托，以便最大限度地呈現(xiàn)原著的神韻，達(dá)到最佳的翻譯效果。以《德伯家的苔絲》為例，小說的作者哈代被稱為文學(xué)畫家，他用畫家的眼光看待要反映的事物，用畫家的手法描寫周圍變化的環(huán)境。在他的小說中，環(huán)境描寫為推動(dòng)故事情節(jié)發(fā)展、塑造人物和烘托氣氛起了至關(guān)重要的作用，從而大大加強(qiáng)了作品的感染力。葉家莉，《苔絲》兩個(gè)譯本的比較，2001年而本文所選的兩種版本的譯作，也在環(huán)境描寫的翻譯上各顯其能，并給我們的研究探索創(chuàng)造了條件葉家莉，《苔絲》兩個(gè)譯本的比較，2001年本文從張谷若和孫致禮、唐慧心的兩個(gè)《德伯家的苔絲》譯本中分別選取了十個(gè)環(huán)境描寫的翻譯片段，并用對(duì)比的方法進(jìn)行分析，最終得出這樣的結(jié)論：環(huán)境描寫是推動(dòng)故事情節(jié)的手段；是烘托人物命運(yùn)的工具；是增強(qiáng)作品感染力的渠道，因此譯者在翻譯環(huán)境片段的時(shí)候需要在修辭方法和字斟句酌上下功夫，努力體現(xiàn)翻譯文學(xué)的語言美。關(guān)鍵詞：環(huán)境描寫翻譯塑造人物推動(dòng)情節(jié)烘托氣氛修辭手法

AbstractItiswellacceptedthattranslationsofliterarytextisdifferentfromthatofnon-literarytextbythewaysofwhetherornotitsreproductionofaestheticvalues.Asnoveltranslationbelongstoliterarytranslation,soitmustfollowtherulethatagoodtranslationversionshouldreproducetheaestheticvaluesoftheoriginal.Basicallyspeaking,thethemeofanovelisusuallydevelopedthroughcharacter,plotandsettings,whicharealsoknownasthethreemaincomponentsofanovel.Andfurthermore,thesettingdescriptionistheimportanttoolforcharacterportrayingandplotdevelopment.Soonlybypropersettingdescription,anoveltranslationmightreproducethenuancesoftheoriginalasmuchaspossible.ItjustasMaoDunsays,“Theliterarytranslationshouldtransmitthemoodofliteralworkstothetargetlanguagereaders,soastomakethereadersbeinspiredormovedandtouchedbythenuancesandgetthefeelingsofbeautyinlanguage.”Theresearcherofthispaperintendstoprobethattranslatorsshouldbuildfullawarenessofreproducingtheoriginalaestheticvaluesbygoodtranslationofsettingdescription.TakeTessoftheD’urbervillesasanexample,theauthorofthisbookTomasHardyarenamedas“Literalartist”,whowasgoodatsettingdescription.Properdescriptionofsettingmaybegoodforplotandcharacter,andstrengthentheartisticappeal.Theselectedversionsofthisbookaregoodexamplesoftranslationofsettingdescription,whichmadeourresearchavailable.ThispaperselectssomesampleparagraphsfromtwotranslatedversionsbyMr.ZhangGuruoandMr.SunZhili&Tanghuixinseparately,andthroughthecomparisonofthetranslationofsettingdescriptionwewillgetthefollowingresults:sincesettingdescriptionholdsthefunctionofplotdevelopmentandcharacterportraying,sothetranslationwordsshouldbeweighedcarefullyandthenreproducethenuancesoftheoriginal.Keywords:Translationofsettingdescription,aestheticvalues,plotdevelopment,Characterportraying,atmospherecreation,rhetoricTableofContentsPages1.Introduction…………..ResearchBackground……….……………….ResearchObjective..…………ProjectDesign………………..1111……2.Rationale……………….……2DefinitionofSetting………….………………..2Functionofsettinginanovel………………..22.3Importanceofsettingdescriptionoftranslation……..…23.DataDescription……………..………BriefIntroductionofSLT……BriefIntroductionofTLT……StandardofDataSeletion………………….23344.AnalysisoftheData…………..SettingforcreatingAtmosphere…………4.2SettingforPortrayingCharacters………..4.3SettingforPlotDevelopment……………..44565.ResultsandSuggestions……………Results………5.2Suggestions……………………7776.Conclusion…………….7Biliography……………….9Appendix…………………101PAGE111ComparativeStudyonTranslationsofSettingDescriptioninTessoftheD’urbervillesIntroduction1.1ResearchBackgroundAsweallknow,thethreecomponentsofnovelarecharacter,plotandsetting.Andsettingdescriptionusuallyplaysanimportantroleforcharacterportraying,plotdevelopmentandatmospherecreation.Asamaster-handofsettingdescription,TomasHardywasnamedas“l(fā)iteraryartist”,whowasfamousforthetalentofsettingdescriptioninhisnovelandmakethedescriptioncombinedwiththeplotandserveforthewholework.SowechoosehisnovelTessoftheD’urbvillestodevelopourresearch.1.2ResearchObjectiveThepracticeofsettingdescriptiontranslationisnotsimplyaword-for-wordtranslation.Itshouldberegardedasanimportantpartofanovelduetoitsfunctionofportrayingcharacteranddevelopmentofplot.TheresearchtriestoexaminesomesettingdiscoursesinTessoftheD”urbevillesandtheirtranslationsinChineseversion,andthentofindoutthetranslationstrategiesappliedbythetranslatorintranslatingsettingdescription.ProjectDesignTheresearchisdividedintofourparts.Inpartone,theauthorwilldefinesettinganddescribethemaintheoriesrelatewiththestudy.Inparttwo,theauthorwillgofurtherintothestudyofsettingtranslationbyexamining10paragraphsinTess;.Inpartthree,theauthoraimstosummarizesettingdescriptiontranslationstrategiesaccordingtothedataanalysis;Finally,inpartfour,theauthorwillsummarizethewholeresearchandpresenttheimplicationsforthefuturepracticeandresearch.…Rationale:2.1DefinitionofSettingSettingisdefinedas“theplaceortimethattheactionofabook,filmetchappens”LongmanDictionaryofContemporaryEnglishand“allthethingsthatsurroundsomeoneorsomethingataparticulartime,includingtheeventsthathappen,theirenvironment,orthepeopletheyarewith”.LongmanDictionaryofContemporaryEnglishLongmanDictionaryofContemporaryEnglish2.2FunctionofsettinginanovelInanovel,settingdescriptionisamainwayforcharacterportrayingandplotdevelopment,whichshoulddependonnaturalsetting,culturalsettingorsocialsettingetc.theformationanddevelopmentofacharacterarealsocontrolledbyspecialsetting.Sosettingdescriptioninanovelshouldbeadequateandaccurate.童慶炳，《文學(xué)理論教程》第九章文學(xué)作品的類型和體裁ImportanceofsettingdescriptiontranslationMaoDunsays,“Theliterarytranslationshouldtransmitthemoodofliteralworkstothetargetlanguagereaders,soastomakethereadersbeinspiredormovedandtouchedbythenuancesandgetthefeelingsofbeautyinlanguage.”茅盾：《為發(fā)展文學(xué)翻譯事業(yè)和提高翻譯質(zhì)量而奮斗》，1954年SoTranslationofsettingdescriptiondoesnotmeantoword-to-wordtranslation.Onthecontrary,itshouldbeweightedandconsideredasmuchaspossible,soastoreproducethenuances茅盾：《為發(fā)展文學(xué)翻譯事業(yè)和提高翻譯質(zhì)量而奮斗》，1954年3．DataDescriptionThedatatobeanalyzedconsistsoftenparagraphswhichareselectedfromtwodifferentChineseversionstranslatedfromTessoftheD’urbervilles.ThefirstversionwastranslatedbyMr.ZhangGuRuo(張谷若)andpublishedbythePeople’sLiteraturePublishingHouse（人民文學(xué)出版社），1957;thesecondversionwaspublishedbyChinaZhiGongPublishingHouse（中國職工出版社）andtranslatedbyMr.SunZhiLiandMsTangHuiXin（孫致禮，唐慧心），2021.3.1BriefIntroductionofSLTTessoftheD’UrbervilleswassubtitledAPureWomanandpublishedin1891.ItisoneofHardy’ssaddesttalesofruraltroubles.TessisthedaughterofthepoorJohnDurbeyfieldwholearnsfromthevillageparsonthathisfamilyisrelatedtoancientnobility,beingthelastofthefamilytheD’Urbervilles.Intryingtomakeuseofthisconnection,Joan–John’swife-suggeststhatTesspursuethesonofthelocalfamilyofMrs.D’Urberville.AsitturnsouttheMrs.D’UrbervillehasmerelytakenthenameforconveniencebutTessbecomesinvolvedwithhersonAlecnonethelesswhogivesheremploymentbuttakesadvantageofherandinunpleasantcircumstancesseducesher.Theyhaveachildtogetherwhodiesearlyandcannotbebaptizedbecauseheisillegitimate.ThesecondstageofthenovelconcernsthefamilyoftheReverendMr.ClareandhissonAngel.AngelandTessmarrybutwhensheadmitstheincidentwithAlectheirrelationshipistornapartleadingtoAngel’sdepartureforSouthAmericaandAlec’ssecondattempttoensnareTess.Thisleadstomurder,escapeandsuperficialimpurityonthepartofTesswhoisfinallybroughtto"Justice".3.2BriefIntroductionofTLTTherearemanyChineseTranslationsofTess.Thispaperbasedontwoversions,whichareMr.ZhangGuruo’sversionandMr.Sunzhili&TangHuixin’sversion.ThereasonforchoosingMr.ZhangGuruo’sversionisthatitwaspublishedbythePeople’sLiteraturePublishingHouse,whichisquitefamousinChina;thereasonforchoosingthelatteroneisbecauseitstranslationforsettingdescriptionaresomehowdifferentfromthatoftheformerone,whichoffersadequatematerialsforourresearch.3.3StandardofDataSelectionThefunctionofsettinginanovelcouldbeclassifiedasthreeconditions:a.itcreatesatmosphere;b.itportrayscharacters;c.itcontrastsplotdevelopment.Sowechoosetheparagraphswhichservetheabovementionedfunctionseparately.However,theclassificationisjustforourconvenienceofstatement,sometimestheparagraphholdsmorethanonefunctionwhichmayleadstobias.4.AnalysisoftheData:ThepurposeofthisresearchistoconcentrateourattentiononthesettingdescriptiontranslationsofthedifferentChineseversionsinTessoftheD’urbervilles.Inthemeanwhiletheauthorhopesthatthisdiscussionmighthelpreadersholdaclearattitudetowardsonhowthetranslationforsettingdescriptionaffectsonthereproductionofaestheticvalueofthewholeoriginal.Therearetenselecteddiscoursesforustoanalysisandfromwhichourresultswouldcome.Alltheexamplesareclassifiedintothreegroupsbythefunctionofthesettingdescriptioninthenovel.4.1SettingforCreatingAtmosphereIntable1,Zhang’sversionisafullequivalencebyfaithfultranslation,whereasSun’sversionistranslatingmeaning.Forexample,“herquiescentglide”isanounphraseassubject,soZhang’sversionsays她那悄悄冥冥的凌虛細(xì)步；whileSun’sversiontranslatethisnounphraseintoasimplesentencelike她靜悄悄地獨(dú)行。Thisplaintreatmentmakesthelatterversionlosethetasteoftheoriginal.Anotherdifferenceofisthetranslationof“l(fā)onely”.Thefirstversionuses“曠山”and“空谷”tomakeamysteryoftheatmosphere;Whereasthesecondversiontranslatesitas“寂靜”，whichisacommonwordthatcouldnotgivethereadersanyspecialsenseoftheatmosphere.Otherdifferencesaretreatmentsofsomeadjectivesandnouns.Forexample,thefirstversionusemorefour-characterwordsthanthesecondonetosuccessfullycreatetheatmosphere:悄悄冥冥、潛潛等等；凌虛細(xì)步、嬌軟腰肢、綺思深念，thesefour-characterphrasesmakesthewholediscourseingoodorderandsoundselegantinstyle;whilethesecondversiontranslatethesamewordsinto靜悄悄、隱隱約約、獨(dú)行、身影,whichdoesnotconsideraboutthebeautyinlanguage..Intheseconddiscourse,Zhang’sversiontranslates“playabouttheirfaces”into輕拂微掠,whileSun’sversion輕輕地吹拂著。SoZhang’sversionismoregenteelthanSun’s.“thebroadmirroroflight”,Zhangsays清澈晶瑩的浩蕩明鏡，boththemodifyingandmodifiedwordsarealltreatedintofour-characterphrases,whileSun’sversiondoesnot.Moreover,Zhang’sversionusesapersonificationfortheword“herald-drops”.打頭陣soundsmorevivid,butthesecondversiontranslatesthemeaningonly.Indiscoursethree,bothversionsarealmostthesameinwordsbutlittledifferenceinanadjective.Thefirstversionuse“毒熱的荒野”、“毒蛤蟆”for“atorridwaste”and“thetoads”，thenthesecondversionuse“酷熱”、“癩蛤蟆”。Inthisparagraph,Tess’stragedyfateishintedbytheterribledescriptionofthefire.Thefirsttranslationversionusetheadjectiveof“毒”asanattributetomodifythewordswhichcancreatetheatmosphereproperly.Indiscoursefour,theyaredifferentfromthelastsentencetranslationof“essence”and“substance”.Inthedictionary,essencemeans“themostbasicandimportantqualityofsomething”，inChinese本質(zhì)、實(shí)質(zhì);whilesubstancemeansmaterial,inChinese物質(zhì)。Infirstversion,theyaretranslatedinto本質(zhì)and神情；whileinthesecondversion,theyaretranslatedas物質(zhì)本身and事物的實(shí)質(zhì)。Eachversionhasitsstrongpoints,however,fromtheatmosphereperspective,thefirstonesoundsbetter;whilethesecondonemakesthereadersconfused.4.2SettingforPortrayingCharactersThetwoversionsaredifferentfromhowtotranslatetheadverb“terribly”.InLongmanDictionaryofContemporaryEnglish,ithastwomeanings:oneis“especially,very,extremely”,whichistranslatedas非常、極度、很；anothermeaningis“badly,severely”,whichistranslatedas非常糟地；嚴(yán)重地。Fromthecontext,weknowTessdoesnotlikethebeautifulinclineatall,becauseitremindsherofsomesadexperience,whichmeansthesurfaceoftheviewisbeautifulwhilethetruthoflifeisnot.Soitshouldbetranslatedinto“美的可怕”，insteadof“美麗極了”。ThesixthparagraphdescribesTess’sgoodmoodtoexpecthernewlife.Soinhereyes,everythingislovely.Thuswhenweappreciatethetranslation,weshouldpayattentiontotheuseofparallelismtothesecondsentence.Thesecondversionhaslivelyrhythmbyusing蔚藍(lán)的大氣、黏重的土壤、濃郁的氣息andseemstoechowiththegoodmoodofTessinwordslike清新、明凈、縹緲.Sothesecondversionisslightlybetter.TheseventhparagraphreflectsTessandClare’sarefallinginlove.Thesettingdescriptioncombinedwiththecharacter’sgoodmood.Themaindifferenceexitsintranslationtothelastsentence.Theuseofreiterativelike一支支、一根根、一股股、一朵朵；andsomeantithesislike無聲無息、無影無蹤madethesecondversionbetterthanthefirstone.Thesentencepatterniswell-balancedandshowsTess’shappiness.4.3SettingforContrastPlotDevelopmentTT8.1andTT8.2:Thisisatransitionparagraph,afterwhichTesswilltellClareallthewrongthingsshehaddone,andthushertragedywillbegin.Butshedoesnotknowatall.Theauthorhintedthisbydescribingthefire.Thetwotranslatorsapplieddifferenttranslationtreatmentstothelastsentence.Intermofgrammar,thefirstversionistranslatedintoacompoundsentencewhichhastwosubjects,oneis她的脈搏，theotheris它們的顏色；Whilethesecondversionistranslatedasaadverbialinasimplesentence.Sinceafterthisparagraph,theplotwilldevelopmysteriously,sothefirstversionisbetter.TT9.1andTT9.2:ThisdescriptionisaboutTess’sancestor’sappearance,whichishintingkarmaofTess.ItisknownthatinChinese,manyderogatorytermsarethree-characterwords,sothesecondversiontranslatestheappearanceintothree-characterphrases,like長臉膛，尖下巴，瞇縫眼，鷹勾鼻，大牙齒,toshowthenegativeviewofit.InChinesealmostallthethree-characterphrasesareusedinaderogatorysense,forexample挖墻腳、穿小鞋、扣帽子etc.TT10.1andTT10.2:ThisparagraphisdescribingthebadconditionsofTess.ShewasnotlivingwellafterClareleftheralone.Boththetwotranslationstothethirdsentenceseemslostsomemeaningoftheoriginal.Itmightbetranslatedas:他們傾著身子，穿過風(fēng)雪漫漫的田野，步履艱難的往前走去，盡量靠著樹籬好避避風(fēng)，可是樹籬不僅擋不住風(fēng)雪，反而由于過濾作用，使得風(fēng)雪更勁了。Hereinordertoavoidthelostofthemeaning,wecouldusesometranslationtechniques,forexampleaddition.ResultsandSuggestions5.1ResultsWhatisthepracticelikeinsettingtranslation?Basedontheaboveanalysis,wefindthatsettingtranslationiscontrolledbytheoriginalbeautyinbothcontentandform.Asanaestheticsubject,thetranslatorshouldtryhis/herbesttoreproducethenuanceandthepoeticqualityoftheoriginalsettingdescription,whichholdsthefunctionofportrayingcharacters,developingplotorcreatingatmospheres.Inordertoreachthistarget,thetranslatorshouldweighthis/herwordsbysometranslationstrategies:fromthesoundslevel,translatorsmaytrytousefour-characterphrasestomakethewholearticlesoundsgenteel,ortousethree-characterphrasetoshowaderogatorysense,ortomakegooduseofreiterativeforlivelyrhythm.Properrhetoricalmeasureslikepersonification,parallelism,andantithesisorreiterativeshouldbeappliedwhennecessary.SuggestionsontheTranslationStrategyHerearesomesuggestionsforthefuturepracticeofsettingtranslation.Firstly,sincetheTLiscontrolledbytheSL,thetranslatormustfaithfullyreproducewhattheauthorwanttoshow;Secondly,translatorshouldtrytogivethetargetreaderbeautyinlanguagewhentranslatingsettingdescriptionandatthesametimeconsideringaboutthefunctionholdingbythediscourse;Thirdly,properrhetoricalmeasureshouldbeappliedtowellreproducethepoeticqualityandnuanceoftheoriginal.ConclusionThisresearchmakesanattempttoexplorethestrategiesofsettingdescriptiontranslationinliteraryworksbyexaminingsomesettingdiscourseinTessandtheirtranslationsinSS.Toachievetheseobjectives,theanalysisismadebetween10paragraphsinTessandtheirtranslationsinSS.Accordingtotheanalysis,thetranslationstrategiesdealingwithsettingdescriptiontranslationareclassifiedintotwoprinciples:syntaxandrhetoric.Thespecifictranslatingstrategiesincludeantithesis,parallelism,andpersonification,reiterativeandfour-characterphraseorthree-characterphrases.Thedatafortheresearcharecarefullyselectedsothattheycanrepresentthecommonphenomenonofsettingtranslationtoacertainextent.However,potentialweaknessstillcanbefoundintheresearchdesign.First,thepaperonlyfocusesonthestudyofsettingtranslationfromtheaspectofaesthetics,morestudiesareleftforthefurtherresearch.Second,becausetheexamplesareallselectedfromTessoftheD’urbervilles,thelimitationofsamplespossiblyleadtobiasintheresults.So,thereismuchroomforimprovementsothatclearresultscanbefound.

Bibliography葉家莉:“《苔絲》兩個(gè)譯本的比較”，《文學(xué)翻譯佳作賞析》，崔永祿主編，南開大學(xué)出版社，2021年方夢之：《譯學(xué)辭典》，上海外語教育出版社，2021年朱維之，趙灃，崔寶衡：《外國文學(xué)史》，南開大學(xué)出版社，2021年童慶炳，《文學(xué)理論教程》，高等教育出版社，2021年

Appendix：Table1:SettingDescriptionforCreatingAtmospheresSTZhangGuruo’sversionSunZhili&TangHuixin’sversionST1:Ontheselonelyhillsanddalesherquiescentglidewasofapiecewiththeelementshemovedin.Herflexuousandstealthyfigurebecameanintegralpartofthescene.Attimesherwhimsicalfancywouldintensifynaturalprocessesaroundhertilltheyseemedapartofherownstory.TT1.1:在這些曠山之上和空谷之中,她那悄悄冥冥的凌虛細(xì)步裊裊婷婷.潛潛等等的嬌軟腰肢,也和那片景物融為一體.有的時(shí)候,她那想入非非的綺思深念,使她周圍自然界的消息盈虛,深深含上感情,一直到它變得好象是她個(gè)人身世的一部分.TT1.2:在這寂靜的山巒峽谷中，她靜悄悄地獨(dú)行，與周圍的環(huán)境融匯在一起。她那裊裊婷婷、隱隱約約的身影，也成了那片景物不可缺少的一部分。有時(shí)候，她的想入非非會(huì)給周圍自然界的進(jìn)程蒙上濃郁的感情色彩，好像這自然界的進(jìn)程也是她個(gè)人身世的一部分。ST2:Thedullskysoonbegantotellitsmeaningbysendingdownherald-dropsofrain,andthestagnantairofthedaychangedintoafitfulbreezewhichplayedabouttheirfaces.Thequicksilveryglazeontheriversandpoolsvanished;frombroadmirrorsoflighttheychangedtolustrelesssheetsoflead,withasurfacelikearasp.TT2.1:天色沉悶的空中,不久落下了幾個(gè)打頭陣的雨點(diǎn)兒,表示真有雨意.白天停滯不動(dòng)的空氣,也變成了一陣的微風(fēng),在他們臉上輕拂微掠.河流和池塘的水面上水銀一般的光澤,現(xiàn)在都完全消失了;原先清徹晶瑩的浩蕩明鏡,都變成晦暗無光的鉛皮,水面上起了像銼齒的皺紋.TT2.2:過了不久，陰沉的天空落下了幾個(gè)雨點(diǎn)，預(yù)示天要下雨了；白天停滯不動(dòng)的空氣，也化成了一陣微風(fēng)，輕輕地吹拂著他們的臉膛。河流和池塘水面上那水銀般的光澤，已經(jīng)完全消失了，原先清澈寬闊的明鏡，現(xiàn)在已變成了晦暗無光的鉛皮，表面像銼刀一樣粗糙。ST3:Theirhandswerestilljoined.Theashesunderthegratewerelitbythefirevertically,likeatorridwaste.ImaginationmighthavebeheldaLastDayluridnessinthisred-coaledglow,whichfellonhisfaceandhand,andonhers,peeringintotheloosehairaboutherbrow,andfiringthedelicateskinunderneath.Alargeshadowofhershaperoseuponthewallandceiling.Shebentforward,atwhicheachdiamondonherneckgaveasinisterwinklikeatoad's;andpressingherforeheadagainsthistemplesheenteredonherstoryofheracquaintancewithAlecd'Urbervilleanditsresults,murmuringthewordswithoutflinching,andwithhereyelidsdroopingdown.TT3.1:他們的手還是互相緊握.爐柵底下的灰,叫爐火從上往下映照,顯得好象一片毒熱的荒野.煤火的紅焰,照到他們兩個(gè)的臉和手上,透進(jìn)了她額上松散的頭發(fā),把她發(fā)下的細(xì)皮嫩肉映得通紅.這種紅焰,讓人想起來,覺得仿佛末日審判的時(shí)候那樣陰森嚇人.她的身子,映成一個(gè)大黑影,射到墻上和天花板上.她向前彎腰的時(shí)候,脖子上的鉆石都跟著閃爍了一下,好象毒蛤蟆的眼睛那樣不懷好意.她把頭靠著他的太陽穴,開始把她和亞雷.德伯的事情,前因后果地說了一遍,說的時(shí)候,把眼皮下垂,一點(diǎn)兒也不畏縮,低聲一個(gè)字一個(gè)字地說.TT3.2:他們的手仍然握在一起。爐柵下的灰，被爐火垂直的一照，像是一片酷熱的荒野。炭火的紅色光焰投到克萊爾的臉上和手上，也投到苔絲的臉上和手上，射進(jìn)她額上蓬松的頭發(fā)里，照在頭發(fā)下面那細(xì)嫩的皮膚上。置身于這種紅色的光焰中，讓人覺得像末日審判時(shí)那樣陰森可怕，她的身子映成一個(gè)巨大的黑影，投射到墻上和天花板上。她彎下身子，脖子上的每顆鉆石都跟著閃爍了一下，就像癩蛤蟆不懷好意的瞪了一下眼睛。她把額頭靠在克萊爾的太陽穴上，開始講起了她與亞歷克德伯維爾相識(shí)的前因后果，說話時(shí)聲音很低，眼皮低垂著，但卻一點(diǎn)也不畏縮。ST4:Thefireinthegratelookedimpish-demoniacallyfunny,asifitdidnotcareintheleastaboutherstrait.Thefendergrinnedidly,asifittoodidnotcare.Thelightfromthewater-bottlewasmerelyengagedinachromaticproblem.Allmaterialobjectsaroundannouncedtheirirresponsibilitywithterribleiteration.Andyetnothinghadchangedsincethemomentswhenhehadbeenkissingher;orrather,nothinginthesubstanceofthings.Buttheessenceofthingshadchanged.TT4.1:壁爐里的殘火,張牙怒目,鬼頭鬼腦,仿佛表示對(duì)于苔絲的窘迫,絲毫都不關(guān)心.爐欄懶洋洋地把嘴咧著,也仿佛表示滿不在乎.盛水的瓶子放出亮光來,好象只是在那兒一心一意研究顏色問題.所有身外一切東西,全都令人可怕地反復(fù)申明,自脫干系.然而無論哪樣?xùn)|西,實(shí)際上卻和克萊吻苔絲那時(shí)候,并沒有任何改變;或者不如說,無論哪樣?xùn)|西,本質(zhì)上都沒有任何改變;但是神情上卻前后大不相同了.TT4.2:壁爐里的炭火好像在惡作劇，張牙舞爪，怪模怪樣，仿佛絲毫也不關(guān)心苔絲的疾苦。爐欄懶洋洋的咧著嘴，似乎也充耳不聞。水瓶發(fā)出亮光來，仿佛只是在研究色彩問題。周圍的一切物體，都在令人可怕的反復(fù)闡明，自己沒有任何責(zé)任。然而，自從克萊爾親吻苔絲以來，哪樣?xùn)|西也沒發(fā)生變化，換句話說，物質(zhì)本身沒有發(fā)生變化，但是事物的實(shí)質(zhì)卻起了變化。Table2:SettingDescriptionforPortrayingCharactersST5:Theinclinewasthesamedownwhichd'UrbervillehaddrivenwithhersowildlyonthatdayinJune.Tesswentuptheremainderofitslengthwithoutstopping,andonreachingtheedgeoftheescarpmentgazedoverthefamiliargreenworldbeyond,nowhalf-veiledinmist.Itwasalwaysbeautifulfromhere;itwasterriblybeautifultoTesstoday,forsincehereyeslastfelluponitshehadlearntthattheserpenthisseswherethesweetbirdssing,andherviewsoflifehadbeentotallychangedforherbythelesson.Verilyanothergirlthanthesimpleoneshehadbeenathomewasshewho,bowedbythought,stoodstillhere,andturnedtolookbehindher.ShecouldnotbeartolookforwardintotheVale.TT5.1:

這個(gè)山坡,就是六月里那一天,德伯象瘋了似的和她趕著車跑下去的那一個(gè).苔絲一氣上了還沒走完的那一段山坡,到了山脊,看著前面那片很熟悉的綠色世界,現(xiàn)在叫霧氣籠罩得半隱半現(xiàn).這片山谷,從這個(gè)山頂上看,永遠(yuǎn)是美的;今天苔絲看來,它更美得可怕;因?yàn)樽詮纳弦淮嗡难酃饴涞剿厦嬉詠?她已經(jīng)知道了,凡是有甜美的鳥歌唱的地方,也都有毒蛇嘶嘶地叫.她的人生觀,也因?yàn)槟且环逃?xùn),完全改變了.現(xiàn)在的她,滿懷心事地把頭低著,靜靜地站在那兒,回過身去,往后面看,實(shí)在和從前沒出家門.簡單天真的她,完全不是一個(gè)人了.她往后面看去,因?yàn)樗懊娴纳焦壤锟?就要難過得受不住.TT5.2:這道山坡，就是六月里那一天，德伯維爾趕著馬車?yán)l(fā)瘋似的奔下去的那道山坡。苔絲不停腳地走完了后一段坡路，一登上山脊，就眺望著前方那片熟悉的綠色世界，現(xiàn)在叫霧氣籠罩的半隱半現(xiàn)。從這里看去，那兒總是美麗的，而苔絲今天覺得，這地方美麗極了，因?yàn)樽詮乃弦淮瓮娺@地方以來，他已經(jīng)懂得凡是有可愛的鳥兒唱歌的地方，就有毒蛇發(fā)出嘶嘶的叫聲。由于這次教訓(xùn)，她的人生觀徹底改變了。她與以前沒出家門時(shí)的那個(gè)單純姑娘，完全判若兩人，只見她心事重重，靜靜地站在那里。她轉(zhuǎn)身向后望去，看見前面的山谷，心里就受不了。ST6:Thebird's-eyeperspectivebeforeherwasnotsoluxuriantlybeautiful,perhaps,asthatotheronewhichsheknewsowell;yetitwasmorecheering.Itlackedtheintenselyblueatmosphereoftherivalvale,anditsheavysoilsandscents;thenewairwasclear,bracing,ethereal.Theriveritself,whichnourishedthegrassandcowsoftheserenowneddairies,flowednotlikethestreamsinBlackmoor.Thosewereslow,silent,oftenturbid;flowingoverbedsofmudintowhichtheincautiouswadermightsinkandvanishunawares.TheFroomwaterswereclearasthepureRiverofTT6:她現(xiàn)在居高臨下所看到的這一片風(fēng)景,和她頂熟悉的那一片比起來,也許沒有那樣蓊郁蔥蘢之美,但卻更能使人起暢快爽朗之感.它沒有和它匹敵的那個(gè)谷里那樣藍(lán)蔚的大氣,那樣濃重的土壤和氣息,它的空氣清新.爽利.飄渺.空靈.滋養(yǎng)這片草原和這些著名奶廠牛群的這條河流,也和布蕾谷里的河流不一樣.布蕾谷里的河流,緩慢.沉靜.往往混濁;河底是泥的,從河里徒涉的人,一不小心,就會(huì)不知不覺地陷在里頭,再也出不來.芙侖河卻和那位福音教徒看見的生命之河一樣地清澈,和天上浮云的陰影一樣地飄忽,它里面鋪著石頭子的淺灘,還一天到晚,對(duì)著青天喋喋不休.那兒水里長的花兒是睡蓮,這兒長的卻是水毛茛.TT6.2:鳥瞰眼前的景色，也許不及她所熟悉的那片峽谷蔥郁綺麗，但卻更加令人愉悅。它缺少那個(gè)山谷里的蔚藍(lán)的大氣、黏重的土壤、濃郁的氣息，它的空氣清新、明凈、縹緲。滋養(yǎng)著這些著名牛奶場上的牧草和牛群的河流，也和布萊克摩谷的河流不一樣。布萊克摩谷的河流既緩慢又沉靜，往往還很渾濁，河底盡是淤泥，趟水者一不小心，就會(huì)突然陷入泥中，落個(gè)無影無蹤。弗魯姆河則像那位福音教徒看見的生命之河一樣清澈純凈，水流就像云影一樣急，在滿是卵石的淺水處，還整天對(duì)著藍(lán)天淙淙歡唱。那里的水花是睡蓮，這里的卻是毛茛。ST7:Theseasondevelopedandmatured.Anotheryear'sinstalmentofflowers,leaves,nightingales,thrushes,finches,andsuchephemeralcreatures,tookuptheirpositionswhereonlyayearagoothershadstoodintheirplacewhenthesewerenothingmorethangermsandinorganicparticles.Raysfromthesunrisedrewforththebudsandstretchedthemintolongstalks,liftedupsapinnoiselessstreams,openedpetals,andsuckedoutscentsininvisiblejetsandbreathings.TT7.1:風(fēng)光流轉(zhuǎn),由平淡變成了絢爛.一年一度的花.葉.夜鶯.畫眉.交喙以及這類命若蜉蝣的有生之物,在各自的崗位上出現(xiàn)了,僅僅一年以前,占據(jù)這些崗位的還是另外一些東西,現(xiàn)在這些生物,在那時(shí)候,還都不過是尚未成形的胚和渺小微細(xì)的無機(jī)體.朝陽射出來的光線,把幼芽嫩蕾抽出,使它們舒展為纖梗長條;使汁液不聲不響川流泉涌那樣滋長,使花瓣展放,使芬香無影無蹤噴霧吐氣那樣散發(fā).TT7.2時(shí)光流轉(zhuǎn)，又到了鳥語花香的季節(jié)。一年一度的花、葉、夜鶯、畫眉、燕雀，以及諸如此類的短生之物，又出現(xiàn)在各自的地盤上；而僅僅一年前，他們只不過是些胚芽和微小的無生物，占據(jù)那些地盤的還是另外一些東西。朝陽射出的光線，催生出一支支幼芽嫩蕾，使其舒展成一根根長莖，滋養(yǎng)起一股股液汁，無聲無息的涌動(dòng)著，綻開一朵朵花瓣，在無影無蹤的呼吸中散發(fā)著芳香。Table3:SettingforContrastPlotDevelopmentST8:Asteadyglarefromthenowflamelessemberspaintedthesidesandbackofthefireplacewithitscolour,andthewell-polishedandirons,andtheoldbrasstongsthatwouldnotmeet.Theundersideofthemantel-shelfwasflushedwiththehigh-colouredlight,andthelegsofthetablenearestthefire.Tess'sfaceandneckreflectedthesamewarmth,whicheachgemturnedintoanAldebaranoraSirius-aconstellationofwhite,red,andgreenflashes,thatinterchangedtheirhueswithhereverypulsation.TT8.1:現(xiàn)在殘火沒有火焰了,但是它所發(fā)出來的穩(wěn)定光輝,卻把壁爐的兩側(cè).亮晶晶的火架.和那兩股合不到一塊兒的舊銅火鉗,都一齊染了一層通紅的顏色.壁爐擱板的下面和最靠近壁爐放的一張桌子的腿兒,也叫它映得火紅.苔絲的臉和脖子,也一樣地又紅又暖,她戴的珠寶鉆石,也好象愛兒代巴倫或者西銳厄，在火光里閃爍輝煌,成了一座時(shí)紅.時(shí)綠.時(shí)白的星座,她的脈搏一跳動(dòng),它們的顏色就一變換.TT8.2:這時(shí)，爐里的殘火已經(jīng)沒有火焰了，但卻發(fā)出一片穩(wěn)定的光澤，染紅了壁爐里的后邊和兩側(cè)、亮锃锃的柴架，和一把合不攏的舊銅火鉗。壁爐臺(tái)下面和最靠近壁爐的桌腿，也給爐光映得通紅。苔絲的臉和脖子也同樣顯得暖融融的，她身上帶的每一件珠寶也都變成了金牛星或天狼星變成了閃爍著白光、紅光、綠光的星座，隨著她脈搏的每一次跳動(dòng)，不斷變換自己的色彩。ST9:Helookedup,andperceivedtwolife-sizeportraitsonpanelsbuiltintothemasonry.Asallvisitorstothemansionareaware,thesepaintingsrepresentwomenofmiddleage,ofadatesometwohundredyearsago,whoselineamentsonceseencanneverbeforgotten.Thelongpointedfeatures,narroweye,andsmirkoftheone,sosuggestiveofmercilesstreachery;thebill-hooknose,largeteeth,andboldeyeoftheother,suggestingarrogancetothepointofferocity,hauntthebeholderafterwardsinhisdreams.TT9.1:又長又尖的嘴臉,瞇縫眼,把嘴咧著強(qiáng)作笑容,一股奸險(xiǎn)無情的神氣;那一個(gè)是鷹鼻子,大牙齒,瞪著兩只大眼睛,氣焰萬丈,差不多要吃人的樣子.看見過這兩副臉的人,做夢也非夢見它們不可.TT9.2:克萊爾抬頭一看，只見有兩幅與真人一般大小的畫像，鑲在墻內(nèi)的鑲板上。來過這座宅第的人都知道，畫上畫著兩個(gè)中年婦女，論年份大約是二百年以前，兩個(gè)人的相貌只要看上一次，就永遠(yuǎn)不會(huì)淡忘。一個(gè)是長臉膛，尖下巴，瞇縫眼，還要強(qiáng)作笑容，露出一幅陰險(xiǎn)無情的神氣；另一個(gè)鷹勾鼻子，大牙齒，瞪著大眼，顯出一副盛氣凌人、兇神惡煞的樣子，誰見了這兩副嘴臉，就是在夢中也會(huì)在受驚擾的。ST10:Thesnowhadfollowedthebirdsfromthepolarbasinasawhitepillarofacloud,andindividualflakescouldnotbeseen.Theblastsmeltoficebergs,arcticseas,whales,andwhitebears,carryingthesnowsothatitlickedthelandbutdidnotdeepenonit.Theytrudgedonwardswithslantedbodiesthroughtheflossyfields,keepingaswellastheycouldintheshelterofhedges,which,however,actedasstrainersratherthanscreens.Theair,afflictedtopallorwiththehoarymultitudesthatinfestedit,twistedandspu