《德伯家的苔絲》中環(huán)境描寫翻譯對比研究

1PAGE1《德伯家的苔絲》中環(huán)境描寫翻譯對比研究ComparativeStudyonTranslationsofSettingDescriptioninTessoftheD’urbervilles論文摘要文學作品的翻譯有別于非文學作品之處主要在于它能夠再現(xiàn)原著的美學價值。小說翻譯即屬于該范疇，因此鑒賞小說翻譯的一個重要標識就是看它是否通過深入細致的人物描畫，完整復雜的情節(jié)敘述，具體充分的環(huán)境描寫來再現(xiàn)原著的美學價值。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：“把原作的藝術意境傳達出來，供讀者在讀譯文的時候能像讀原作時一樣得到啟發(fā)，感動和美的感受。童慶炳，《文學理論教程》，2004年本文旨在通過對《苔絲》兩個譯本的比較喚醒譯者在翻譯實踐中，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)境描寫為推動故事情節(jié)發(fā)展、塑造人物和烘托氣氛起了至關重要的作用，從而大大加強了作品的感染力。葉家莉，《苔絲》兩個譯本的比較，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》兩個譯本的比較，2001年本文從張谷若和孫致禮、唐慧心的兩個《德伯家的苔絲》譯本中分別選取了十個環(huán)境描寫的翻譯片段，并用對比的方法進行分析，最終得出這樣的結論：環(huán)境描寫是推動故事情節(jié)的手段；是烘托人物命運的工具；是增強作品感染力的渠道，因此譯者在翻譯環(huán)境片段的時候需要在修辭方法和字斟句酌上下功夫，努力體現(xiàn)翻譯文學的語言美。關鍵詞：環(huán)境描寫翻譯塑造人物推動情節(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，《文學理論教程》第九章文學作品的類型和體裁ImportanceofsettingdescriptiontranslationMaoDunsays,“Theliterarytranslationshouldtransmitthemoodofliteralworkstothetargetlanguagereaders,soastomakethereadersbeinspiredormovedandtouchedbythenuancesandgetthefeelingsofbeautyinlanguage.”茅盾：《為發(fā)展文學翻譯事業(yè)和提高翻譯質量而奮斗》，1954年SoTranslationofsettingdescriptiondoesnotmeantoword-to-wordtranslation.Onthecontrary,itshouldbeweightedandconsideredasmuchaspossible,soastoreproducethenuances茅盾：《為發(fā)展文學翻譯事業(yè)和提高翻譯質量而奮斗》，1954年3．DataDescriptionThedatatobeanalyzedconsistsoftenparagraphswhichareselectedfromtwodifferentChineseversionstranslatedfromTessoftheD’urbervilles.ThefirstversionwastranslatedbyMr.ZhangGuRuo(張谷若)andpublishedbythePeople’sLiteraturePublishingHouse（人民文學出版社），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步；whileSun’sversiontranslatethisnounphraseintoasimplesentencelike她靜悄悄地獨行。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；凌虛細步、嬌軟腰肢、綺思深念，thesefour-characterphrasesmakesthewholediscourseingoodorderandsoundselegantinstyle;whilethesecondversiontranslatethesamewordsinto靜悄悄、隱隱約約、獨行、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、實質;whilesubstancemeansmaterial,inChinese物質。Infirstversion,theyaretranslatedinto本質and神情；whileinthesecondversion,theyaretranslatedas物質本身and事物的實質。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，可是樹籬不僅擋不住風雪，反而由于過濾作用，使得風雪更勁了。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》兩個譯本的比較”，《文學翻譯佳作賞析》，崔永祿主編，南開大學出版社，2021年方夢之：《譯學辭典》，上海外語教育出版社，2021年朱維之，趙灃，崔寶衡：《外國文學史》，南開大學出版社，2021年童慶炳，《文學理論教程》，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。有時候，她的想入非非會給周圍自然界的進程蒙上濃郁的感情色彩，好像這自然界的進程也是她個人身世的一部分。ST2:Thedullskysoonbegantotellitsmeaningbysendingdownherald-dropsofrain,andthestagnantairofthedaychangedintoafitfulbreezewhichplayedabouttheirfaces.Thequicksilveryglazeontheriversandpoolsvanished;frombroadmirrorsoflighttheychangedtolustrelesssheetsoflead,withasurfacelikearasp.TT2.1:天色沉悶的空中,不久落下了幾個打頭陣的雨點兒,表示真有雨意.白天停滯不動的空氣,也變成了一陣的微風,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雨點，預示天要下雨了；白天停滯不動的空氣，也化成了一陣微風，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,照到他們兩個的臉和手上,透進了她額上松散的頭發(fā),把她發(fā)下的細皮嫩肉映得通紅.這種紅焰,讓人想起來,覺得仿佛末日審判的時候那樣陰森嚇人.她的身子,映成一個大黑影,射到墻上和天花板上.她向前彎腰的時候,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,說的時候,把眼皮下垂,一點兒也不畏縮,低聲一個字一個字地說.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，射進她額上蓬松的頭發(fā)里，照在頭發(fā)下面那細嫩的皮膚上。置身于這種紅色的光焰中，讓人覺得像末日審判時那樣陰森可怕，她的身子映成一個巨大的黑影，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的前因后果，說話時聲音很低，眼皮低垂著，但卻一點也不畏縮。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,仿佛表示對于苔絲的窘迫,絲毫都不關心.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申明,自脫干系.然而無論哪樣東西,實際上卻和克萊吻苔絲那時候,并沒有任何改變;或者不如說,無論哪樣東西,本質上都沒有任何改變;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闡明，自己沒有任何責任。然而，自從克萊爾親吻苔絲以來，哪樣東西也沒發(fā)生變化，換句話說，物質本身沒有發(fā)生變化，但是事物的實質卻起了變化。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.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,從這個山頂上看,永遠是美的;今天苔絲看來,它更美得可怕;因為自從上一次她的眼光落到它上面以來,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,也因為那一番教訓,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,實在和從前沒出家門.簡單天真的她,完全不是一個人了.她往后面看去,因為她往前面的山谷里看,就要難過得受不住.TT5.2:這道山坡，就是六月里那一天，德伯維爾趕著馬車拉著她，發(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，因為自從她上一次望見這地方以來，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，她的人生觀徹底改變了。她與以前沒出家門時的那個單純姑娘，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谷里那樣藍蔚的大氣,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。它缺少那個山谷里的蔚藍的大氣、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，就會突然陷入泥中，落個無影無蹤。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，還整天對著藍天淙淙歡唱。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:風光流轉,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,在那時候,還都不過是尚未成形的胚和渺小微細的無機體.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時光流轉，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.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,成了一座時紅.時綠.時白的星座,她的脈搏一跳動,它們的顏色就一變換.TT8.2:這時，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、亮锃锃的柴架，和一把合不攏的舊銅火鉗。壁爐臺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，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,把嘴咧著強作笑容,一股奸險無情的神氣;那一個是鷹鼻子,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，鑲在墻內的鑲板上。來過這座宅第的人都知道，畫上畫著兩個中年婦女，論年份大約是二百年以前，兩個人的相貌只要看上一次，就永遠不會淡忘。一個是長臉膛，尖下巴，瞇縫眼，還要強作笑容，露出一幅陰險無情的神氣；另一個鷹勾鼻子，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，就是在夢中也會在受驚擾的。ST10:Thesnowhadfollowedthebirdsfromthepolarbasinasawhitepillarofacloud,andindividualflakescouldnotbeseen.Theblastsmeltoficebergs,arcticseas,whales,andwhitebears,carryingthesnowsothatitlickedthelandbutdidnotdeepenonit.Theytrudgedonwardswithslantedbodiesthroughtheflossyfields,keepingaswellastheycouldintheshelterofhedges,which,however,actedasstrainersratherthanscreens.Theair,afflictedtopallorwiththehoarymultitudesthatinfestedit,twistedandspu