[转帖]《鹿鼎记》英译漫谈

鸡蛋糕 · 发表于 6-3-2006 10:03:00|来自：四川成都

刘绍铭 
(一)闵福德 (John Minford)英译《鹿鼎记》，从开始构想到牛津版TheDeer & the Cauldron第一册在一九九七年面世[1]，已近十年。我个人对此翻译盛事，一直关心得要紧。原因有细说的必要。
　　首先，这跟我的职业有关。在我一九九四年回到香港岭南学院服务前的二十年，都在美国教书。所开的中国文学课程，除研究院的科目外，其他教材均为英译。每学期为学生开书单，都伤透脑筋。一来选用的「名着」，不一定有英译。二来即使有译本，文字不一定清通可靠。
　　但更头痛的是，即使所有我们认为是名着的作品都有英译，外国学生也不见得会受用。译作等身的英国学者詹纳(W. J. F. Jenner)就慨叹过，鲁迅的地位和作品，对中国学生说来是一回事，拿给不知有汉的外国学生看，又是另一回事。[2]语文的隔膜，是个原因。不说别的，〈孔乙己〉中的孔乙己，名字就有千丝万 缕的历史文化关系，非翻译所能解决的。
　　要外国读者看得下去的中国文学作品，除了文字因素外，还要讲内容。层次高一点的说，阅读这些充满「异国情调」的作品，会不会增加他们对人生的了解？俗一点说，这些作品，读来过不过瘾？说这些话，实在泄气，也失学术尊严。但摆在眼前的事实，却现实不过。今天的学子，无不以「顾客」身份自居。中国文学是中文系学生的必修科，老师要教什麽，就念什麽。
　　外系学生无此限制。他们来上课，原因不外两种。一是为了满足求知欲。这类学子，至情至圣，因此凤毛麟角。如果学校以「盈亏」的生意眼光作准则，一门课最少要有十个学生选修才能开班的话，那做老师的，绝不能把这类学生看作「基本顾客」，因为他们可遇不可求。
　　比较可靠的，是那些为了凑学分而来的外系学生。一般大学为了符合「通识教育」的宗旨，规定所有学生必修若干人文科的课。中国文学正好是人文学科的一门。
　　在中文课程以选修学生多寡来决定学科价值轻重的今天，仍能苦撑下去，靠的就是要为凑学分而来的「散兵游勇」。
　　本科生读中国文学，不管念得下去或念不下去还是要念下去。
　　「散兵游勇」呢，总不会这麽轻易受摆布，因为除了中国文学，还有别的人文学科可选择。作品读来不过瘾，是否还会继续上课，实在很难说得准。
　　究竟这些「游离分子」要看那些东西才能看得下去，也是无法揣测的。根据詹纳的经验，作品要引起他们注意，得要在内容与形式上给他们一种「与别不同」的感觉。也就是他所说的different。
　　怎样才算different？他说如果要在一九四九年前成名的作家中挑选，他会选译沈从文，特别是写湘西风土人情那系列。这类作品不但外国人看来different，连一向以为自己熟悉本土风貌的中国人，读来也会觉得耳目一新。
　　另外一个詹纳想到要推荐的作家是老舍。沈从文最难忘情的是山水。
　　老舍笔下的人物，都在都市红尘中打滚。
　　这二家的小说，相映成趣。
　　除此以外，上榜的还有萧红(《呼兰河传》和《生死场》)和路翎(《财主底儿女们》)。
　　以上的论点，是詹纳教授的「一家之言」。问题也出在这：他认为是different的作品，外国学生和读者不见得就念得下去。说来说去，读者对作品的承受能力，关乎个人的教育程度、艺术品味和生活经验。
　　在感情认同方面，作品本身的文化成份与读者的「种族」(ethnic)背景，有时会互相干扰，影响到美学上的独立判断。
　　关於这一点，讨论到英译《鹿鼎记》的读者反应时，将再补充。
　　(二)英译《鹿鼎记》的试行版(两回)，一九九三年在澳洲国立大学学报《东亚史》发表[3]。闵福德私下相告，译者挂的虽然是他一个人的名字，但实际的翻译工作，霍克思(DavidHawkes)教授一直叁与其事。第一回〈纵横党清流祸／峭风期月旦评〉就是出自他的译笔。
　　原来这位世界知名的《楚辞》和《石头记》译者，在闵德福翻译计划中扮演的竟是「幕後英雄」的角色。
　　我收到闵福德寄来的试行本，如获至宝。记得我当时第一个反应是：要看different的中国文学作品的读者有福了。
　　武侠小说英译，不自闵福德始。而且翻译的对象，也不限於金庸。我对《鹿鼎记》英译如此重视，简单的说，是因为这一本different类型的中国文学作品，英译深庆得人：闵福德曾与霍克思合译《石头记》(後四十回)，他是位different的翻译学者。
　　闵福德这位different的译者特别适合翻译在武侠小说类型中「离经叛道」的《鹿鼎记》，他的英文造诣「异样」的风流，措词遣句，处处得心应手，当然是先决条件。另外一个原因，是他的文学趣味：他对离经叛道的作品和人物偏爱有加。
　　这可在他为试行本所写的长序看出端倪：「韦小宝是中国小说中难忘的角色。一如孙悟空、贾宝玉、阿Q这类人物那样给人留下深刻印象。」[4]齐天大圣，反动祖宗。怡红公子，「于国于家无望」。癞子阿Q，左道旁门。他们所代表的一切，都与儒家「先天下之忧而忧」的承担精神背道而驰。
　　事实上，外国学者中像闵福德对中国文化「离经叛道」的一面如此另眼相看的，现象相当普遍。儒道二家，在西方世界较受重视的，多是老庄。唐诗的诗圣诗仙，总是李白领风骚。
　　在文学作品追求different的经验，应该是西方人不爱随波逐流、「个人主义」精神的反映。
　　闵德福当然不是韦小宝。但作为这位「反英雄」转生到英语世界的引渡人，闵福德可以拒绝认同这小子的各种荒唐行径，但却万万不能讨厌他。
　　译者过的，是一种「借来的生命」。靠的是缘份。自己有话要说，从事创作好了，但如果觉得自己的话了无新意，或话说得不像人家那麽漂亮、那麽恰到好处，最好找代言人。
　　所谓「借来的生命」，就是这个意思。　　
有关译者与作者「缘份」之说，闵福德在近作“Kungfu inTranslation, Translation as Kungfu”一文[5]，举例具体而微。
　　其中一例，是霍克思译《石头记》因缘。霍氏为了全心全力投入这项「十年辛苦不寻常」的译作，不惜辞去牛津大学讲座教授的职位。
　　闵德福认为严复的「信、雅、达」三律，扼要切实，永不会过时。
　　若要补充，或可从钱锺书说，再加一律：「化」。
　　「化」的英译，闵福德提供了两个：transformation或transmutation。
　　要达「化」境，需要在重铸、重塑、重、重组(recasting)诸方面下工夫。
　　他拿了曹雪芹自认「风尘碌碌、一事无成」而感怀身世的序言，与霍克思的译文对照，赫然发觉空空道人竟坐在威尔斯乡下一间牧人的房子内，「蓬牖茅椽，绳床瓦灶」，喝 hotWhisky Toddy。
　　霍克思退休後，有一段时间隐居威尔斯。曹雪芹坐喝热酒的羊倌屋，应该是他的乡居。
　　闵德福这一招，是「拱云托月」。他要说的，无非是译者投入原着的感情世界越深，译文越能进入「化」境。
　　我们细读霍氏译文，的确正如闵德福所说，丝毫不露翻译痕迹。
　　如果曹雪芹的母语是英文，The Story of theStone的英文，配得上说是他的手笔。
　　(三)但在翻译史上，像曹雪芹与霍克思这种配搭，的确讲缘份。
　　「缘」是天作之合。闵福德译《鹿鼎记》，也有缘份：他忍不住喜欢韦小宝这角色。
　　他看《鹿鼎记》，看得过瘾，因此决定带小宝「西游」，希望英语世界的读者也能分享译者的乐趣。
　　据他在试行本的序言说，他译《鹿鼎记》的志趣，如此而已。
　　闵福德使尽多年修炼得来的翻译「功夫」，务使英语读者能像他一样的投入韦小宝的世界，这个宏愿，可以达到麽？要知真相，得做读者反应调查，或看书的销量数字。这些资料既付阙如，我们只能循别的途径，推测英译《鹿鼎记》对西方读者的阅读经验可能产生的效果。
　　首先，以翻译论翻译，闵福德译文得到沈双这样的评语：仅从译者对细节、名词、叙事者的语气和节奏的重视上，就不难看出闵福德的确试图重现金庸整体的小说世界。译者曾经戏称金庸的叙事风格是「具有欺骗性的流畅」。其实他的译文也具有同样的风格，因为译文的流畅是在译者严谨的解释、周密的考虑，以及将近六年的翻译和校对的基础上达到的。虽然译文读起来很像读金庸的白话文言文的感觉，既典雅又通俗，任何有一定翻译经验的读者都可以不时在文中发现译者独具匠心的痕。[6]虽然沈双也指出了译文若干不逮之处，如没有衬托出「韦 小宝举止言行有深刻的反讽和寓言的意义」(页75)，但大体来说，他给予译文相当高的评价，这可从以上引文看出来。
　　有关《鹿鼎记》英译之得失，在沈双的文章出现以前，有Liu Ching-chih (刘靖之)编的特辑：The Question of Reception: Martial Arts Fiction in English Translation(英译武侠小说读者反应与回响)。面有五篇专论谈到翻译的技术问题。
　　要讨论译文的细节，即使仅是抽样，也见繁琐。不说别的，单是「江湖」一词的英译，已公案连连，难望有什麽结论。闵福德在中文典籍上穷碧落下黄泉，深究其义，自己是融汇贯通了，可在英文偏找不出一个所谓dynamicequivalent来。由此我们可以看出在两种语文之间，有许多东西是难划对等号的。
　　「少年子弟江湖老」，说的是沧桑。江湖究竟何所指，在作者而言，一说成俗。但译者却不能装糊涂，好歹也得自己拍板定案。在《鹿鼎记》的范围内，他用了the Brotherhood of River and Lake，可说只是因时因地制宜的选择。
　　不过，要知《鹿鼎记》的翻译能否达成他与读者分享的愿望，先得要弄清楚他要争取的，是那一类读者。这一点，他在“Kungfu inTranslation, Translation as Kungfu”一文有交代。
　　他心仪的，是韦理(Arthur Waley)那类翻译家：那类讲究译者作者缘份和读者反应的翻译家。韦理终身从事中日文学翻译。据闵福德所说，他最受不了的，是「汉学家」那种专爱在「江湖」英译上钻牛角尖的人。这类「好事者」上门找他，说不定他会一语不发就消失在自己的玫瑰园中。
　　闵福德是《石头记》後四十回的译者，英文造诣，有大家风范。
　　他因迷上了韦小宝而翻译《鹿鼎记》，说明了译者作者间很够缘份。
　　条件既这麽配合，那麽韦小宝西游，会不会像当年韦理带孙悟空以Monkey名义西征那麽热闹呢？《鹿鼎记》英译分为三册，尚有两册未出版，因此现时尚无答案。不过，如果拿BarbaraKoh在《新闻周刊》[7]的书评作推测的话，韦小宝西行，会有风险。
　　Barbara Koh一语道破：单是那长达十七页的人名、地名、术语和年代纪事表已令人「目为之眩」。
　　当然，对中国历史、文物和政制全无兴趣的读者，可以把这些资料搁在一边。《鹿鼎记》既是martial artsfiction，最少在武斗场面有瞄头的。
　　可惜的是，正如Barbara Koh所说，像「南海礼佛」、「水中捉月」、或「仙鹤梳翎」这些功夫招数，译成英文，在文化背景截然不同的读者看来，实难明其「草蛇灰线」。
　　金庸自己承认全不懂功夫。这些招数，也许全属子虚乌有。如果看的是原文，明知是假，因其术语颇见「诗意」，想也不会见怪。
　　看翻译过来的术语，却不是这回事。Monkey Picking Fruit (猴子采桃)，原文语意相关，既雅且俗。要用注释一一解说，那与韦理译《西游记》和霍克思译《石头记》所代表的传统背道而驰。
　　不解释，那麽猴子采桃，寻常事耳，没什麽看头？功夫之於武侠小说，犹如男欢女爱之於言情作品，一样是不可或缺的元素。《鹿鼎记》虽属「反武侠小说」的类型，但一样离不开武打，而且还好戏连场。
　　如果BarbaraKoh的看法反映了一般英语读者的观点，那小宝西游，场面恐怕会冷落。正如这位书评人所说，书中的连番厮杀，看多了，也教人烦厌。
　　(四)英译《鹿鼎记》难讨好外国读者，除了上述各种技术困难外，还有一个障碍：因为这是一本彻头彻尾的中国成年人童话。书中的大汉情怀，浓得不可开交。
　　《红楼梦》也是一本「很中国」的书，但曹雪芹的出世思想，虽不能说放诸四海而皆准，却有相当普遍性。宝玉的前世今生，是色是空、好是了、了是好的认知最戏剧化的演绎。「白茫茫一片真乾净」的境界，对渴求解脱的西方读者，一样有莫大的吸引力。
　　《鹿鼎记》的情节，以「反清复明」为架构。正如天地会的誓言所载：「会齐洪家兵百万／反离鞑子伴真龙」。可是，由於读者在本书所认识的康熙，是透过韦小宝对「小玄子」的情感而挤滤出来的，因此读者即使是汉人，也会在不知不觉间受到小宝感染，跟这位「鞑子」皇帝认同起来。
　　这种汉人跟「异族」的恩恩怨怨，正好给予从来没有什麽「民族大义」襟怀的韦小宝纵横捭阖、呼风唤雨的空间和机会，也制造了人情上的矛盾和冲突。书中许多惊险百出，扣人心弦的段落，就是这种矛盾和冲突所产生的。
　　能够掌握到这些微妙关节，会增加对全书宏观的了解。但对外国读者而言，汉族和满族过去那段历史过节，既陌生、又遥远，跟自己实难拉上什麽风马牛的关系。因此兴趣泛泛。
　　《鹿鼎记》令西方读者觉得「异化」，这又是一个例。
　　法国学者Jacque Pimpaneau有此一说：「中国的武侠小说常见外国人穿插其间。
　　弥漫於这种作品的，是一段段漫长的抗『夷』灭『狄』仇外史。在金庸的小说中，各路英雄好汉开始合力抗清。後来康熙得了民心，被推为贤主，只好找俄国人上台充数，当坏蛋。」[8]Pimpaneau的话，说得不错。但要知这部小说的「仇外」部份怎麽「异化」西方读者，危令敦在〈小宝西游？试论《鹿鼎记》英译〉[9]一文所举的几个例子，说得更为具体。
　　「英语读者难以接受的，恐怕还是《鹿鼎记》後半部所渲染的满清帝国鼎盛时期的国力。┅┅在第四十六回，口没遮栏的小宝对施琅道：『男子汉大丈夫，总要打外国鬼子才了不起。中国人杀中国人，杀得再多，也不算好汉。』」(页90-91)《鹿鼎记》神化韦小宝，的确无所不用其极。话说他「征服」了罗刹公主苏菲亚後，离开时还送上自己裸体石雕像，让公主在宫中观摩赏玩。「据说後来石像毁於宫廷政变，其下体残片流入民间，成为罗刹妇女抚拜求子的圣物，十分灵验云云。中华的男性及民族沙文心态，表露无遗」。
　　(页91)小宝与罗刹公主那段香火缘，是「征服异族」的具体表现。因此所谓「仇外」实在男女有别。正如危令敦所说：《鹿鼎记》虽然允许小宝胡天胡帝，但拒绝让中华女性成为洋人的欲望对象。小宝亲娘身陷风尘经年，迎送的嫖客之多，汉满蒙回藏都有，俨然中华「民族团结」的大使。在接客的「大是大非」问题前，韦母充满「民族大义」，训斥起小宝来，绝不含糊：「你当你娘是烂婊子吗？连外国鬼子也接？辣块妈妈、罗刹鬼、红毛鬼到丽春院来，老娘用大扫帚拍了出去。」(页92)难怪危令敦掷笔叹道：「阅读至此，英语读者能不骇然？」(页92)《鹿鼎记》流露的大汉沙文主义，身为译者的闵福德，当然比一般的「英语读者」先知先觉。他在《鹿鼎记》英译本的序言就告诉读者，金庸对自己的中国血统，非常骄傲，而这种「引以为荣」的心态，在他所有的作品中表露无遗。
　　且抄他一段自白：宋伟杰博士专门研究我的小说，┅┅他说我不知不觉地把汉文化看得高於其他少数民族文化。我的确是如此，过去是这样看，现在还这样看。┅┅少数民族学习汉文化时，放弃一点自己的文化，并不吃亏，反而提高了。少数民族的文化也影响汉文化。[10]满洲人「放弃」了自己文化，因此不再是「鞑子」，而是汉人的同胞，汉满互相通婚，再无谁「征服」谁的问题。
　　罗刹人如「归顺」中国，衣冠文物也向「天朝」看齐，自然也可以做咱们的「同胞」。
　　但他们「怙恶不悛」，拒受文明洗礼，「妇道人家」只好在《鹿鼎记》中受小宝「征服」！
　　由此我们认识到，西方读者看《鹿鼎记》，要看得像中国人那麽「过瘾」，在心态上先要「归化」中国，最少在精神上做个「炎黄子孙」。
　　闵福德教授熟中国史，深知《鹿鼎记》所流露的「大汉沙文主义」，是「隔代遗传」的记忆，因此见怪不怪。
　　其他英语读者呢？套用英国人一句口头禅，they wouldn＇t beamused，一点也不觉得好玩。
　　韦小宝的确是个different的角色，但看来不会在西方受欢迎。
　　沈双：〈评闵福德的《鹿鼎记》英译〉，《明报月刊》，一九九八年八月号，页71。
　　Barbara Koh,“A Trinket for the West: will Louis ChaWin over Readers in English?”Newsweek, 11 May 1998, p.61.
　　Jacque Pimpaneau,“Chinese Wu-hsia hsia-shuo and Their Western Counterparts”(谈中西武侠小说)，《武侠小说论》(刘绍铭、陈永明编，香港：明河社，1998)上卷，页363。
　　危令敦：〈小宝西游？试论《鹿鼎记》英译〉，《英译武侠小说读者反应与回响》(刘靖之编，香港：岭南学院文学与翻译研究中心，1997年)，页83-94。
　　金庸：〈小说创作的几点思考〉，《明报月刊》，一九九八年八月号，页49-50

鸡蛋糕 · 发表于 6-3-2006 10:05:00|来自：四川成都

Chapter One: Prologue
In which three Ming Loyalists discuss the Manchu Persecution, the Ming History, the Beggars' Guild, and the Triad secret society. 
1. The Deer and the Cauldron 
Along a coastal road somewhere south of the Yangtze river, a detachment of soldiers, each of them armed with a halberd, was escorting a line of seven prison carts, trudging northwards in the teeth of a bitter wind. In each of the first three carts a single male prisoner was caged, indentifiable by his dress as a member of the scholar class. One was a white-haired old man. The other two men were of middle years. The four rear carts were occupied by women, the last of them by a young mother holding a baby girl at her breast. The little girl was crying in a continuous wail which her mother's gentle words of comfort were powerless to console. One of the soldiers marching alongside, irritated by the baby's crying, aimed a mighty kick at the cart. 
"Stop it! Shut up! Or I'll really give you something to cry about!" 
The baby, startled by this sudden violence, cried even louder. 
Under the eaves of a large house, some hundred yards from the road, a middle-aged scholar was standing with a ten- or eleven-year-old boy at his side. He was evidently affected by this little scene, for a groan escaped his lips and he appeared to be very close to tears. "Poor creatures!" he murmured to himself. 
"Papa," said the little boy, "What have they done wrong?" 
"What indeed!" said the man, bitterly. "During these last two days they must have made more than thirty arrests. All our best Zhejiang scholars. And all of them innocents, caught up in the net," he added in undertone, for fear that the soldiers might hear him. 
"That little girl is just a baby," said the boy. "What crime can she possibly be guilty of? It's very wrong." 
"So you understand that what the Government soldiers do is wrong," said the man.
"Good for you, my son!" he sighed. "They are the cleaver and we are the meat. They are the cauldron and we are the deer." 
"You explained 'they are the cleaver and we are the meat' the other day, papa," said the boy. "It's what they say when people are massacred or beheaded. Like meat or fish being sliced up on the chopping-board. Does 'they are the cauldron and we are the deer' mean the same thing?" 
"Yes, more or less," said the man; and since the train of soldiers and prison carts was fast receding, he took the boy by the hand.
"Let's go indoors now," he said. "It's too windy for standing outside. 
Inside, the man picked up a writing brush and moistened it on the ink-slab; then, on a sheet of paper, he wrote the character for a deer. 
"The deer is a wild animal, but although it is comparatively large, it has a very peaceable nature. It eats only grass and leaves and never harms other animals. So when other animals want to hurt it or eat it, all it can do is run away. If it can't escape by running away, it gets eaten." 
He wrote the characters for "chasing the deer" on the sheet of paper. 
"That's why in ancient times they often used the deer as a symbol of the empire. The common people, who are the subjects of empire, are gentle and obedient. Like the deer's, it is their lot to be cruelly treated and oppressed. In the History of the Han Dynasty it says 'Qin lost the deer and the world went chasing after it'. That means that when the Qin emperor lost control of the empire, ambitious men rose up everywhere and fought each other to possess it. In the end it was the first Han emperor, who got this big, fat deer by defeating the Tyrant King of Chu." 
"I know," said the boy. "In my story-books it says 'they chased deer on the Central Plain'. That means they were all fighting each other to become emperor. 
The scholar nodded, pleased with his son's astuteness. He drew a picture of a cauldron on the sheet of paper. 
"In olden times they didn't use a cooking-pot on the stove to cook their food; they used a three-legged cauldron like this and lit a fire underneath it. When they caught a deer they put it in a cauldron to seethe it. Those ancient rulers and great ministers were very cruel. If they didn't like somebody, they would pretend they had committed some crime or other, and then they would put them in a cauldron and boil them. In the Records of an Historian Lin Xiangru says to the son of Qin, 'Deceiving your majesty was a capital offense. I beg to approach the cauldron.' What he meant was, 'I deserve to die. Put me in the cauldron and boil me.'" "Often in my story-books I've read the words 'asking about the cauldrons in the Central Plain'," said the boy. "It seems to mean the same thing as 'chasing the deer in the Central Plain'." 
"It does," said the man. "King Yu of the Xia Dynasty, the first Dynasty that ever was, collected metal from all the nine provinces of the empire and used it to cast nine great cauldrons with. 'Metal' in those days meant bronze. Each of these bronze cauldrons had the name of one of the provinces on it and a map showing the mountains and rivers of that province. In later times whoever became master of the empire automatically became the guardian of these cauldrons. In The Chronicle of Zuo it says that when the Viscount of Chu was reviewing his troops on Zhou territory and the Zhou king sent Prince Man to him with his royal compliments, the Viscount questioned Prince Man about the size and weight of the cauldrons. Of course, as ruler of the whole empire, only the Zhou king has the right to be guardian of the cauldrons. For a mere Viscount like the ruler of Chu to ask a questions about them showed that he was harbouring thoughts of rebellion and planning to depose the Zhou king and seize the empire for himself." 
"So 'asking about the cauldron' and 'chasing the deer' both mean wanting to be emperor," said the boy. "And 'not knowing who will kill the deer' means not knowing who will be emperor." 
"That's right," said the man. "as time went by, these expressions came to be applied to other situations as well, but originally they were only used in the sense of wanting to be emperor." He sighed. "For the common people, thought, the subjects of empire our role is to be the deer. It may be uncertain who will kill the deer, but the deer gets killed all right. There's no uncertainty about that." 
He walked over to the window and gazed outside. The sky had now turned a leaden hue showing that snow was on its way. He sighed again.

鸡蛋糕 · 发表于 6-3-2006 10:04:00|来自：四川成都

那老贼笑道：‘你要膏药？’将他张膏药放在家丁手中。那家丁骂道：‘ 老狗，你干什么？’那老贼在他手臂一推，那家丁移过身去，拍的一声响，那张 热烘烘的膏药，正好贴在卢一峰那狗官的嘴上．．．”
...
“那狗官的嘴巴被膏药封住，忙伸手去拉扯。那老贼推动四名家 丁，说道：‘去帮大老爷！’只听得拍拍拍声响不停，四名家丁你一掌，我一掌 ，都向那狗官打去。原来那老贼推拨四名家丁的手臂，运上了巧劲，以这四人的 手掌去打狗官。片刻之间，那狗官的两边面皮给打得又红又肿。”
...
“这位徐兄诨名叫作‘八臂猿猴’，听说擒拿小巧功夫，算得 是武林一绝，果然名不虚传。”他想白寒枫死在他手下，这老儿的武功自然甚高 ，抬高了他武功，也是为白氏双雄留了地步。白寒枫道：“我和哥哥只是好笑， 眼见狗官已给打得两边面皮鲜血淋漓，酒楼上不少闲人站着瞧热闹。那老贼大声 叫嚷：‘打不得，打不得，大老爷是打不得的！你们这些大胆奴才，以下犯上， 怎么打起大老爷来？’在四名家丁身后跳来跳去。活脱像是一只大猴子，伸手推 动家丁的手臂，反似是在躲闪，那些闲人都瞧不出他在搞鬼。直打得那狗官晕倒 在地，他才住手，回归原座。这四名家丁还道是撞邪遇鬼，说什么也不明白怎么 会伸手去打大老爷，可是自己手掌都是鲜血，却又不假。
‘“Oh, do you want the plaster?” said the old villain, and he placed it in the fellow’s hand.
‘The man swore at him: “Old dog!” he said. “What do you think you’re doing?”
‘Then somehow— I don’t quite know how he did it— the old villain gave the manservant a little push so that he swivelled round and clapped the steaming hot plaster right over his master’s mouth.[...]
‘Then, while Lu Yifeng tried to tear the plaster off his mouth,’ Young Bo went on, ‘the old villain began urging the menservants to do something. “Go on!” he said. “Go and help His Honour!” and the next thing we heard was “slap, slap, slap, slap, slap, slap”: the four of them looked as if they wer eplaying some sort of game, taking it in turns to slap their master’s face. It was the old villain, of course, with his diabolical skill, manipulating them from behind like puppets. Within a very short time the wretched man’s face was red and swollen...
‘You can understand why this old Xu came to be nicknamed the Eight-Armed Ape,’ he said. ‘In the “fancy” branch of Catch-Can wrestling he’s reckoned to be the greatest living Master.[...]
‘We couldn’t help laughing[...] Lu Yifeng stood there with blood trickling down both sides of his face, surrounded by customers from other parts of the shop who’d come to watch the fun, while the old villain kept shouting, “Don’t hit him! Don’t hit His Honour! You mustn’t lay hands on your own master!” and all the time dancing round like a big monkey, giving a little push here and a little push there to the arm or hand of one or the other of the four thuggish menservants, yet managing to look as if he were trying to dodge out of their way, so that none of the bystanders was aware that he was responsible for their movements. He kept this game up until Lu Yifeng fell down unconscious on the floor, then he quietly slipped back and sat down again at his own table.
‘The four menservants thought they’d been bewitched. They couldn’t for the life of them make out how they had come to be hitting their own master; yet the blood on their hands was real enough.[...]’

哇哇哇 · 发表于 6-3-2006 15:58:00|来自：四川成都

oh baby... here you are...[em02][em02]

cdanan · 发表于 23-3-2006 17:06:00|来自：四川成都

[em01]up

yibo350 · 发表于 23-3-2006 19:20:00|来自：四川成都

too hungry to read them

hiraiken · 发表于 24-4-2006 19:31:00|来自：四川成都

how unbelievable the interpreter could decode our martial art and the history to western world and let them understand well and resonate, how i wish someday i could be a great interpeter! [em06]

BlueStorm · 发表于 26-4-2006 10:35:00|来自：四川成都

Monkey picking fruit

色狼在身边 · 发表于 26-4-2006 10:17:00|来自：四川成都

[em03]ecame master of the empire automatically became the guardian of these cauldrons. In The Chronicle of Zuo it says that when the Viscount of Chu was reviewing his troops on Zhou territory and the Zhou king sent Prince Man to him with his royal compliments, the Viscount questioned Prince Man about the size and weight of the cauldrons. Of course, as ruler of the whole empire, only the Zhou king has the right to be guardian of the cauldrons. For a mere Viscount like the ruler of Chu to ask a questions about them showed that he was harbouring thoughts of rebellion and planning to depose the Zhou king and seize the empire for himself."
"So 'asking about the cauldron' and 'chasing the deer' both mean wanting to be

[转帖]《鹿鼎记》英译漫谈

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