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求翻译：我们老板说10点30他有空，叫你去他办公室！他可以帮你的！到时候，我带你过去找他，好吧？是什么意思？
我们老板说10点30他有空，叫你去他办公室！他可以帮你的！到时候，我带你过去找他，好吧？
问题补充：
Our boss said 10:30 he cares, tell you to go to his office! He can help you! At that time, I'll take you over to find him, right?
Our boss said 10.30 whenever he had to go to his office and you are! He can help you! At that time, I'll take you in the past to find him, okay?
Our boss said 10.30 he has free time, calls you to go to his office! He may help you! When the time comes, I lead you to pass look for him, good?
Our boss says 10 points 30 he is free, you go to his Office! He can help you! At that time, I'll take you past him, OK?
Our boss said 10:30 he cares, tell you to go to his office! He can help you! At that time, I'll take you over to find him, right?
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[英]D.Hawkes/霍克思|J.Minford/闵福德译 红楼梦 PDF|DOC 英文
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作者：霍克思（1-80回）和约翰·闵福德（81-120回）译
发行地:北京
出版社：英国企鹅出版公司出版
出版时间：<font color="#73、、
页数：<font color="#06页
清晰度：清晰
便利度：无书签
Doc版本在6楼，感谢xdd02兄上传。
由于是我自行转换的，格式信息不是很完整，不便之处请见谅！
附两种译本的简要对比（消息来源：）
分别看了杨译本（以下简称Y）和霍克思（David Hawkes）译本（以下简称H）的第一回，总体感觉还是霍的译文要好。在此，有必要先介绍一下两种译本所依据的《红楼梦》版本。说实在的，林林种种的版本和它们之间的关系、差别等看得我眼花缭乱，云里雾里，但还是不得不做点功课。
Y本前80回依据1911年上海出版的第一版“脂批本”，即所谓的戚序本、石印本、上海本，后40回依据1792年程伟元和高鹗所辑的所谓“程乙本”，全书翻译时也参考了其他版本，主要是更正一些“手民误植”和查漏补缺。H本第一回主要是根据程高本，之后的79回大多也是依照“脂批本”，后40回则依据高鹗本由藿克思的高足兼乘龙快婿闵福德（John Minford）译出。有意思是，霍觉得高鹗所编写的版本非常无趣（less interesting），第一回只所以采用这个版本主要是因为比较流畅连贯（be more consistent），但闵似乎挺欣赏高鹗的。另外，霍写的那篇近50页的序言非常有分量，既说明了自己为什么坚持选择用“石头记”（The Story of the Stone）这个名字，同时也对自己的译文做了一些解释，说得很客气很真诚。他说尽管自己已经很努力，但原文许许多多有意思的地方在翻译过程肯定不可避免地消失了，如一些双关语（pun）。霍还说，在某些地方，已经不算翻译了，完全是自己的再创作。相反，杨的译文则过于追求“忠实”了。
杨译本共120回，平均分成三册；霍闵译本同样是120回，分五册（可惜我只有1、4两册，因为是单买的，配不成一套了），每册都有一个小书名，分别是：the golden days、the crab-flower club、the warning voice、the debt of tears、the dreamer awakes。
国内现在出的大多是汇校本，所以可能有些文字和译文对不上；
Y：A Dream of Red Mansions，外文出版社，1978年第一版
H：The Story of The Stone：the Golden Days (Vol. 1)，企鹅版，1973年第一版
1、此开卷第一回也．作者自云：因曾历过一番梦幻之后，故将真事隐去，而借&通灵&之说，撰此《石头记》一书也．故曰&甄士隐&云云．但书中所记何事何人？自又云：“今风尘碌碌，一事无成，忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出于我之上．何我堂堂须眉，诚不若彼裙钗哉？实愧则有余，悔又无益之大无可如何之日也！当此，则自欲将已往所赖天恩祖德，锦衣纨绔之时，饫甘餍肥之日，背父兄教育之恩，负师友规谈之德，以至今日一技无成，半生潦倒之罪，编述一集，以告天下人：我之罪固不免，然闺阁中本自历历有人，万不可因我之不肖，自护己短，一并使其泯灭也．虽今日之茅椽蓬牖，瓦灶绳床，其晨夕风露，阶柳庭花，亦未有妨我之襟怀笔墨者．虽我未学，下笔无文，又何妨用假语村言，敷演出一段故事来，亦可使闺阁昭传，复可悦世之目，破人愁闷，不亦宜乎？&故曰&贾雨村&云云．
Y：This is the opening chapter of the novel. In writing this story of the Stone the author wanted to record certain of his past dreams and illusions, but he tried to hide the true facts of his experience by using the allegory of the jade of “Spiritual Understanding”. Hence his recourse to names like Chen Shih-yin（杨译本人名大多都这种用威氏拼音，有点不习惯）. But what are the events recorded in this book, and who are the characters? About this he said: “In this busy, dusty world, having accomplished nothing, I suddenly recalled all the girls I had known, considering each in turn, and it dawned on me that all of them surpassed me in behavio that I, shameful to say, for all my masculine dignity, fell short of the gentler sex. But since this could never be remedied, it was no use regretting it. There was really nothing to be done.
“I decided then to make known to all how I, though dressed in silks and delicately nurtured thanks to the Imperial favour and my ancestors’ virtue, had nevertheless ignored the kindly guidance of my elders as well as the good advice of teachers and friends, with the result that I had wasted half my life and not acquired a single skill. But no matter how unforgivable my crimes, I must not let all the lovely girls I have known pass into oblivion through my wickedness or my desire to hide my shortcomings”.
“Though my home is now a thatched cottage with matting windows, earthen stove and rope-bed, this shall not stop me from laying bare my heart. Indeed, the morning breeze, the dew of night, the willows by my steps and the flowers in my courtyard inspire me to wield my brush. Though I have little learning or literary talent, what does it matter if I tell a tale in rustic language to leave a record of all those lovely girls. This should divert readers too and help distract them from their cares. That is why I use the other name Chia Yu-Tsun.”
H：Having made an utter failure of my life, I found myself one day, in the midst of my poverty and wretchedness, thinking about the female companions of my youth. As I went over them one by one, examing and comparing them in my mind’s eye, it suddenly came over me that those slips of girls------which is all they were then------were in every way, both morally and intellectually, superior to the ‘grave and mustachioed signior’ I am now supposed to become. The realization brought with it an overpowering sense of shame and remorse, and for a while I was plunged in the deepest despair. There and them I resolved to make a record of all the recollections of those days I could muster-----those golden days when I dressed in silk and ate delicately, when we still nestled in the protecting shadow of the Ancestors and Heaven still smiled on us. I resolved to tell the world how, in defiance of all my family’s attempts to bring me up properly and all the warnings and advice of my friends, I had brought myself to this present wretched state, in which, having frittered away half a lifetime, I find myself without a single skill with which I could earn a decent living. I resolved that, however unsightly my own shortcomings might be, I must not, for the sake of keeping them hid, allow those wonderful girls to pass into oblivion without a memorial.
Reminders of my poverty were all about me: the thatched roof, the wicker lattices, the string beds, the rockery stove. But these did not need to be an impediment to the workings of the imagination. Indeed, the beauties of nature outside my door------the morning breeze, the evening dew, the flowers and trees of my garden------were a positive encouragement to write. I might lack learning and literary aptitude, but what was to prevent me from turning it all into a story and writing it in the vernacular? In this way the memorial to my beloved girls could at one and the same time serve as a source of harmless entertainment and as a warning to those who were in the same predicament as myself but who were still in need of awakening.（霍把此段放在序言中，所以省略了首尾几句话）
2、列位看官：你道此书从何而来？说起根由虽近荒唐，细按则深有趣味．待在下将此来历注明，方使阅者了然不惑．
Y：Do you know, Worthy Readers, where this book comes from? The answer may sound fantastic, yet carefully considered is of great interest. Let me explain, so that there will be no doubt left in your minds.
H：GENTLE READER, What, you may ask, was the origin of this book? Though the answer to this question may at first seem to border on the absurd, reflection will show that there is a good deal more in it than meets the eye.
3、一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨骼不凡，丰神迥异，说说笑笑来至峰下，坐于石边高谈快论．
Y：One day as the Stone was brooding over its fate, it saw approaching from the distance a Buddhist monk and Taoist priest, both of striking demeanour and distinguished appearance……
H：One day, in the midst of its lamentings, it saw a monk and a Taoist approaching from a great distance, each of them remarkable for certain eccentricities of manner and appearance……
4、……蒙茫茫大士，渺渺真人携入红尘，历尽离合悲欢炎凉世态的一段故事．后面又有一首偈云：无材可去补苍天，枉入红尘若许年！
Y：……its transformation and conveyance to the world of men by the Buddhist of Infinite Space and the Taoist of Boundless Time, and the joys and sorrows, partings and encounters, warm and cold treatment from others it had experienced there. On its back was a Buddhist verse:
Unfit to mend the azure sky,
I passed some years on earth to no avail.
H：……and be taken down by the Buddhist mahāsattva Impervioso and the Taoist illuminate Mysterioso into the world of mortals, where it had lived out the life of a man before finally attaining nirvana and returning to the other shore……on the back of the stone was inscribed the following quatrain:
Found unfit to repair the azure sky
Long years a foolish mortal man was I.
5、空空道人遂向石头说道：“石兄，你这一段故事，据你自己说有些趣味，故编写在此，意欲问世传奇．据我看来，第一件，无朝代年纪可考，第二件，并无大贤大忠理朝廷治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善，亦无班姑，蔡女之德能．我纵抄去，恐世人不爱看呢。”石头笑答道：“我师何太痴耶！若云无朝代可考，今我师竟假借汉唐等年纪添缀，又有何难？但我想，历来野史，皆蹈一辙，莫如我这不借此套者，反倒新奇别致，不过只取其事体情理罢了，又何必拘拘于朝代年纪哉！再者，市井俗人喜看理治之书者甚少，爱适趣闲文者特多．历来野史，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数．更有一种风月笔墨，其淫秽污臭，屠毒笔墨，坏人子弟，又不可胜数．至若佳人才子等书，则又千部共出一套，且其中终不能不涉于淫滥，以致满纸潘安，子建，西子，文君，不过作者要写出自己的那两首情诗艳赋来，故假拟出男女二人名姓，又必旁出一小人其间拨乱，亦如剧中之小丑然．且鬟婢开口即者也之乎，非文即理．故逐一看去，悉皆自相矛盾，大不近情理之话，竟不如我半世亲睹亲闻的这几个女子，虽不敢说强似前代书中所有之人，但事迹原委，亦可以消愁破闷，也有几首歪诗熟话，可以喷饭供酒．至若离合悲欢，兴衰际遇，则又追踪蹑迹，不敢稍加穿凿，徒为供人之目而反失其真传者．今之人，贫者日为衣食所累，富者又怀不足之心，纵然一时稍闲，又有贪淫恋色，好货寻愁之事，那里去有工夫看那理治之书？所以我这一段故事，也不愿世人称奇道妙，也不定要世人喜悦检读，只愿他们当那醉淫饱卧之时，或避世去愁之际，把此一玩，岂不省了些寿命筋力？就比那谋虚逐妄，却也省了口舌是非之害，腿脚奔忙之苦．再者，亦令世人换新眼目，不比那些胡牵乱扯，忽离忽遇，满纸才人淑女，子建文君红娘小玉等通共熟套之旧稿．我师意为何如？”
Y：The Reverend Void said to the Stone: “Brother Stone, you seem to think that your tale recorded here is interesting enough to merit publication. In my view, in the first place, there is no way of finding out the
in the second place, there is nothing there about worthy and loyal ministers and how they regulated the government and public morality. There are merely some girls remarkable only for their passion or folly, or else for their small gifts and trifling virtues which cannot even compare with those of such talented ladies as Pan Chao or Tsai Yen (two ladies in the Han Dynasty noted for their scholarship.). Even if I were to transcribe it, it would hardly arouse much interest.”
“How can you be so dense, master?” protested the Stone with a smile. “If there’s no way of finding out the date, you can easily ascribe this tale to some time in the Han or Tang Dynasty. But since all novels do that, I think my way of dispensing with this convention and just dealing with my own adventures and feelings is more original. why insist on a certain dynasty or definite day? Besides, most common people of the market-place much prefer light literature to improving books. The trouble is that so many romances contain slanderous anecdotes about sovereigns and ministers or cast aspersions upon other men’s wives and daughters so that they are packed with sex and violence. Even worse are those writers of the breeze-and-moonlight school, who corrupt the young with pornography ad filth. As for books of the beauty-and-talented-scholar type, a thousand are written to a single pattern and none escape bordering on indecency. They are filled with allusions to handsome, talented young men and beautiful, refi but in order to insert a couple of his own love poems, the author invents stereotyped heroes and heroines with the inevitable low characters to make trouble between them like a clown in a play, and makes even the slave girls talk pedantic nonsense. So all these novels are full of contradictions and absurdly unnatural.
“Much better are the girls I have known myself during my young days. I wouldn’t presume to rank them as superior to all the characters of earlier works, yet their stories may serve to dispel boredom and care while the few doggerels I have inserted may raise a laugh and add zest to wine. As for the scenes of sad partings and happy meetings, prosperity and decline, these are all true to fact and not altered the slightest to cause a sensation or depart from the truth.”
At present the daily concern of the poor is food and clothing, while the rich are never satisfied. All their leisure is taken up with amorous adventures, material acquisition or trouble-making. What time do they have to read political and moral treatises? I neither want people to marvel at this story of mine, nor do I insist that they should
I only hope they may find distraction here when they are sated with food and wine or searching for some escape from worldly cares. By glancing over it in place of other vain pursuits, they may save their energies and prolong their lives, sparing themselves the harm of quarrels and arguments, or the trouble of chasing after what is illusory.
“Besides, this story offers reader something new, unlike those hackneyed and stale hodge-podges of sudden partings and encounters which teem with talented scholars and lovely girls------Tsao Tzu-chien, Cho Wen-chu, Hung-niang, Hsiao-yu and the like. What do you say, master?”
（Y直译了历史人名，并加注，H则完全避开，但整段话的翻译H的要比Y的有文采。）
H：“Brother Stone, according to what you yourself seem to imply in these verse, this story of yours contains matter of sufficient interest to merit publication and has been carved here with that end in view. But as far as I can see(a) it has no discoverable dynastic period, and(b) it contains no examples of moral grandeur among its characters------no statesmanship, no social message of any kind. All I can find in it, in fact, are passion or folly or for some trifling talent or insignificant virtue. Even if I were to copy all this out, I cannot see that it would make a very remarkable book.”
“Come, your reverence,” said the stone (for Vanitas had been correct in assuming that could speak), “must you be so obtuse? All the romances ever written have an artificial period setting-----Han or Tang for the most part. In refusing to make use of that stale old convention and telling my Story of the Stone exactly as it occurred, it seems to me that, far from depriving it of anything, I have given it a freshness these other books do not have.”
“Your so-called ‘historical romances’, consisting, as they do, of scandalous anecdotes about statesmen and emperors of bygone days and scabrous attacks on the reputations of long-dead gentlewomen, contain more wickedness and immorality than I care to mention. Still worse is the ‘erotic novel’, by whose filthy obscenities our young folk are all to easily corrupted. And the ‘boudoir romances’, those dreary stereotypes with their volume after volume all pitched on the same note and their different characters undistinguishable except by name (all those ideally beautiful young ladies and ideally eligible young bachelors) ------even they seem unable to avoid descending sooner or later into indecency.
“The trouble with this last kind of romance is that it only gets written in the first place because the author requires a framework in which to show off his love-poems. He goes about constructing this framework quite mechanically, beginning with the names of his pair of young lovers and invariably adding a third character, a servant or the like, to make mischief between them, like the chou in comedy.”
“What makes these romance even more detestable is the stilted, bombastic language-----inanities dressed in pompous rhetoric, remote alike from nature and common sense and teeming with the grossest absurdities.”
“Surely my ‘number of females’, whom I spent half a lifetime studying with my own eyes and ears, are preferable to this kind of stuff? I do not claim that they are better people than the ones who appear in books wr I am only saying that contemplation of their actions and motives may prove a more effective antidote to boredom and melancholy. And even the inelegant verses with which my story is interlarded could serve to entertain and amuse on those convivial occasions when rhymes and riddles are in demand.”
“All that my story narrates, the meetings and partings, the joys and sorrows, the ups and downs of fortune, are recorded exactly as they happened. I have not dared to add the tiniest bit of touching-up, for fear of losing the true picture.”
“My only wish is that men in the world below may sometimes pick up this tale when they are recovering from sleep or drunkenness, or when they wish to escape from business worries or a fit of the dumps, and in doing so find not only mental refreshment but even perhaps, if they will heed its lesson and abandon their vain and frivolous pursuits, some small arrest in the deterioration of their vital forces. What does your reverence say to that?”
6、从此空空道人因空见色，由色生情，传情入色，自色悟空，遂易名为情僧，改《石头记》为《情僧录》。
Y：Since all manifestations are born of nothingness and in turn give rise to passion, by describing passion for what is manifest we comprehend nothingness. So the Taoist changed his name to the Passionate Monk and changed the title of the book from The Tale of the Stone to the Record of the Passionate Monk.（我觉得Y这句话译得比H好！）
H：As a consequence of all this, Vanitas, starting off in the Void (which is Truth) came to the contemplation of Form (which is Illusion); and from Form engendered P and by communicating Passion, entered again into F and from Form awoke to the Void. He therefore changed his name from Vanitas to Brother Amor, or the Passionate Monk, (because he had approached Truth by way of Passion), and changed the title of the book from The Story of the Stone to The Tale of Brother Amor.
7、并题一绝云：
满纸荒唐言，一把辛酸泪！
都云作者痴，谁解其中味？
Y：……inscribed on it this verse:
Pages full of fantastic talk
All men call the author mad,
None his message hears.（为了压韵，两人都译成“hears”而不是“heard”，理解错，汗！）
H：This, then, is a true account of how The Story of the Stone came to be written.
Pages full of idle words
Penned with
None his secret message hears.
<font color="#、有城曰阊门者，最是红尘中一二等富贵风流之地……庙旁住着一家乡宦，姓甄，名费，字士隐．嫡妻封氏，情性贤淑，深明礼义．家中虽不甚富贵，然本地便也推他为望族了．因这甄士隐禀性恬淡，不以功名为念，每日只以观花修竹，酌酒吟诗为乐，倒是神仙一流人品。Y: ……and the quarter around Chang-men Gate of Kusu was one of the most fashionable centers of wealth and nobility in the world of men……beside this temple lived a gentleman named Chen Fei, whose courtesy name was Shih-yin. His wife, nee Feng, was a worthy virtuous woman with a strong sense of propriety and right. Although neither very rich nor noble, their family was highly regarded in that locality.
Chen Shih-yin had a quiet disposition. Instead of hankering after wealth or rank, he was quite happy tending flowers, growing bamboos, sipping wine or writing poems------spending his time very much like an immortal.
H: ……the district around the Chang-men Gate is reckoned one of the two or three wealthiest and most fashionable quarters in the world of men……next door to Bottle-gourd Temple lived a gentleman of private means called Zhe Shi-yin and his wife Feng-shi, a kind, good woman with a profound sense of decency and decorum. The household looked up to by all and sundry as the leading family in the neighbourhood.
Zhe Shi-yin himself was by nature a quiet and totally unambitious person. He devoted his time to his garden and to the pleasures of wine and poetry.
9、(绛珠草)后来既受天地精华，复得雨露滋养，遂得脱却草胎木质，得换人形，仅修成个女体，终日游于离恨天外，饥则食蜜青果为膳，渴则饮灌愁海水为汤．只因尚未酬报灌溉之德，故其五内便郁结着一段缠绵不尽之意．
Y: ……and the Vermilion Pearl Plant imbibed essences of heaven and earth and the nourishment of rain and dew, it cast off its plant nature and took human form, albeit only that of a girl. All day long she roamed beyond the Sphere of Parting Sorrow, staying her hunger with the fruit Secret Love and quenching her thirst at the Sea of Brimming Grief. But her heart was heavy because she had not repaid the care lavished on her.(两人都把“蜜青果”译成“secret love fruit”，不明白？)
H: Crimson Pearl’s substance was composed of the purest cosmic essences, so she was already half- and now, thanks to the vitalizing effect of the sweet dew, she was able to shed her vegetable shape and assume the form of a girl.
This fairy girl wandered about outside the Realm of Separation, eating the Secret Passion Fruit when she was hungry and drinking from the Pool of Sadness when she was thirsty. the consciousness that she owed the stone something for his kindness in watering her began to prey on her mind and ended by becoming an obsession.
10、再者，大半风月故事，不过偷香窃玉，暗约私奔而已，并不曾将儿女之真情发泄一二．想这一干人入世，其情痴色鬼，贤愚不肖者，悉与前人传述不同矣。
Y: ……besides, most breeze-and-moonlight tales deal with secret assignations and elopements, and have never really expressed the true love between a young man and a girl. I’m sure when these spirits go down to earth, we’ll see lovers and lechers, worthy people and scoundrels unlike those in earlier romances.
H: （原文没有）
11、上书四个大字，乃是&太虚幻境&．两边又有一幅对联，道是：
假作真时真亦假，无为有处有还无．
Y: ……on which was inscribed: Illusory Land of Great Void. A couplet on the two pillars read:
When false is taken for true,
If on-being turns into being, being becomes non-being.
H: ……over which THE LAND OF ILLUSION was inscribed in large characters. A couplet in smaller characters was inscribed vertically on either of the arch:
Truth becomes fiction when the fiction’
Real becomes not-real where the unreal’s real.
12、这里雨村且翻弄书籍解闷．忽听得窗外有女子嗽声，雨村遂起身往窗外一看，原来是一个丫鬟，在那里撷花，生得仪容不俗，眉目清明，虽无十分姿色，却亦有动人之处．雨村不觉看的呆了．
Y: ……Yu-tsun passed the time by leafing through some books, until he heard a young woman coughing outside. He slipped over to the window and looked out. It was a maid picking flowers. She had uncommon features, bright eyes and graceful eyebrows, and although no great beauty she possessed considerable charm. Yu-tsun stared at her, spell-bound.
H: Left to himself, Yu-cun was flicking through some of Shi-yin’s books of poetry in order to pass the time, when he heard a woman’s cough outside the window. Immediately he jumped up and peered out to see who it was. The cough appeared to have come from a maid who was picking flowers in the garden. She was an unusually good-looking girl with a rather refined face: not a great beauty, by any means, but with something striking about her. Yun-cun gazed at her spellbound.
13、那甄家丫鬟撷了花，方欲走时，猛抬头见窗内有人，敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻权腮．这丫鬟忙转身回避，心下乃想：“这人生的这样雄壮，却又这样褴褛，想他定是我家主人常说的什么贾雨村了，每有意帮助周济，只是没甚机会．我家并无这样贫窘亲友，想定是此人无疑了．怪道又说他必非久困之人。”如此想来，不免又回头两次．雨村见他回了头，便自为这女子心中有意于他，便狂喜不尽，自为此女子必是个巨眼英雄，风尘中之知己也．
Y: Just as she leaving with her flowers, the girl abruptly looked up and caught sight of him. His clothes were shabby yet he was powerfully built with an open face, firm lips, eye-brows like scimitars, eyes like stars, a straight nose and rounded cheeks. She turned away thinking to herself, “He’s a fine-looking man for all his tattered clothes. This must be the Chia Yu-tsun my master keeps talking about, whom he’d gladly help if only he had the chance. Yes, I’m sure it’s him, our family has no other friends who are poor. No wonder my master also says he’s a man who won’t remain long in this plight.” She could not resist looking back a couple of times.
Yu-tsun seeing this was overjoyed, thinking that she must have taken a fancy to him. He decided that she had good judgment and was one of the few who could appreciate him in his obscurity.
H: Having now finished picking her flowers, this anonymous member of the Zhen household was about to go in again when, on some sudden impulse, she raised her head and caught sight of a man standing in the window. His hat was frayed and his yet, though obviously poor, he had a fine, manly physique and handsome, well-proportioned features.
The maid hastened to remove herself fro but as she went she thought to herself, “What a fine-looking man! But so shabby! The family hasn’t got any friends or relations as poor that. It must be that Jia Yu-cun the master is always on about. No wonder he says that he won’t stay poor long. I remember hearing him say that he’s often wanted to help him but hasn’t yet found an opportunity.” And thinking these thoughts she could not forbear to turn back for another peep or two.
Yu-cun saw her turn back and, at once assuming that she had taken a fancy to him, was beside himself delight. What a perceptive young woman she must be, he thought, to have seen the genius underneath the rags! A real friend in trouble!
14、今又正值中秋，不免对月有怀，因而口占五言一律云：
　　未卜三生愿，频添一段愁．
　　闷来时敛额，行去几回头．
& && & 自顾风前影，谁堪月下俦？
& && & 蟾光如有意，先上玉人楼．
Y: As he gazed at the full moon, his thoughts turned to her again and he declaimed this verse:
Not yet divined the fate in store for me,
good reason have I for anxiety,
And so my brows a
But she, as she went off, looked back at me.
My shadow in the wind is all I see,
Will she by moonlight keep me company?
If sensibility were in its power
The moon should first light up the fair one’s bower.
H: ……the full moon of Mid Autumn lent an inspiration to his romantic impulse which finally resulted in the following octet:（这首诗译得太牛了！）
Ere on ambition’s path my feet are set,
Sorrow comes often this poor heart to fret.
Yet, as my brow contracted with new care,
Was there not one who, parting, turned to stare?
Dare I, that grasp at shadows in the wind,
Hope, underneath the moon, a friend to find?
Bright orb, if with my plight you sympathize,
Shine first upon the chamber where she lies.
15、雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联曰：
玉在椟中求善价，钗于奁内待时飞。
Y: Having recited this, Yu-cun rumpled his hair and sighed as he reflected how far he was from realizing his ambitions. He chanted the couplet:
The jade in the box hope to fetch a good price,
The pin in the casket longs to soar on hight.
H: Having delivered himself of this masterpiece, Yu-cun’s thoughts began to run on his unrealized ambitions and, after much head-scratching and many heavenward glances accompanied by heavy sighs, he produced the following couplet, reciting it in a loud, ringing voice……：
The jewel in the casket bides till one shall come to buy.
The jade pin in the drawer hides, waiting its time to fly.
(Yu-cun is thinking of the jade hairpin given by a visiting fairy to an early Chinese emperor which later turned into a white swallow and flew away into the sky. Metaphors of flying and “climbing the sky” were frequently used for success in the Civil Service examination. )
16、士隐知投人不着，心中未免悔恨，再兼上年惊唬，急忿怨痛，已有积伤，暮年之人，贫病交攻，竟渐渐的露出那下世的光景来．
Y: To the shock Shih-yin had suffered the previous year and the toll taken by his subsequent misfortunes was now added the bitter realization that he had misplaced his trust. Ageing and a prey to poverty and ill health, he began to look like a man with one foot in the grave.（觉得Y译得好！）
H: The anxieties and injustices which now beset him, coming on top of his years with little resistance to the joint onslaught of poverty and ill-health, and gradually he began to betray the unmistakable symptoms of a decline.
17、世人都晓神仙好，惟有功名忘不了！
　　古今将相在何方？荒冢一堆草没了．
　　世人都晓神仙好，只有金银忘不了！
　　终朝只恨聚无多，及到多时眼闭了．
　　世人都晓神仙好，只有姣妻忘不了！
　　君生日日说恩情，君死又随人去了．
　　世人都晓神仙好，只有儿孙忘不了！
痴心父母古来多，孝顺儿孙谁见了？
Y: All men long to be immortals, yet to riches a
The great ones of old, where are they now? Their graves are a mass of briars.
All men long to be immortals, yet silver
And grub for money all their lives, till death seals up their eyes.
All men long to be immortals, yet dote on the wives they’ve wed,
Who swear to love their husband evermore, but remarry as soon as he’s dead.
All men long to be immortals, yet with getting sons won’t have done.
Although fond parents are legion, who ever saw a really filial son?
H: Men all know that salvation should be won,
But with ambition won’t have done, have done.
Where are the famous ones of days gone by?
In grassy graves they lie now, every one.
Men all know that salvation should be won,
But with their riches won’t have done, have done.
Each day they grumble they’ve not made enough.
When they’ve enough, it’s goodnight everyone!
Men all know that salvation should be won,
But with their loving wives they won’t have done.
The darlings every day protest their love:
But once you’re dead, they’re off with another one.
Men all know that salvation should be won,
But with their children won’t have done, have done.
Yet though of parents fond there is no lack,
Of grateful children saw I ne’er a one.
18、士隐听了，便迎上来道：“你满口说些什么？只听见些`好'`了'`好'`了'．那道人笑道：“你若果听见`好'`了'二字，还算你明白．可知世上万般，好便是了，了便是好．若不了，便不好，若要好，须是了．我这歌儿，便名《好了歌》。&
Y: At the close of this song Shih-yin stepped forward. “What was that you just chanted?” he asked. “I had the impression that it was about the vanity of all things.”
“If you gathered that, you have some understanding”, the Taoist remarked. “You should know that all good things in this world must end, and to make an end is good, for there is nothing good which does not end. My song is called All Good things Must End.”
H: Shi-yin approached the Taoist and questioned him. “What is all this you are saying? All I can make out is a lot of ‘won’ and ‘done’.”
“If you can make out ‘won’ and ‘done’”, replied the Taoist with a smile, “you may be said t for all the affairs of this world what is won is done, and for whosever has not yet done has not yet won, and in order to have won, one must first have done. I shall call my song the ‘Won-Done Song’.”
19、陋室空堂，当年笏满床，衰草枯杨，曾为歌舞场．蛛丝儿结满雕梁，绿纱今又糊在蓬窗上．说什么脂正浓，粉正香，如何两鬓又成霜？昨日黄土陇头送白骨，今宵红灯帐底卧鸳鸯．金满箱，银满箱，展眼乞丐人皆谤．正叹他人命不长，那知自己归来丧！训有方，保不定日后作强梁．择膏粱，谁承望流落在烟花巷！因嫌纱帽小，致使锁枷杠，昨怜破袄寒，今嫌紫蟒长：乱烘烘你方唱罢我登场，反认他乡是故乡．甚荒唐，到头来都是为他人作嫁衣裳！
Y: Mean huts and empty halls, where emblems o
Dead weeds and withered trees, where men have once danced and sung.
Carved beams are swathed in cobwebs, but briar-choked casements scree
While yet the rouge is fresh, the powder fragrant, the hair at the temples turns hoary-for what cause?
Yesterday, yellow clay
Today, red lanterns light the love-birds’
While men with gold and silver by the chest, turn beggars, scorned by all and dispossessed.
A life cut short one moment makes one sigh, who would have known it’s her turn next to die?
No matter with what pains he schools his sons, who knows if they will turn to brigandry?
A pampered girl brought up in luxury, may slip into a
Resentment at a low official rank, may lead to fetters and a felon’s shame.
In ragged coat one shivered yesterday, today a purple
All’s strife and tumult on the stage, as one man ends his song the next comes on.
To take strange parts as home, i
And all our labour in the end, is making clothes for someone else to wear.
H: Men hovels and abandoned halls
Where courtiers o
Bleak haunts where weeds and willows scarcely thrive
Were once with mirth and revelry alive.
Whilst cobwebs shroud the mansion’s gilded beams,
The cottage casement with choice muslin gleams.
Would you of perfumed elegance recite?
Even as you speak, the raven locks turn white.
Who yesterday her lord’s bones laid in clay,
On silken bridal-bed shall lie today.
Coffers with gold and silver filled:
Now, in a trice, a tramp by all reviled.
One at some other’s short life gives a sigh,
Not knowing that he, too, goes home------to die!
the sheltered and well-educated lad,
In spite of all your care,
And the delicate, fastidious maid
End in a foul stews, plying a shameful trade.
The judge whose hat is too small for his head
Wears, in the end, a convict’s cangue instead.
Who shivering once in rags bemoaned his fate,
Today finds fault with scarlet robes of state.
In such commotion does the world’s theatre rage:
As each one leaves, another takes the stage.
In vain we roam:
Each in the end must call a strange land home.
Each of us with that poor girl may compare
Who sews a wedding-gown for another bride to wear.
20、这日，偶至郭外，意欲赏鉴那村野风光．忽信步至一山环水旋，茂林深竹之处，隐隐的有座庙宇，门巷倾颓，墙垣朽败，门前有额，题着&智通寺&三字，门旁又有一副旧破的对联，曰：身后有余忘缩手，眼前无路想回头．
Y: One day he strolled to the outskirts of the city to enjoy the countryside. He came to luxuriant woods and bamboo groves set among hills and interlaced by streams, with a temple half hidden among the foliage. The entrance was in ruins, the walls were crumbling. A placard above the gate bore the inscription: Temple of Perspicacity. And flanking the gate were two mouldering boards with the couplet:
Though plenty was left after death, he forgot t
Only at the end of the road does one think of turning on to the right track.
H: One day a desire to savour country sights and sounds led him outside the city walls, and as he walked along with no fixed in mind, he presently found himself in a place ringed with hills and full of murmuring brooks and thall stands of bamboo where a temple stood half-hidden among the trees. The walled approach to the gateway had fallen in and parts of the surrounding wall were in ruins. A board above the gate announced the temple’s name:
THE TEMPLE OF PERFECT KNOWLEDGE
while two cracked and worn uprights at the sides of the gate were inscribed with the following couplet:
As long as there is a sufficiency you, you press greedily forward.
It is only when there is no road in front of you that you think of turning back.
21、谁知自娶了他令夫人（王熙风）之后，倒上下无一人不称颂他夫人的，琏爷倒退了一射之地：说模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。
Y: Since his marriage he’s been thrown into the shade by his wife, who is praised by everybody high and low. I hear she’s extremely good-looking and a clever talker, so resourceful and astute that not a man in ten thousand is a match for her.（thrown into shade译得真神！）
H: However, ever since he married this young lady, and he has been put into the shade rather. She is not only a very handsome young woman, she also has a very ready tongue and a very good head------more than a match for most men.
欲说还休的《红楼梦》！
还赖在学校读书的时候，曾经尝试读过两次还是三次，每次都看不了几页就作罢。想不到现在读起英译本来却是有滋有味的，真不知是可笑还是庆幸。
除了一些出了名的句子或片段，对中文基本上没有什么先入为主的印象，所以看英译时总有一种很强烈的好奇感，想像着原文到底是如何表达的。记得林妹妹入荣国府时，H本上有一句“half turned a corner”让我楞了一下，“half”怎解呢？看中文后知道原文是“将转弯时”。H用一个“half”把“将”字的意思译了出来，而Y只是简单地译成“at a turning”。两种语言，三个版本，差异是肯定的，感觉也完全不同，而这些就是让我长学问的地方吧。
初次看到那段“贾不假，白玉为堂金做马”的译文时，我觉得Y译得要H好，因为直白，也压了韵脚（The Chinling Chias, if true be told, have halls of jade, stables of gold.），但琢磨再三才发现H版本的魅力。其实这段话朗读起来就像是“民谣”一样，应该有一种“唱”出来的感觉，而不仅仅是无力的陈述，H的“shout hip hurrah for the Nanking Jia! They weigh their gold out by the jar.”则能给人“唱”的感觉，也注意到了压韵。不过两个版本都没能译出谐音的韵味，也许那只能是不可能的任务了。难怪霍克思不无遗憾地说原文很多精彩的东西都只能无奈地消失在翻译之中。
这让我想到“牛逼老道”许渊冲先生翻译老毛的那句“中华儿女多奇志，不爱红装爱武装”。为了突出“红装”和“武装”的对比，用了“powder the face”和“face the powder”，不可谓不妙，但英文意思却不伦不类了（主要是face the powder理解起来有点别扭吧）。有些地方确实不能强求！
对比Y和H两人的译本，有中国特色的地方，前者多倾向于直译或加注释，后者喜欢意译，但也不绝对。就我看来，很难说两人的译笔有什么高下之别，特别是越往后看越觉得两人是棋逢敌手，伯仲难分。之前看过很多关于两者译文的讨论，大多偏向于欣赏H，我也是带着这种“定势思维”开始阅读的。很“不幸”，第一回（合）的较量，确实是Y处于下风，这也加深了我的偏见。但从后面的章节看来，也不尽是这样。有幸观看两位高手大战26个回合（H本第一册只有26回），确是快事。
从林妹妹踏入贾府的那一刻开始，两人的较量才算真正开始——建筑、风物、服饰、容貌、饮食、诗词、字画、歌舞等描写，没有一样不是彻彻底底的“国粹”。看中文可能都云里雾里，更何况是英文，够考人的，如王熙凤初次出场的那段描写：
22、这个人打扮与众姑娘不同,彩绣辉煌,恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗，项上戴着赤金盘螭璎珞圈，裙边系着豆绿宫绦,双衡比目玫瑰佩,身上穿著缕金百蝶穿花大红洋缎窄褙袄，外罩五彩刻丝石青银鼠褂，下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉，身量苗条，体格风骚，粉面含春威不露，丹唇未起笑先闻。
Y: Unlike the girls, she was richly dressed and resplendent as a fairy. Her gold-filigree tiara was set with jewels and pearls. Her hair-clasps, in the form of five phoenixes facing the sun, had pendants of pearls. Her necklet, of red gold, was in the form of a coiled dragon studded with gems. she had double red jade pendants with pea-green tassels attached to her skirt.
Her close-fitting red satin jacket was embroidered with gold butterflies and flowers. Her turquoise cape, lined with white squirrel, was inset with designs in coloured silk. Her skirt of kingfisher-blue crepe was patterned with flowers.
She had the almond-shaped eyes of a phoenix, slanting eyebrows as long and drooping as willow leaves. Her figure was slender and her manner vivacious. The springtime charm of her powdered face gave no hint of her latent formidability. And before her crimson lips parted, her laughter rang out.
H: She was dressed quite differently from the others present, gleaming like some fairy princess with sparkling jewels and gay embroideries.
Her chignon was enclosed in a circlet of gold filigree and clustered pearls. It was fastened with a pin embellished with flying phoenixes, from whose beaks pearls were suspended on tiny chains.
Her necklet was of red gold in the form of a coiling dragon.
Her dress had a fitted bodice and was made of dark red silk damask with a pattern of flowers and butterflies in raised gold thread.
Her jacket was lined with ermine. It was of a slate-blue stuff with woven insets in coloured silks.
Her under-skirt was of a turquoise-coloured imported silk crepe embroidered with flowers.
She had, moreover, eyes like a painted phoenix, eyebrows like willow-leaves, slender form, the ever-smiling summer face of hidden thun the ever-bubbling laughter started almost before the lips were parted.
（“体格风骚”用seductive grace比Y单纯的用vivacious要好，但“丹凤眼柳叶眉”还是Y的感觉好些。）
人情冷暖，强权弱势，在第四回体现得可能是明显的了。想当初贾雨村落难之时，甄士隐慧眼识“英雄”，是如何殷勤款待解囊相助的啊。到头来，甄士隐那位可怜的薄命女英莲，竟然得不到贾雨村哪怕是丝毫的报恩。
《红楼梦》，英译Yang Xianyi、David Hawkes
23、薄命女偏逢薄命郎，葫芦僧乱判葫芦案；
Y: An Ill-Fated Girl Meets an Ill-Fated Man, A Confounded Monk Ends a Confounded C
H: The Bottle-gourd girl meets unfortunate young man, And the Bottle-gourd monk settles
24、无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了．
Y: But the Hsuehs lord it in Chinling with their money and powerful backing. A pack of their thugs beat my master to death…
H: But unfortunately this Xue turned out to be a powerful Nanking boss, who evidently thought that by money and influence he could get away with anything. He set a crow of his henchmen on to my young master and beat him up so badly that he died.
25、雨村听了大怒道：“岂有这样放屁的事！打死人命就白白的走了，再拿不来的！&
Y: “This is a scandal!” fumed Yu-tsun. “How can men commit a murder and go scot-free?”
H: “This is monstrous!” said Yu-cun in a towering rage. “Am I to understand that a man can be beaten to death and the murderer walk off scot-free with nobody lifting a finger to arrest him?”
26、那门子笑道：“老爷真是贵人多忘事，把出身之地竟忘了，不记当年葫芦庙里之事？&
Y: The attendant smiled. “High officals have short memories”, he said…
H: （没有译出“贵人多忘事”这句客套话）
27、如今凡作地方官者，皆有一个私单，上面写的是本省最有权有势，极富极贵的大乡绅名姓，各省皆然，倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命还保不成呢！所以绰号叫作’护官符’．
Y: the Officials’ Protective Charm
H: the Mandarin’s Life-Preserver
28、雨村听如此说，便笑问门子道：“如你这样说来，却怎么了结此案？你大约也深知这凶犯躲的方向了？”
Y: I take it you know the murderer’s hiding-place…
H: Incidentally, I assume you know perfectly well where the criminal is hiding…
29、冯渊，自幼父母早亡，又无兄弟，只他一个人守着些薄产过日子．长到十八九岁上，酷爱男风，最厌女子．也是前生冤孽，可巧遇见这拐子卖丫头，他便一眼看上了这丫头，立意买来作妾，立誓再不交结男子，也不再娶第二个了，所以三日后方过门．
Y: ……he lived as best he could on his small property……was a confirmed queer and took no interest in women……and no sooner set eyes on this girl than he fell for her……
H: ……he lived off the income of a very small estate……was a confirmed queer and not interested in girls……no sooner did he set eyes on this girl than he at once fell in love with her……
（严格来说，是“爱上”，fell for，而不是“相爱”，fell in love吧？）
30、谁晓这拐子又偷卖与薛家，他意欲卷了两家的银子，再逃往他省．谁知又不曾走脱，两家拿住，打了个臭死，都不肯收银，只要领人．
Y: ……sell her on the sly to……meaning to abscond……and beat him within an inch of his life……
H: ……resell her on the sly to……and then do a flit……and beat the daylights out him……
31雨村笑道：“我如何得知。”门子冷笑道：“这人算来还是老爷的大恩人呢！他就是葫芦庙旁住的甄老爷的小姐，名唤英莲的。”雨村,罕然道：“原来就是他！”
Y: “How could I know?”
“She’s by way of being Your Honour’s benefactress.” The attendant sniggered……
“Well!” exclaimed Yu-tsun in astonishment. “So that’s who she is!”
H: “How in the world should I know?” said Yu-cun.
The usher smiled maliciously. “You ought to, Your Honour! She is your great benefactress……
“Good gracious!” said Yu-cun in astonishment.（没有直接译出“原来就是她”）
32、我又哄之再四，他又哭了，只说‘我不记得小时之事！’这可无疑了．那日冯公子相看了，兑了银子，拐子醉了，他自叹道：‘我今日罪孽可满了！’
Y: When I tried repeatedly to wheedle it out of her…… then Ying-lien sighed, “At last my trials are over!”
H: I kept on at her, cajoling and persuading……she said, “Today I think my tribulations are at last coming to an end.”
33、况他是个绝风流人品，家里颇过得，素习又最厌恶堂客，今竟破价买你，后事不言可知．只耐得三两日，何必忧闷！他听如此说，方才略解忧闷，自为从此得所．谁料天下竟有这等不如意事。
Y: ……he’s a very fine gentleman, quite well-to-do, who never could abide women in the past……believing that she’d soon have a place where she belonged. But this world is full of disappointments……
H: ……he’s a very nice, handsome gentleman, and quite comfortably off. Normally he doesn’t like the fair sex……and she began to feel that life was going to be worth living.
34、这薛公子的混名人称‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土，遂打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活．这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！
Y: But this young Hsueh, otherwise known as the Stupid Tyrant, is the most vicious ruffian alive, who throws money about like dirt. He started a big fight and then dragged her off by force more dead than alive. What’s become of her since, I don’t know. Feng Yuan dreamed of happiness, but instead of finding it he lost his life. Wretched luck, wasn’t it?
H: But this young Xue, whose nickname is the Oaf King, is the world’s most bad- and having spent money like water on buying the girl only to find that she wasn’t willing, he knocked her off with him more dead than alive. Whether she’s alive or dead now, I have no idea. And young Feng is really to be pitied! After a brief moment of happiness, before anything had come his way, he spent all his money and laid down his life for nothing!”
35、门子听了，冷笑道：“老爷说的何尝不是大道理，但只是如今世上是行不去的．岂不闻古人有云：`大丈夫相时而动'，又曰`趋吉避凶者为君子'．依老爷这一说，不但不能报效朝廷，亦且自身不保，还要三思为妥。”
Y: The attendant sneered: “Your Honour is right, of course. But that won’t get you anywhere in the world today. Remember the old sayings: ‘A gentleman adapts himself to circumstances’ and ‘The superior man is one who pursues good fortune and avoid disaster.’ If you do as you just said, not only will you be unable to repay the Emperor’s trust, you may endanger your own life into the bargain. Better think it over carefully.”
H: The usher smiled coldly. “What Your Honour says is no doubt very right and proper, but it won’t wash. Not the way things are in the world today! Haven’t you heard the old saying “The man of spirit shapes his actions to the passing moment”? And there’s another old saying: “It is the mark of a gentleman to avoid what is inauspicious”. If you were to act in according with what you have just said, not only would you not be able to show your gratitude to the Emperor, but also you would probably put your own life in danger. If I were you, I should think very carefully before you do anything.”
36、雨村又恐他对人说出当日贫贱时的事来，因此心中大不乐业，后来到底寻了个不是，远远的充发了他才罢．
Y: ……but Yu-tsun dismayed by the thought that this man might disclose certain facts about the days when he was poor and humble, later found some fault with him and had him exiled to a distant region.
H: Fearful that the now usher and quondam novice of Bottle-gourd Temple might talk to others about the days when he was an obscure and impoverished student, Yu-cun for some time went about in great discomfort of mind. Finally, however, he managed to catch him out in some misdemeanour or other and have him drafted for military service on a frontier outpost, after which he felt able to breathe freely again.
　37、世事洞明皆学问，人情练达即文章．
　　Y: A grasp of mundane affairs
Understanding of worldly wisdom is true learning.
　　H: True learning implies a clear insight i Genuine culture involves the skilful manipulation of human relations.
　　38、嫩寒锁梦因春冷，芳气笼人是酒香。
　　Y: Coolness wraps her dream, A fragrance assails men, the aroma of wine.
　　H: The coldness of spring has imprisoned the soft bu The fragrance of wine has intoxicated the beholder with imagined flower-scents.
　　39、春梦随云散，飞花逐水流；寄言众儿女，何必觅闲愁。
　　Y: Gone with clouds spring’s dream, Flowers drift away on the stream. Young lovers all, be warned by me, Cease courting needless misery.
　　H: Spring’s dream-time will like drifting clouds disperse, Its flowers snatched by a flood none can reverse. Then tell each nymph and swain, ’Tis folly to invite love’s pain!
　　40、厚地高天，堪叹古今情不尽；痴男怨女，可怜风月债难偿。
　　Y: Firm as earth and lofty as heaven, passion from time imm Pity silly lads and plaintive maids hard put to it to requite debts of breeze and moonlight.
　　H: Ancient earth and sky
　　Marvel that love’s passion should outlast all time.
　　Star-crossed men and maids
　　Groan that love’s debts should be so hard to pay.
　　41、春恨秋悲皆自惹，花容月貌为谁妍。
　　Y: They brought on themselves spring grie Wasted, their beauty fair as flowers and moon.
　　H: Spring griefs and autumn sorrows were by yourselves provoked.
　　Flower faces, moonlight beauty were to what end disclosed?
　　42、宝玉听如此说，便吓得欲退不能退，果觉自形污秽不堪。
　　Y: Pao-yu started at that and wished he could slip away, feeling intolerably gross and filthy.
　　H: At these words Bao-yu was suddenly overwhelmed with a sense of the uncleanness and impurity of his own body and sought in vain for somewhere to escape to.
　　43、幽微灵秀地，无可奈何天。
　　Y: Spiritual, secluded retreat, Celestial world of sweet longing.
　　H: Earth’s choicest spirits in the dark lie hid: Heaven ineluctably enforced their fate.
　　44、〔枉凝眉〕一个是阆苑仙葩，一个是美玉无瑕。若说没奇缘，今生偏又遇着他；若说有奇缘，如何心事终虚化﹖一个枉自嗟呀，一个空劳牵挂。一个是水中月，一个是镜中花。想眼中能有多少泪珠儿，怎经得秋流到冬尽，春流到夏！
　　Y: VAIN LONGING:
　　One is an immortal flower of fairyland,
　　The other fair flawless jade,
　　And were it not predestined,
　　Why should they meet again in this existence?
　　Yet, if predestined,
　　Why does their love come to nothing?
　　One sighs to no purpose,
　　One is the moon reflected in the water,
　　The other but a flower in the mirror.
　　How many tears can well from her eyes?
　　Can they flow on from autumn till winter,
　　From spring till summer?
　　H: HOPE BETRAYED:
　　One was a flower from paradise,
　　One a pure jade without spot or stain.
　　If each of the other one was not intended,
　　Then why in this life did they meet again?
　　And yet if fate had meant them for each other,
　　why was their earthly meeting all in vain?
　　In vain were all his anxious fears:
　　All, insubstantial, doomed to pass,
　　As moonlight mirrored in the water
　　Or flowers reflected in a glass.
　　How many tears from those poor eyes could flow,
　　Which every season rained upon her woe?
　　45、〔世难容〕气质美如兰，才华阜比仙。天生成孤癖人皆罕。你道是啖肉食腥膻，视绮罗俗厌；却不知太高人愈妒，过洁世同嫌。可叹这，青灯古殿人将老；辜负了，红粉朱楼春色阑。到头来，依旧是风尘骯脏违心愿。好一似，无瑕白玉遭泥陷；又何须，王孙公子叹无缘。
　　Y: SPURNED BY THE WORLD:
　　By nature fair as an orchid,
　　With talents to match an immortal,
　　Yet so eccentric that all marvel at her.
　　To her, rich food stinks.
　　Silken raiment is
　　She knows not that superiority fosters hatred,
　　For the world despised too much purity.
　　By the dim light of an old shrine she will fade away,
　　Her powder and red chamber, her youth and beauty wasted,
　　To end, despite herself, defiled on the dusty road——
　　Even as flawless white jade dropped in the mud.
　　In vain young scions of noble house will sigh for her.
　　H: ALL AT ODDS:
　　Heaven made you like a flower,
　　With grace and wit to match the gods,
　　Adding a strange, contrary nature
　　That set you with the rest at odds.
　　Nauseous to you the world’s rank diet,
　　Vulgar its fashion’s gaudy dress:
　　But the world envies the superior
　　And hates a too precious daintiness.
　　Sad it seemed that your life should in dim-lit shrines be wasted,
　　All the sweets of spring untasted:
　　Yet, at the last,
　　Down into mud and shame your hopes were cast,
　　Like a white, flawless jade dropped in the muck,
　　Where only wealthy rakes might bless their luck.
　　46、：尘世中多少富贵之家，那些绿窗风月，绣阁烟霞，皆被淫污纨□与那些流荡女子悉皆玷辱。更可恨者，自古来多少轻薄浪子，皆以“好色不淫”为饰，又以“情而不淫”作案，此皆饰非掩丑之语也。好色即淫，知情更淫。是以巫山之会，云雨之欢，皆由既悦其色、复恋其情所致也。吾所爱汝者，乃天下古今第一淫人也。
　　Y: In your dusty world, countless green-windowed chambers and embroidered boudoirs of rich and noble families are desecrated by amorous men and loose women. Worse still, all dissolute wretches since ancient times have drawn a distinction between love of beauty and carnal desire, between love and lust, so as to gloss over their immorality. love of beauty leads to lust, and desire even more so. Thus every sexual transport of cloud and rain is the inevitable climax of love of beauty and desire.
　　And what I like about you is that you are the most lustful man ever to have lived in this world since time immemorial.
　　H: In the rich and noble households of your mortal world, too many of those bowers and boudoirs where innocent tenderness and sweet girlish fantasy should reign are injuriously defiled by coarse young voluptuaries and loose, wanton girls. And what is even more detestable, there are always any number of worthless philanderers to protest that it is woman’s beauty alone that inspires them, or loving feelings alone, unsullied by any taint of lust. They lie in their teeth! To be moved by woman’s beauty is itself a kind of lust. To experience loving feelings is, even more assuredly, a kind of lust. Every act of love, every carnal congress of the sexes is brought about precisely because sensual delight in beauty has kindled the feeling of love.
　　The reason I like you so much is because you are full of lust. You are the most lustful person I have ever known in the whole world.
　　47、『意淫』二字，惟心会而不可口传，可神通而不可语达。
　　Y: “Lust of the mind”, this can be grasped by the mind but not expressed, apprehended intuitively but not described in words.
　　H: “Lust of the mind” cannot be explained in words, nor, if it could, would you be able to grasp their meaning. Either you know what it means or you don’t.
　　48、一场幽梦同谁近，千古情人独我痴。
　　Y: Strange encounters take place in a secret dream, For he is the most passionate lover of all time.
　　H: (原文没有，或没有译)
　　49、宝玉亦素喜袭人柔媚娇俏，遂强袭人同领警幻所训云雨之事。袭人素知贾母已将自己与了宝玉的，今便如此，亦不为越礼，遂和宝玉偷试一番，幸得无人撞见。
　　Y: Since Pao-yu had long been attracted by His-jen’s gentle, coquettish ways, he urged her to carry out the i and as she knew that the Lady Dowager had given her to Pao-yu she felt this would not be an undue liberty. So they tried it out secretly together, and luckily they were not discovered.
　　H: Bao-yu had long been attracted by Aroma’s somewhat coquettish charms and tugged at her purposefully, anxious to share with her the lesson he had learned from Disenchantment. Aroma knew that when Grandmother Jia gave her to Bao-yu she had intended her to belong to him in the fullest possible sense, and so, having no good reason for refusing him, she allowed him, after a certain amount of coy resistance, to have his way with her.
　　（这段翻译得太牛了，发挥得比中文原文都好！）
第七回的翻译，Y本H本在内容上有好多地方不一致看两人对译文的处理不同。
回目中提到的“贾琏戏熙凤”，说得当然是那事儿，而且是白天发生的，但Y并没有翻译出来，而H译成“night sport by day”。Sport一词在H本的上回也出现过，当时贾蓉去王熙凤处借玻璃屏风，王佯装不乐意，贾则嘻皮笑脸的说要她开恩，就当可怜可怜他这个做侄儿什么的，Y译为“be kind”和“have pity on your nephew”，而H用了“be merciful”和“come on，be a sport”。完整阅读那一段译文后就不会觉得“sport”的用法很突兀。H在字词上的考究从上一回的“你可仔细你的皮肉”一句也可以看出，H是“I'll have the hide off you！”，Y是“then look out for your skin”。两人都是直译，但“hide”除了有“皮”的意思外，还有“痛打”的意思，符合原意。
本回中，冷子兴托妻求情那一小节，原文最后是“周瑞家的（冷子兴岳母）仗着主子的势利，把这些事也不放在心上，晚间只求求凤姐儿便完了”，看Y的译文，“In fact she settled the matter that same evening by applying to His-feng”意思就是事情当晚就被摆平了，没有那种“不放在心”的“仗势”感觉，再看H的译文，“a word to Xi-feng in the evening, and it would be as good as settled”，既合原意，且更有味道。这回“我就知道”一句出现了两次，H都用了“I thought as much”，Y既用了“as much”，也用了“I might have known”。后来王熙风到宁国府赴宴前，宝玉听了也要跟着前，凤姐“只得答应”，Y用了“have to agree”，而H用了“was obliged to say that she would”，“oblige”的语气表现得很好。我很留意“就”等一些语气的翻译，因为我一直都觉得汉语中那些副词、助词很难翻译。
待到王熙凤见到小帅哥秦钟时，她笑着对宝玉说，这回“比下去了！”，H的译文是“you've meet your match”，意思和原文稍有不同，Y是“now you must take a back seat”，意思和原文一致。但我觉得H的“match”一词用得太妙了，虽然没有“比下去”的意思，但有“比”的意思，也有“同类人”的意思。
这一回最精彩的部分就是焦大发酒疯那一段了，我觉得两人的译文都还好：
50、二十年头里的焦大太爷眼里有谁?别说你们这一起杂种王八羔子们！
Y：Twenty years ago I'd nothing but contempt for this household, not to mention you bastards, you crew of turtle-eggs.
H: Twenty years ago I didn't give a damn for anybody, never mind a pack of little misbegotten abortions like you!
　　（misbegotten abortions，译得也太文雅了，没有Y的bastards来得畅快！下面一些脏话的翻译也是如此。）
51、你祖宗九死一生挣下这家业,到如今了,不报我的恩,反和我充起主子来了.不和我说别的还可,若再说别的,咱们红刀子进去白刀子出来!
Y: It was your great-granddad who built up this estate, and nine times I snatched him back from the jaws of death. Now instead of showing yourselves properly grateful, you try to lord it over me. Shut up, and I'll overlook it. Say one word more and I'll bury a white blade in you and pull it out red!
H: It was your great-granddad, whose life I saved when he was given up for dead, that won all this for you, by the sweat of his brow. And what reward do I get for saving him? Nothing. Instead you come to me and you put on your Big Master act. Well, I'll tell you something. You'd better watch out. Because if you don't, you're going to get a shiny white knife inside you, and it's going to come out red!
52、我要往祠堂里哭太爷去.那里承望到如今生下这些畜牲来! 每日家偷狗戏鸡, 爬灰的爬灰,养小叔子的养小叔子,我什么不知道?
Y: Let me go to the Ancestral Temple and weep for my old master. Little did he expect to beget such degenerates, a houseful of rutting dogs and bitches in heat（印刷有误？怀疑应该是in heaven！）, day in and day out scratching in the ashes and carrying on with younger brothers-in-law. Don't think you can fool me.
（两人都直译了“爬灰”，但Y在后面加注说：a slang term for adultery between a man and his daughter-in-law，确实有必要加注说明。）
H: Who would ever have believed the Old Master could spawn this filthy lot of animals? Up to their dirty little tricks every day. I know. Father-in-law pokes in the ashes. Auntie has it off with nevvy. Do you think I don't know what you're all up to?
（附：网上关于“爬灰”的文字
扒灰，又称爬灰，是一个形容乱伦的词语，而且是专指公公和儿媳之间发生性关系的乱伦。关于扒灰一词的来历有许多种故事传说，我个人觉得比较好玩的一个是关于王安石的。故事说，有一次王安石走过儿媳的房间，看见儿媳睡在透明纱帐的床上，眼球不由得为之而发光。王安石毕竟是诗人，于是在充满灰尘的墙上写了一句：“缎罗帐里一琵琶，我欲弹来理的差。”写完后躲在一旁观察儿媳的动静。儿媳看到公公在外面鬼鬼祟祟的，于是出来看公公在墙上写了什么，一看到公公留下这样的词句，当即明白了是什么意思，于是在公公的诗句后续上了一句：“愿借公公弹一曲，尤留风水在吾家。”王安石看见儿媳的话后，正在暗自高兴，没想到这时儿子出现了，于是赶紧用袖子去擦拭墙上的字迹。儿子奇怪，问老父在做什么，王安石说，在扒灰。又专家考证说，扒灰一词不是出于王安石，而是出自大学士苏东坡先生，但是故事情节大同小异。
《吴下谚联》释其由来云：「翁私其媳，俗称扒灰。鲜知其义。按昔有神庙，香火特盛，锡箔镪焚炉中，灰积日多，淘出其锡，市得厚利。庙邻知之，扒取其灰，盗淘其锡以为常。扒灰，偷锡也。锡、媳同音，以为隐语。」）
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TA的每日心情开心 08:57签到天数: 32 天[LV.5]常住居民I
内容提要 ：
Considered one of the greatest works of Chinese literature, this five-part story charts the changing fortunes of the Jia family. It sets worldly events - love affairs, sibling rivalries, even murder - within the context of the Buddhist understanding that karma determines the shape of our lives.
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Language Notes
Text: English, Chinese (translation)
作者简介 ：
　　CAO XUEQIN (171 5?-63) was born into a family which for three generations held the office of Commissioner of Imperial Textiles in Nanking, a family so wealthy that they were able to entertain the Emperor Kangxi four times. But calamity overtook them and their property was confiscated. Cao Xuegin was living in poverty near Peking when he wrote his famous novel The Story of the Stone (also known as The Dream of the Red Chamber), of which this is the second volume. The four other volumes, The Golden Days, The Warning Voice, The Debt of Tears and The Dreamer Wakes, are also published in the Penguin Classics.
　　DAVID HAWKES was Professor of Chinese at Oxford University from Igsq to 1971 and a Research Fellow of All Souls College, from 1973 to 1983. He now lives in retirement in Wales.
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TA的每日心情开心 08:50签到天数: 3 天[LV.2]偶尔看看I
戴维·霍克思
开放分类： 汉学家、英国人
　　戴维·霍克思（David Hawkes ），师承韦利，战争期间，霍克思离开牛津参军从事文职工作，先是学日语，后来教士兵和即将开赴战场的人学日语。年曾在北京大学攻读研究生，1951年从中国回来后，继续做研究生，两年后即到1953年结束学业，开始当初级讲师。霍克思汉文功底深厚，能用中文写旧体诗，对中国文学非常热爱，年担任牛津大学汉学讲座教授，在其就职演说中，举了许多作品，盛赞高尚的人道精神贯注与渗透在中国古今文学作品中。他的重大成就是翻译一百二十回的《红楼梦》全译本，他名之为《石头记》，这是英语世纪第一个《红楼梦》全译本，也是西方汉学史和翻译界一件大事。霍克思为中国文学走向世界做出了重大贡献。
　　为了全副精神翻译《红楼梦》，他不顾经济上的损失，提早从牛津大学退休，专门从事《红楼梦》的翻译工作，他把《红楼梦》的翻译当成自己的毕生事业来看。新的全译本《红楼梦》1973年作为“企鹅古典丛书”刚一推出，即广受欢迎，多次再版。全书分五卷，前三卷相当于一百二十回本的前八十回，后两卷相当于后四十回，后两卷实际工作由霍克思的女婿费明德在其指导下完成，英译本改题为《石头记》。译本语言精确优美，几乎是逐句翻译，力图保持原本的风味，备受海内外红学界和翻译界褒奖。
　　霍克思也以专研楚辞、杜诗著名，所译《楚辞·南方之歌——中国古代诗歌选》和《杜诗初阶》，为世所重。在牛津大学任职期间，他主编牛津东亚文学丛书，出版英文本的《刘志远诸宫调》、《李贺诗集》、《中国汉魏晋南北朝诗集》、《战国策》、《陶潜诗集》等多种。
　　1．译介《楚辞》
　　继韦利之后，霍克思又一次系统地译介了“楚辞”。1959年牛津大学出版刊行了他的《楚辞：南方之歌——中国古代诗歌选》，根据汉代王逸《楚辞章句》一书的内容，翻译了楚辞18篇，包括王逸断为屈原所作的《离骚》、《九歌》、《天问》等，还有宋玉《招魂》、景差《大招》等(实际有些篇目的作者难以确定)。这一译本采取了逐字逐句与自由翻译之间的中间道路。诗句的韵律固然重要，为了精确地传达意义，他不惜为了意义而牺牲韵律。霍克思这种严谨的治学态度，无疑有助于英国读者更深入地了解“楚辞”的内容与特点。依靠不止一代英国汉学家的努力，以屈原为代表的“楚辞”，终于以其完整的面貌，出现在英国人民眼前。全书还采用两种注释方式：脚注和尾注。脚注简单扼要，尾注极详，颇有学术价值。如《离骚》“荃不揆余之中情兮”一句里的“荃”，霍克思译为the Fragrant One(芳馨神君)。尾注对此解释说，“这里所用的中文词‘荃’是一种花名……在这一段上下文里，它通常用来比喻诗人的国王，按照大多数注释家的看法，也即楚怀王。”接着他就介绍了“五四”以后这一传统的“政治譬喻说”为“爱情譬喻说”所代替的情况，同时又提出“爱情譬喻说”仍有不足之处，因为《离骚》的绝大多数篇幅都是有政治内容的。最后霍克思又联系《九歌》的用法，审慎地作了保留：“‘荃’这个花名，当作譬喻的符号，我还不是完全有把握……照我的看法，它在这一段里是指诗人的国王，多少尚可存疑。”
　　就这样，霍克思又对“摄提”、“女媭”、“灵修”、“椒兰”等专名，作出了相当全面的解释与说明。
　　霍克思这种严谨的治学态度，无疑有助于英国读者得以更深入地了解楚辞的内容与特点。他以同样的严谨，讨论18篇楚辞的作者问题，并探讨了屈原在汉代受崇敬的原因：“汉代的作家们崇敬他(指屈原)是因为对他们来说，他是为表达自己心