我国传统文论，源远流长。从《论语》的"辞达而已"到 《人间词话》的文学"三境",都离不开原道文德,论抒情达意。系统的文论当推刘勰的《文心雕龙》。刘勰在《情采》篇中谈文德有 三：形文、声文、情文。他指出：情者文之经，辞者理之纬"，也就是情理是经，文辞是纬。文章做到情采并茂，先要有深厚的思想内容，所以讲究情理，是文章的本色。有了深厚的思想内容，当然就要讲究文辞，否则，“言而无文，行之不远”。情理和文辞也是对立统一的。

西方文论也是如此。英语的rhetoric 一词源于拉丁的rhetor， 是说话的意思。相传公元前五世纪的西西里岛，_些豪户的财产 被官府没收，请演说家到法庭去诉讼。情理是很明显的，正因为 如此，也就能慷慨陈词。这也许就是西方文论的开始。英语 rhetoric现一般翻译为"修辞学",实则应翻译为"文章学"，因为 它的主要研究对象是文章的结构与风格，并不是单纯的修辞格。

通过对比，我们不难看出中西文论都把情理和文辞作为行文的准则。就翻译而言，还是要坚持前面所讲的原则。情理和文辞是经与纬的关系。在具体的英汉互译中，一般说来，情理为主，文辞为辅；但有时候，也可能是从文辞入手，情理自明。这是因为英汉两个民族的思维模式不同，因此文辞的表达形式也不同。汉语重"意合"，文章讲究“外文绮姣，内义脉注”，而英语则重 "形合"，文辞表层结构严密常视为上乘。为阐述方便，下面将苏轼的《前赤壁赋》以及公开出版的译本进行比较，再作一番分析。

前赤壁赋

壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕 之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止，飘飘乎如遗世独立，羽化而登仙。

于是饮酒乐甚，扣舷而歌之。歌曰：桂棹兮兰桨，击空明兮泝流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，依歌而和之，其声鸣鸣然，如怨，如慕，如泣， 如诉，余音袅袅，不绝如缕，舞幽壑之潜蛟，泣孤舟之嫠妇。

苏子愀然，正襟危坐，而问客曰："何为其然也？"

客曰：“’月明星稀，乌鹊南飞’，此非孟德之诗乎？ 西望夏口，东望武昌，山川相缪，郁乎苍苍，此非曹孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也， 舳舻千里，旌旗蔽空，骊酒临江，横槊赋诗，固一世之雄也，而今安在哉！况吾与子渔樵于江渚之上，侣鱼虾而友麇鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天 地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于 悲风。"

苏子曰："客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬。自其不变者而观之，则物与我皆无尽也，而又何羡乎？且夫天地之间，物各有主。苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无尽，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”

客喜而笑，洗盏更酌。肴核既尽，杯盘狼藉。相与枕藉乎舟中，不知东方之既白。

First Visit to the Red Cliff

In the autumn of the Year Ren Xu (1082)，at the time of the full moon in the seventh month, I went by boat with some friends to the Red Cliff. There was a fresh, gentle breeze, but the water was unruffled. I raised my wine cup to drink to my friends，and we chanted the poem on the bright moon, singing the stanza about the fair maid. Soon the moon rose above the eastern mountain, hovering between the Dipper and the Cowherd. The river stretched white，sparkling as if with dew，its glimmering water merging with the sky. We let our craft drift over the boundless expanse of water，feeling as free as if we were riding the wind bound for some unknown destination，as light as if we had left the world of men and become winged immortals.

Drinking, we became very merry； and we sang a song，beating time on the side of the boat. This is the song：

Our rudder and oars，redolent of cassia and orchids；Strike the moon's reflection, cleaving the glimmering water; But my heart is far away；Longing for my dear one under a different sky.

One friend, who was a good flutist，played an accompaniment to this song. The notes rang out nostalgic, mournful and plaintive，trailing on and on like a thread of gossamer, arousing the serpents lurking in dark caverns，drawing tears from a widow in her lonely boat.

Sad at heart, I sat up straight to ask my friend why the music was so mournful.

He replied, “ Didn't Cao Cao described the scene like this in his poem ：‘The Moon is bright, the stars are scattered，the crows fly south. . . ?' And isn't this the place where he was defeated by Zhou Yu ? See how the mountains and streams intertwine, and how darkly imposing they are with Xiakou to the west and Wuchang to the east. When Cao Cao took Jingzhou by storm and conquered Jiangling，then advanced eastward along the river, his battleships stretched for a thousand li，his armies* pennons and banners filled the sky . When he offered a libation of wine on the river and lance in hand chanted this poem, he was the hero of his times. But where is he now? We are fishermen and woodcutters keeping company with fish and prawns and befriending deer； we sail our skiff, as frail as a leaf and toast each other by drinking，wine from a gourd ； we are nothing but insects who live but one day，mere specks of grain in the vastness of the ocean. I am grieved because our life is so transient，and envy the mighty river which flows for ever. I long to clasp winged fairies and roam freely« or to embrace the bright moon for all eternity. But knowing that this cannot be attained at once, I give vent to my feelings in these notes which pass with the sad breeze. "

Then I asked him：“ Have you considered the water and the moon ? Water flows away but is never lost；the moon waxes and wanes, but neither increases nor diminishes. If you look at its changing aspect, the universe passes in the twinkling of an eye；but if you look at its changeless aspect, all creatures including our-selves are imperishable. What reason have you to envy other things? Besides, everything in this universe has its owner；and if it does not belong to me not a tiny speck can I take. The sole exceptions are the breeze on the river，the bright moon over, the hills. These serve our eyes；these we can take freely and enjoy for ever; these are inexhaustible treasures supplied by the Creator, and things in which we can delight together. My friend was pleased and laughed. Then we raised our cups and filled them with wine again. When we had finished the dishes，and cups and plates lay about us in disorder，we stretched out in the boat and did not notice the coming of dawn in the east.

众所周知，苏轼的散文，影响最深远，文学性最强，首推 《前赤壁赋》。按中国传统文论，“文贵曲”；诗文越含蓄才越见艺术之高超，越有动人之魅力。在这一点上，中西是难以契合的。我们在"篇章语言学与翻译" 一章中曾谈到民族的思维模式。所以在翻译中华典籍时，译者有必要介绍一下"文贵曲"的观点，以 使英美人了解中国人的思维方式和审美意识。然后，把握前面所 说的"经"和"纬"进行翻译。对于这篇散文以及相应的译文，笔者评述如下。

《前赤壁赋》是作者因"乌台诗案"被贬为黄州团练副使时游赤壁写下的内心不安和苦闷。在封建社会，文字获罪，就不能直述情怀，只能采用微妙曲折的方式抒情达意。这篇文章的主旨，是通过抒发赤壁之游的感怀，表达作者的"超然"思想和旷达胸怀。 文章以泛舟夜游为线索，写出感情上乐一悲一乐三个起伏，随景观的变化，寓情于景，借景明理，道出自己的人生态度。翻译时， 把住了这些，大抵可以达到文学翻译的要求了。翻译起来，文辞的问题也就好办。

抓住“乐一悲一乐"这个"经”，就好理清文辞这个"纬"。作者"乐"的心情首先是时序（初秋）、同伴（知友）、事件（夜 游）引发的。译文随原文平铺直叙，是得体的。接着，是精雕细刻的景物描写：清风徐来，水波不兴”，"白露横江，水光接天"。 作者被带入一个恬静优美的境界。因此苦闷的心情得以化解。译 文应当合情合理地运用文辞，描绘这一境界。而上述译文有几处很值得商榷。例如，对"水波不兴"的表达有些不合情理。浩浩长江，在苏轼笔下常是"惊涛拍岸”，"卷起千堆雪"。而今天却异常平静，但并非连微波也没有。在英美人心里，既有breeze,水面 就一定会 ruffle,因此似可改译为:“Under the fresh breath of air, the river was ruffling up gently without any billows. ”同时，英语描与月光下的水面不用glimmer而用shimmer。作者身临其 境，乐到羽化而登仙的地步。仙境的表达是很困难的，因为这里 存在民族文化差异的问题。考虑到全文的主旨，作者是追求理想 的世界，为了避免immortals使英美人联想起Olympus山，似可以用" as if we were winged so that we would reach the fairyland."来作全段的结尾。

第二段继续写"乐”，乐到"扣舷而歌之"。作者以歌的形式寄托失意之情。加上"客有吹洞箫者，依歌而和之"，情绪由 "乐"转"悲"。作者在描写箫声之悲凉用排比辞格引出六个比喻。而上述英语译文没有将辞格译出，主动词用ring也欠妥。英语这个动词往往指金属器发出的声音，与箫声无缘；而动词成语ring out指洪亮的声音，也与抑忧的心情不符。译者也许对原文扣得太紧，忽视了英汉语在句式和衔接上的差异。考虑到这种差异，可将此语段作如下调整：

One friend，who was a good flutist，played an accompaniment to this song，the notes floating and trailing on and on like a thread of gossamer as if complaining, worshipping, sobbing and explaining. 

接着作者以设问辞格“何为其然？”进行赤壁怀古。通过用典引出具有"周公吐晡，天下归心"之雄才的曹孟德和具有"谈笑间，强虏灰飞烟灭"之胆识的周公瑾。再与自身相比，发出"不过沧海之一粟"的悲鸣，寄托贬谪黄州，深感壮志难酬的情怀。整 个语段，以典喻为线索。所以，在翻译中，必须加以注释。我国 英译汉的大翻译家们在翻译《失乐园》等英国名著时，注释是十 分详尽的，因为这类翻译不单纯是语际之间的信息传递，也是一 种文化父流。笔者以为，用Cao Cao —. the king of Wei; Zhou Yu — a famous general of Wu之类的小注是达不到文化交流的目的的。何况这一段是将全文引向主旨的关键环节。

此段译文在文辞上也有很值得推敲的地方。例如，"山川相缪"用intertwine这个动词就欠妥，这个词含有纠缠的意思。若取雪莱Love's Philosophy —诗中的intermingle就更贴切了。 其次，"蜉蝣"译成insects也欠妥，因为这是个上位词，毫无文学特色，作者将人生比作蜉蝣，无非指生命之短暂，因此翻译成 mayflies不更合适吗？再者，"沧海之一粟"也不必直译，译成a single drop更能为英美人所接受。

作者在理想与现实相矛盾的处境中沉思，从世间万物"变"与 "不变"两个方面去推理，结果产生与世无争的超然心理，即景生情，大发感慨。这种心态，跟曹雪芹在"好了歌"所表达的情绪 相差无几。自以为找到了处世的途径，作者又转"悲"为"乐", 所以陶醉于杯中明月，"不知东方之既白"。

通过分析，我们不难看出，《前赤壁赋》的"经"有两根脉： 一是“情”，一是"意"“ “情"脉是“乐一悲一乐"“意"脉是 "理想一现实一出路"。联想到这两根脉，翻译中既要传情，又要达意。纵观全文，表达理想的关键词应当是"望美人兮天一方"句 中的"美人"。笔者认为，"美人"是一个双重辞格，即：比喻+ 象征。当代语义学告诉我们，词有概念意义、联想意义、文体意义和语境意义。在文学著作中，选择含义越丰富的越好。加之，我 国文贵曲的传统观点，美人译成my Beauty 似更安。

从一篇不到一千字的典籍来看，翻译需要考虑的地方就是多 方面的。而要翻译一部长篇小说，就更不容易了。英译汉在我国比较盛行，除了 "拿来"的主观愿望外，也许是英译汉比较容易 的缘故。但离开文学翻译的原则，也是做不好的。因此，翻译文学作品就不能像翻译历史书那样客观地平铺直叙，而要尽可能运用文学语言的表现手段，来表达原文的"情"和"意"。

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