从赛、沙《水浒传》英译透视翻译文学中法律形象的生成

On the Generation of Legal Image in Translated Literature:A Comparative Analysis of Buck’s and Shapiro’s Translations of Shuihu Zhuan

《水浒传》系民族经典,世界文学化伴生互文语境,赛珍珠享首译之名,沙博理有正名之实,然译评纷纭,莫衷一是。本文从形象切入,探研翻译文学中法律形象何以生成。研究发现,梁山对封建正统律令的侵越启示译者征引骑士精神、基督教义相比附,体现形象建构的同质化联想;相较赛氏偏重语言文化的复刻,沙氏深描传统法律体系,彰显形象建构的异质化坚持。无法与无不法的形象生成关联翻译的小文化背景,亦串联大文化背景,是语境化的自我与他者互文互涉的结果。

Shuihu Zhuan,one of the four Classic Chinese Novels translated and disseminated worldwide presents an intertextual system.Among all the translations,Buck’s All Men Are Brothers and Shapiro’s Outlaws of the Marsh are respectively recognized as the first full English translation and the best English translation existing though not without dissenting opinions.This paper,assuming the emerging imagological approach in translation studies,focuses on the reconstruction of legal image in translated literature.It is shown that both translators,inspired by the stories of heroes’violation of imperial courts’feudal system,consciously or unconsciously employed the same or similar Western chivalry and Christian elements when translating Chinese legal culture,manifesting a homogeneous thinking of legal image reconstruction.Compared with Buck’s hope for the representation of the novel’s linguistic style,Shapiro tried to reshape the very essence of traditional Chinese legal landscape,reflecting his heterogeneous approach.In a nutshell,Buck reconstructed the holistic literary image of the outlaws and Shapiro the cultural image of the moral code of the outlaws,epitomizing multi-dimensional historical and socio-cultural factors and the interaction between auto-and hetero-images in context.