从人物的再现看赛译《水浒传》的后殖民主义色彩

All Men Are Brothers:A Translated Version with Post-colonialist Color

《水浒传》是中国文学及世界文学史上的杰作之一。美国作家赛珍珠通过把《水浒传》译成英语将其介绍到西方,为传播中国文化做出了很大贡献。然而,如果把赛译《水浒传》放到后殖民主义的语境中进行审视,我们就会发现,赛译《水浒传》在人物形象的再现方面存在着诸多缺陷:原文的语言风格大大改变;人物形象发生了严重的扭曲和变形;对原作中英雄人物的歧视等。对于这样一部体现出后殖民主义色彩的译作,我们应该进行修订或重译,以把我国优秀文化的遗产介绍给世界。

The ancient Chinese fiction Shuihuzhuan has been considered one of the masterpieces not only in the Chinese literary history but also in the world literary history. By translating it into English and bringing it to the western world, Pearl S. Buck has made great contribution to the spreading of Chinese culture. But if we examine it in the context of post-colonialism today, we find that All Men Are Brothers translated by Pearl Buck maintains the following shortcomings in terms of character representation： the transformation of the linguistic style; the distortion of characters; the contempt upon the heroes, etc. As to such a translated version, we should retranslate it so as to introduce the true essence of Chinese culture to the international academic circles.