民族性的“遮蔽”及其背后——论沈雁冰对格雷戈里夫人剧本的译介

“Obscurity” of Nationality and Behind——On Shen Yanbing’s Translation of and Introduction to Lady Gregory’s Plays

在20世纪初的中国文学场域中,作为西方最前沿的“新浪漫主义”文学潮流的爱尔兰戏剧经由沈雁冰、郭沫若等文人的译介逐渐进入国人的视野,并因其所内蕴的反帝反殖语境与民族主义诉求而与中国社会的“救亡”主题产生了一定的共鸣。其中,爱尔兰戏剧家格雷戈里夫人的剧本得到沈雁冰更多的译介。但是,在“五四”时期“反抗与解放”的文学主题语境中,格雷戈里夫人剧本的民族性暗示乃至爱尔兰戏剧运动整体的民族独立诉求在一定程度上被遮蔽,其价值意蕴最终也只能落脚于“讽刺剧”“道德剧”等文体层面。这一方面表明,译介本身或许就是一场从原文到译文的歧义丛生的理论旅行;另一方面也表明,文学的审美价值与政治意义总是具有张力地在译介的过程中与社会需求相互映照、相互作用。

In the field of Chinese literature in the early 20 th century, Irish drama, as the most advanced literary trend of “Neo-Romanticism” in the West, gradually came into the vision of the Chinese people through the translation and introduction of literary scholars such as Shen Yanbing, Guo Moruo and others, and Irish drama’s nationalist keynote had a certain resonance with the “salvation” theme of the Chinese society in the anti-imperialist and anti-colonial context, Among the dramatic works, Lady Gregory’s plays were more translated and introduced by Shen Yanbing. However, in the literary context of “resistance and liberation” after the “May 4 th Movement” in China, the national implication of Lady Gregory’s plays and the overall nationalist claim of the Irish dramatic movement were obscured to a certain extent, and the value of the plays were, in the end, conceived only as “satirical” and “moral” at the stylistic level. On the one hand, it demonstrates that the translation itself may be a theoretical journey full of ambiguity from the original text to the target text;on the other, it also shows that aesthetic value and political significance of literary works always reflect and interact tensely with social needs in the process of translation and introduction.