20161118有关红楼梦的英语原著及英语译文的词汇级别(8)

有关红楼梦的英语原著及英语译文的词汇级别（8）
张铁城 2016、11、18 发送
第十三章
在跨文化交际中探索运用真实英语 之五
《红楼梦》片段的英译
第一节 《红楼梦》介绍 英汉对照
（一）《红楼梦》维基百科
参考资料
1. ^ 裕瑞《枣窗闲笔》：“旧有《风月宝鉴》一书，又名《石头记》，曾见抄本
卷额，本 本有其脂砚斋所批语，引其当年事甚确，易其名曰《红楼梦》。”
2. ^ 1959年12月27日 胡适在台湾图书馆做演讲《找书的快乐》，回忆道：“乾
隆五十六年的活字版排出了一百廿回的初版本， 书前有程、高二人的序文说：‘世人
都想看到《红楼梦》的全本，前八十回中黛玉未死，宝玉未娶，大家 极想知道这本
书的结局如何？但却无人找到全的《红楼梦》。近因程、高二人在一卖糖摊子上发现
有一大卷旧书，细看之下，竟是世人遍寻无著的《红楼梦》后四十回，因此特加校
订与前八十回一并刊 出。’可是天下这样巧的事很少，所以我猜想序文中的说法不可
靠。”（《胡适红楼梦研究论述全编》第 255页）
3. ^ 可参阅赵建忠〈程刻本后四十回作者的探寻轨迹〉《呼兰师专学报》（2001，
第1期）。
4. ^ 唐德刚：《书缘与人缘》（沈阳：辽宁教育出版社，1998），页172。
5. ^ 作者是谁数学证明，新浪网2004年5月8日。
6. ^ 周汝昌：《周汝昌梦解红楼》，316页。
7. ^ 旧时真本红楼梦
8. ^ 余英时：《红楼梦的两个世界》，页35-59。
9. ^ 注：程高本，也就是前八十回遭高鹗等人 大量删改的通行本系统之内容为，
补天顽石化为神瑛侍者，神瑛侍者投胎为“贾宝玉和他身上的通灵宝玉 ”。其他较接
近原著的许多手抄本系统，其内容为神瑛侍者投胎为贾宝玉，补天顽石化为其身上
的通灵宝玉。神瑛侍者（贾宝玉）是负责守护通灵宝玉的。
10. ^ 唐德刚：《书缘与人缘》（沈阳：辽宁教育出版社，1998），页157。
11. ^ 据《红楼梦 》第一回回前批，“何妨用假语村言，敷演出一段故事来”，应
为假语村；而从对仗的角度看，真事隐假 语存则对仗更工整。
12. ^ 余英时：《红楼梦的两个世界》，页2。
13. ^ 余英时：《红楼梦的两个世界》，页8-12。
14. ^ 余英时：《红楼梦的两个世界》，页2-3、10、36。
15. ^ 俞平伯：〈读红楼梦随笔〉，载《红楼梦研究专刊》第一辑，页105。
16. ^ 李希凡：《曹雪芹和他的红楼梦》（北京：人民文学出版社，1973），页10。
17. ^ 余英时：《红楼梦的两个世界》，页14-16。

18.
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22.
参考书目
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^ 余英时：《红楼梦的两个世界》，页27-33。
^ 中国红学会成立30周年新版本《红楼梦》备受关注2010年8月4日
^ 网友签名反对重拍红楼梦认为陈晓旭无人能取代2007年5月23日
^ 新版红楼梦骂声不绝2010年8月2日
^ 余英时：《红楼梦的两个世界》，页46。
胡适《红楼梦考证》
俞平伯《红楼梦辩》,1923年（《红楼梦研究》, 1952年）
张爱玲《红楼梦魇》
夏志清《中国古典小说导论》，1968年
林冠夫《论王府本与戚序本》，《文艺研究》1979--2
冯其庸《论庚辰本》
蔡义江《红楼梦是怎样写成的》，北京图书馆出版社，2004年10月
周汝昌《红楼梦新证》，华艺出版社，1998年8月
刘梦溪《红楼梦与百年中国》，河北教育出版社，1999年1月
蔡义江《红楼梦诗词曲赋评注》，团结出版社，1995年10月
土默热《土默热红学——创作真相与作品真谛新探》，吉林人民出版社，2006年1
月
王蒙《红楼启示录》，三联书店，1997年10月
周汝昌《红楼十二层》，书海出版社，2005年1月
蔡义江《蔡义江解读红楼》，漓江出版社，2005年5月
俞平伯《红楼心解》，浙江师范大学出版社，2005年8月
刘心武《刘心武揭秘〈红楼梦〉第一部》，东方出版社，2005年8月
林冠夫《红楼诗话》，山东画报出版社，2005年10月
刘心武《刘心武揭秘〈红楼梦〉第二部》，东方出版社，2005年11月
刘心武《刘心武揭秘〈红楼梦〉第三部》，东方出版社，2007年7月
刘心武《刘心武揭秘〈红楼梦〉第四部》，东方出版社，2007年11月
刘心武《刘心武续〈红楼梦〉》，江苏人民出版社，2011年3月
研究书目
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胡适：《胡适红楼梦研究论述全编》（上海：上海古籍出版社，1988）。
余英时：《红楼梦的两个世界》（上海：上海社会科学出版社，2002）。
吴世昌：《红楼梦探源外编》（上海：上海古籍出版社，1980）。
宋淇：《红楼梦识要》（北京：中国书店，2000）。
余国藩著，李奭学译：《红楼梦、西游记及其他》（北京：三联书店，2006）。
余国藩著 ，李奭学译：《重读石头记：《红楼梦》里的情欲与虚构》（台北：城邦文化
事业股份有限公司，200 4）。
周策纵：《红楼梦案——周策纵论红楼梦》（北京：文化艺术出版社，2005）。
外部链接

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台 湾，元智大学，中国语文学系罗凤珠老师主持的“红楼梦网路教学研究资料中心”
（繁体中文网站）
红楼大观（简体、繁体网站），红楼梦全文检索，影印本，红楼梦论坛等
红楼梦研究书库（67部）
No.14A（二）《红楼梦》介绍 维基百科 英语文本
Dream of the Red Chamber
From Wikipedia, the free encyclopedia

Stone (Barry Hughart).
For other uses, see Dream of the Red Chamber (disambiguation).
Dream of the Red Chamber
紅樓夢


A scene from the novel, painted by Xu Baozhuan (1810–1873) AuthorCao
Xueqin CountryChina LanguageChinese GenreNovel Publication date18th
century Published in English1868, 1892; 1973–1980 (1st complete English
translation) Media type Scribal copiesPrint
This article contains Chinese text. Without proper rendering support, you
may see question marks, boxes, or other symbols instead of Chinese
characters.

Dream of the Red Chamber
Traditional Chinese紅樓夢
Simplified Chinese红楼梦
Hanyu Pinyin Hóng Lóu Mèng
Dream of the Red Chamber, also called The Story of the Stone (simplified
Chinese: 石头记; traditional Chinese: 石頭記; pinyin: Shitou ji), composed by
Cao Xueqin, is one of China's Four Great Classical Novels. It was written

sometime in the middle of the 18th century during the Qing Dynasty. It is
considered a masterpiece of Chinese literature and is generally acknowledged to
be the pinnacle of Chinese fiction.
exclusively to this work.
[1]

The title has also been translated as Red Chamber Dream and A Dream of Red
Mansions. The novel circulated in manuscript copies with various titles until its
print publication, in 1791. While the first 80 chapters were written by Cao
Xueqin, Gao E, who prepared the first and second printed editions with his
partner Cheng Weiyuan in 1791-2, added 40 additional chapters to complete
the novel.
[2]

Red Chamber is believed to be semi-autobiographical, mirroring the rise and
decay of author Cao Xueqin's own family and, by extension, of the Qing
Dynasty.
[3]
As the author details in the first chapter, it is intended to be a
memorial to the women he knew in his youth: friends, relatives and servants.
The novel is remarkable not only for its huge cast of characters and
psychological scope, but also for its precise and detailed observation of the life
and social structures typical of 18th- century Chinese aristocracy.
[4]

Language
The novel is composed in written vernacular (baihua) rather than Classical
Chinese (wenyan). Cao Xueqin was well versed in Chinese poetry and in
Classical Chinese, having written tracts in the semi-wenyan style, while the
novel's dialogue is written in the Beijing Mandarin dialect, which was to become
the basis of modern spoken Chinese. In the early 20th century, lexicographers
used the text to establish the vocabulary of the new standardized language and
reformers used the novel to promote the written vernacular.
[5]

Themes
In the opening chapter of the novel, a couplet is introduced:
Truth becomes fiction when the fiction's true;
Real becomes not-real where the unreal's real.
As one critic points out, the couplet signifies
between truth and falsity, reality and illusion, but the impossibility of making
such distinctions in any world, fictional or 'actual.'
[6]
The name of the main
family, Jia (賈, pronounced jiǎ), is a homophone with the character jiǎ 假,
meaning false or fictitious; this is mirrored by another family that has the
surname Zhen (甄, pronounced zhēn), a homophone for the word 真). It

is suggested that the novel's family is both a realistic reflection and a fictional or

The novel is most often titled Hóng Lóu Mèng (紅樓夢), literally
Dream
refers to the sheltered chambers where the daughters of prominent families
reside.
[7]
It also refers to a dream in Chapter 5 that Baoyu has, set in a
chamber

Chinese word 樓
flavour of the word
[8]

The novel also provides great insight in its depiction of the Chinese culture of the
time, including description of the era's
consequences.
[9]
Many aspects of Chinese culture, such as medicine, cuisine,
tea culture, proverbs, mythology, Confucianism, Buddhism, Taoism, filial piety,
opera, music, painting, classic literature and the Four Books, are vividly
portrayed. Among these, the novel is particularly notable for its grand use of
poetry.
[10]

Plot summary


A piece from a series of brush paintings by Qing Dynasty artist Sun Wen
(1818–1904), depicting a scene from the novel.
The novel provides a detailed, episodic record of the two branches of the
wealthy and aristocratic Jia (賈) clan—the Rongguo House (榮國府) and the
Ningguo House (寧國府)—who reside in two large, adjacent family compounds in
the capital. Their ancestors were made Dukes and given imperial titles, and as
the novel begins the two houses are among the most illustrious families in the
city. One of the clan’s offspring was made an Imperial Consort, and a lush
landscaped garden was built to receive her visit. The novel describes the Jias’
wealth and influence in great naturalistic detail, and charts the Jias’ fall from the
height of their prestige, following some thirty main characters and over four

hundred minor ones. Eventually the Jia clan falls into disfavor with the Emperor,
and their mansions are raided and confiscated.
In the novel's frame story, a sentient Stone, abandoned by the goddess Nüwa
when she mended the heavens aeons ago, begs a Taoist priest and a Buddhist
monk to bring it with them to see the world. The Stone, along with a companion
(while in Cheng-Gao versions they are merged into the same character), was
then given a chance to learn from the human existence, and enters the mortal
realm.
The main character of the novel is the carefree adolescent male heir of the
family, Jia Baoyu. He was born with a magical piece of
this life he has a special bond with his sickly cousin Lin Daiyu, who shares his
love of music and poetry. Baoyu, however, is predestined to marry another
cousin, Xue Baochai, whose grace and intelligence exemplifies an ideal woman,
but with whom he lacks an emotional connection. The romantic rivalry and
friendship among the three characters against the backdrop of the family's
declining fortunes forms the main story in the novel.
[9]