疊字使用

140]

原文 “Why don’t you say something, now that you’ve got me awake?”

“I wonder if you were sleeping as sound as you are trying to make out, sir,” said the unmoved Ricardo.

“I wonder,” repeated Mr. Jones. “At any rate, I was resting quietly!”

(267)

譯文 「你既然把我弄醒了，怎麼不說說話？」

「先生，我不知道你真是睡得那樣熟，還是說說罷了，」那凝然 不動的里卡多說。

「我不知道，」瓊斯先生重複著說。「不管怎樣吧，我是在那裡 靜靜兒歇著」(勝，277)

「說話」說成「說說話」，「安靜歇著」說成「靜靜兒歇著」，而「說 說罷了」用疊字表示光說無憑而非真心誠意，讓語氣因此更口語化。

又或是重複疊加字詞，也有更為口語的效果，例如：“I shall squeeze them yet some day—never you fear…”/「我總有一天會擠一擠他們的」(勝，11) 這句是莫里遜所說，表示會去催債。或講到索姆堡blinking /「眨呀眨的」眼睛 (勝，30) 等。

第四節 疊字使用

除了前述以疊字表現口語語氣外，疊字還有另種應用於此節介紹。雖然 如前文所說，原文波蘭式滔滔不絕處因中文斷句而打斷長句，但譯文利用中文 疊字特色，也營造出一種句勢上的綿延感，搭配工整的對句，儼然增添了特殊 的口吻效果。

96 [例

141]

原文 As you so justly observed, she has been a good wife to me. A very good, quiet, obedient, loving wife, and I love her as much as she loves me. (39) 譯文 她是個好妻子，文文靜靜、順順從從，也很可愛，我愛她正如她

愛我一般多，分毫不差。(海，38)

[例 142]

原文 He heard the reproach of his idleness in the murmurs of the river, in the unceasing whisper of the great forests. (65)

譯文 在清水潺潺，林風颯颯中，他聽到對他閒散怠惰的譴責之聲。

原文 And Willems stared at her, charmed with a charm that carries with it a sense of irreparable loss, tingling with that feeling which begins like a caress and ends in a blow, in that sudden hurt of a new emotion making its way into a human heart, with the brusque stirring of sleeping

sensations awakening suddenly to the rush of new hopes, new fears, new desires—and to the flight of one’s old self. (69)

譯文 威廉斯也盯著她瞧，為了一種魔力而著迷；這種魔力帶來無可彌 補的失落感。這感覺，開始時像輕輕愛撫，結束時像重重一擊。

突然受創於嶄新的情感，這情感侵入人心深處，使沉睡中的感覺 突遭驚醒，知覺到新希望、新恐懼、新慾念，也知覺到舊日的自 我遠颺了。 (海，66)

97

作者如上的長句在各篇作品文中頻繁出現，並非特例。譯者處理時這 句，也是經過整理、斷句，將英文向右延伸 (right-branching) 的 which 子句、以 現在分詞形成的形容詞子句in that…making 拆解，不產生冗長成串的難讀句 子，但參雜了重複字詞「這感覺」以及疊字「輕輕愛撫」、「重重一擊」，加 強原文綿延的口氣。

接著再看幾句話的中英對照：

[例 144]

原文 The woman, who was carrying two bamboo vessels full of water, heard his footsteps, stopped, and putting the bamboos down half turned to look back. Willems also stood still for a minute, then walked steadily on with a firm tread, while the woman moved aside to let him pass. He kept his eyes fixed straight before him, yet almost unconsciously he took in every detail of the tall and graceful figure. As he approached her the woman tossed her head slightly back, and with a free gesture of her strong, round arm, caught up the mass of loose black hair and brought it over her shoulder and across the lower part of her face. The next moment he was passing her close, walking rigidly, like a man in a trance. (68)

譯文 那女人提兩竹筒滿滿的水，聽到她的腳步聲，停了步，放下竹

原文 And after such a declaration he always dived into his cabin muttering to himself, “Something must be done—must be done.” More than once he

98

would astonish Almayer by walking up to him rapidly, clearing his throat with a powerful “Hem!” as if he was going to say something, and then turning abruptly away to lean over the bulwarks in silence, and watch, motionless, for hours, the gleam and sparkle of the phosphorescent sea along the ship’s side. (9)

譯文 這樣說了之後，他就跑回自己的船艙，喃喃自語：「這得想想辦 法，想想辦法。」他曾幾次另奧邁耶感到驚愕，先是急急走來，

大力哼一聲，清清喉嚨，像有些什麼話要說似的，然後突然轉身 離開，把身子靠在船舷杆上，靜靜望著傳下粼光片片的大海，很 久都不作一言。(奧，6)

以上各例或工整對稱，或口語白描，利用疊字的聲韻，營造出符合康拉 德原文長句、好堆疊字詞的氣氛。

第五節 小結

聯經系列各譯著皆偏向歸化傾向，可讓中文讀者容易讀懂文字內容，這 類做法同時將文本更推進了讀者的文化，且各譯本多處如此處理，使得本系列 風格更為一致。 然而，既然故事並非整個搬動到東方舞台，而時常見到譯文濃 厚中華色彩，不僅與原故事設定的背景有衝突感而造成錯亂，且此太過於歸化 恐難以凸顯原作者的異質英文語言特色。從另一方面來看，原文部分譬喻意象 於譯文處理後消失於無形，特別是系列小說出現的海洋元素因此減少，這也是 為求語句通順易解而生的一項損失。

此外，聯經系列在口語文字和引述對話中使用大量豐富的語助詞、句末 助詞，增加語氣變化，更為生動，可說用另種方式彌補了喪失語篇標記詞組的 缺失。綜合本章及前章所談康式風格英文以及本章介紹的目標語文化色彩，可 見到譯文處理後文化意象的隱與現。而從後殖民角度來看，語言上採用歸化傾 向，削弱原文的文化色彩，而加強中華文化特色，並顧及既有的通暢中文用語，

少用西化語句，而特別重視古典用語、承襲正規傳統用語的高語域文語，或許 可說是對西方文明的的一種文化抵抗形式。

99