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文学与语言研究

2023 年第 27 卷第 3 期，页码：47-53 DOI：10.3968/13256

基于中英平行的“红”翻译研究

《红楼梦》语料库

姚春珍;刘连连

[a] 副教授。南京信息工程大学文学院，中国南京

[b] 南京信息工程大学文学院，中国南京.

* 通讯作者。

收稿日期： 2023-10-10;录用日期：2023年12月2日在线发布：2023年12月26日

抽象

在《红楼梦》中，大量与“红”相关的色彩词反映了色彩在中国传统文化中的重要性。本研究通过语料库翻译学深入研究“红色”颜色词的翻译方面，引入了一种新颖的视角。本文利用已有的《红楼梦》中英文平行语料库，对霍克斯、闵福德、杨羡一、大爱的组合版本中的“红”字进行了定量分析。该分析探讨了不同语境中“红色”词的翻译方法和策略。研究结果表明，霍克斯主要采用驯化和自由翻译，而杨宪一则倾向于外国化和直译。在词汇层面上，不同的文化和语言差异促使译者相应地调整和修改他们的策略。

关键词：红楼梦;颜色词;

语料库;译本

Yao，C.Z.和Liu，L.L.（2023）。基于《红楼梦》中英文平行语料库的“红”翻译研究.文学语言研究， 27（3）， 47-53.可从： http://www.cscanada.net/index.php/sll/article/view/13256 DOI： http://dx.doi.org/10.3968/13256

介绍

随着计算机辅助工具的出现

语料库越来越多地用于文学研究和创造性工作。存在各种类型的语料库，包括单语、双语和多语语料库。语料库源自真实的语言使用，提供可靠的语言搭配并促进词频分析。由浙江绍兴文理学院研发的《红楼梦》平行语料库与杰作《红楼梦》交织在一起，为主题研究提供了实质性的益处。

《红楼梦》是一部文学经典，继续吸引着红楼学家探索其文化的细微差别，并深入研究文本的深奥深度。它的翻译引起了学术界的关注，促使众多译者翻译了外语版本，使全球读者能够接触到《红楼梦》丰富的文化精髓。虽然广泛的研究已经对诗歌、传统戏剧和茶文化等各个方面产生了见解，但专门针对色彩的研究仍然相对稀缺。

鉴于《红楼梦》中红色的频繁出现，本文集中探讨了与之相关的文化现象。利用《红楼梦》平行语料库，研究人员可以更深入地研究文化的细微差别，了解各种翻译方法，并欣赏中西之间的文化差异。

1. 语料库翻译学

语料库翻译学是指利用语料库工具对大量翻译文本和翻译现象进行研究，然后进行数据统计，形成全面、系统的方法。在地理学领域，人们普遍认为英国学者莫娜·贝克（Mona Baker）是语料库翻译学的先驱。在她1993年发表的论文中，她提到语料库语言学的研究方法将产生直接影响

基于汉英的“红”翻译研究

《红楼梦》平行语料库

关于翻译研究，并阐述了语料库在翻译研究中的理论价值和应用价值。

1.1 语料库翻译的定义

至于语料库翻译的定义，拉维奥萨生动地将语料库、翻译和口译的结合称为“伙伴关系”。她指出，语料库语言学将为实证研究提供研究方法，而翻译研究将确定研究领域并提出可行的假设。实际上，语料库翻译学是指基于语料库对翻译的性质、过程和现象进行系统的分析和研究。真正的双语语料库或翻译语料库是其研究对象，数据统计和理论分析是其研究方法。该研究以语言学、文学和文化理论以及翻译理论为基础。本文在电子文本和计算机统计的基础上，描述了各种大范围或特定范围内的翻译现象。通过全面的描述，它探讨了两种语言的过程、特征和规则及其转换，分析和解释了翻译现象或验证了关于翻译的各种假设。

事实上，语料库翻译学是将描述性翻译研究与语料库语言学相结合的跨学科产品。语料库翻译学与传统翻译研究的主要区别在于语料库的规模和研究方法。在传统的翻译研究中，语料库的选择是主观的、随机的、个体化的，因此在推理或验证方面是相对片面的。语料库翻译研究基于大量事实和相应的语料库，通过对高频词和实例的分析、统计和提取，对翻译现象或翻译活动进行探索和指导，是一种数据驱动的实证研究范式。

1.2 语料库翻译学的发展

无论是在西方还是在中国，语料库翻译学都只有20多年的历史，因为它是一门朝阳学科。国内外学者对其发展阶段的定义有不同的看法。拉维奥萨将西方语料库翻译学的发展分为三个阶段：1993-1995年的萌芽阶段，1996-1999年的语料库语言学和翻译学整合阶段，以及2000年至今的文化转向阶段。Lavanser的定义发表于2004年，主要根据研究主题和路径进行划分。（Laviosa，2004 年，第 29-57 页）。中国学者胡开宝将汉语语料库翻译的发展分为两个时期：研究范式的建立期（1993-1998年）和快速发展期（1998年至今）。自2006年以来，中文语料库翻译研究进入快速增长阶段，论文数量不断增多，涉及的研究领域也越来越广泛。

随着语料库翻译学的快速发展，大量的双语平行语料库或翻译语料库被构建并应用于翻译语言特征、翻译规范、译者风格和翻译教学的研究（胡，2016，第39-44页）。克鲁格指出，语料库翻译学旨在通过运用理论建构和假设、各种数据、新的描述性范畴和灵活的方法，揭示翻译的普遍性和具体性特征。语料库翻译学不仅可以应用于演绎和归纳研究，还可以应用于产品导向和过程导向的研究。语料库翻译学的主要研究领域包括翻译语言特征、译者风格、翻译规范、翻译过程和翻译教学。本研究探讨了译者在目标语言词汇和句子结构的选择、语篇布局以及翻译策略和方法的应用方面的个体特征。翻译过程的研究基于大量的语料库数据统计和分析，分析翻译过程的认知属性和具体特征。翻译教学研究主要集中在语料库在翻译质量评估、翻译教材开发和翻译教学模型构建中的应用原则和方法。

2 .“ R E D ” I N A D R E A M O F R E D M A N S I O N S A N D I T S B I L I N G U A L 语料库

《红楼梦》是一部经典的杰作，从书名上看，可以看出这本书与“红”有着密切的联系。因此，在《红楼梦》的平行语料库中计算频率是必不可少的。

2.1 《红楼梦》中的“红”

《红楼梦》中与红色相关的颜色不是单一的，而是有多种类型的。比如有红、粉、樱桃、暗红、茜草、石榴红、水红、桃粉、猩红等，可见曹雪芹对红色的偏爱。以下是一些具体示例。

In terms of clothes，such as “鸳鸯穿着水红绫子袄

儿” ,芳官 “底下是水红撒花夹裤，也散着裤腿”. In

terms of architectures, such as Jia Baoyu’s house is “怡红院” and “后因曹雪芹于悼红轩中批阅十载，增删五次，篆成目录，分出章回，则题曰《金陵十二钗》” .

In terms of facial expression, such as “刘姥姥会意，未语先飞红的脸，欲待不说，今日又所为何来?”, “林黛玉红了脸，一声儿不言语，便回过头去了”.

在《红楼梦》中，红色有两个含义。

第一个是血与泪，正如曹雪芹在书的开头所说：每一个字都仿佛是血，十年的辛苦并不平常。第二个是

姚春珍;刘连莲（2023）.

文学语言研究， 27（3）， 47-53

而十年的辛苦耕耘，不是闺房里平常的女孩。第一章有两行诗：昨日黄土得白骨;今天，红灯笼照亮了爱情鸟的巢穴。在第八章中，还有两行诗：高高堆放着无名死者的白骨。在他们那个时代，谁是领主和女士们。这里的红色指的是闺房里的女孩。

当然，红色还有很多其他的隐喻，它们在不同的语境中有不同的符号，需要更深入地挖掘。

2.2 红色频率统计

本文根据绍兴文理学院开发的《红楼梦》中英文平行语料库进行研究。该语料库选取了英国汉学家霍克斯和闵福德的120个译本，中国汉学家杨宪义和戴乃蝶的120个译本。

这是第一个基于译者对原文选择的“一对一”或“一对二”句子级对齐的平行语料库。作为研究不同英文版《红学》的客观科学平台，可以为翻译教学提供丰富的资源，为翻译理论的讨论提供基础资料。

已经采取了一系列措施，以使其在红色的频率方面更具说服力。首先，利用《红楼梦》的中英文平行语料库作为检索工具，基于前人的研究和语料库语言分析方法，对“红楼”词的分类和统计进行梳理;笔者利用上述网络语料库，搜索了《红楼梦》中“红”字的出现频率。

搜索分三个步骤进行。

表1 红字频搜索结果

特尔斯姆斯

红

赤绛霞朱猩丹茜樱荔赭石南赭玫瑰胭脂

藕合

蜜合藕香榭

杨妃色

总

频率 490 20 23 51 22 5 40 19

742

表2

红色单词的分类 - 搜索结果

条款

红

赤

绛

霞朱猩丹

茜樱荔赭石南赭玫瑰胭脂藕合

蜜合

藕香榭杨妃色 Total

颜色 229 3 11 4 4 4 3 0

273

文化用语 74 13 1 12 7 1 3 8

130

术语 187 4 11 35 11 0

339

频率

490 20

51 22

742

表3 搜索结果红字频次计算

条款

红

赤

绛

霞

朱猩丹

茜樱荔赭石南赭玫瑰胭脂藕合蜜合藕香榭杨妃色 Total

“红色”的频率

系列颜色词

229

273

总词频 o f “ R e d ” s e r i e s 词

490

742

百分比（%）

频率

6. 7 15

18 80

100 100

36.8

根据表格和刘泽全等学者的记载，所有彩色词的总频率为1631次，“红色”字的总频率比约为45次。49%.这些数字清楚地表明，曹雪芹在选择颜色词时偏爱与红色有关的词（杨，2014，第196-215页）。

3. 不同语境中红色翻译的方法和策略

红色只是其中一种颜色

红色的英文和中文联想含义的差异是典型的。其他颜色也具有关联差异。只有了解联想含义的差异，考虑不同的文化背景，才能正确理解英汉的文化内涵。在不同的语境下，红字的翻译是不同的。以下是一些示例。

3.1 标题红色

首先，书名的两个比较有名的译本是杨羡一和霍克斯的。杨羡一将书名译为《红楼梦》，霍克斯则译为《石记》。

杨羡一是中国人，所以他按字面意思翻译了这个标题。这意味着在红色豪宅中的梦想。在中国文化中，红色是庆祝和繁荣的颜色，所以

基于汉英的“红”翻译研究

《红楼梦》平行语料库

红房子也被认为是一座豪宅。分析杨羡一的译本，可以看出他采用外化的策略和直接翻译的方法，强调原文的忠实性。采用“外国化”策略的目的是考虑到民族文化的差异，使翻译能够保留和反映外国民族和语言风格的特点。

霍克斯将这本书的书名翻译为《石头的故事》。霍克斯避免了红色的翻译，因为在西方文化中，红色代表着鲜血、暴力、不确定性、罪恶和许多其他负面词语。这与中国文化截然不同。为了避免书名听起来像一个恐怖故事，霍克斯采用了驯化，这意味着源语言服务于目标语言或翻译的读者，而目标语言读者使用的表达方式则用于传达原文的内容。霍克斯的驯化翻译有助于读者更好地理解翻译，增强翻译的可读性和欣赏性，也有助于吸引读者的兴趣。

3.2 Red in Clothes

Example 1

Source text: 台阶之上，坐着几个穿红着绿的丫头，一见他们来了，便忙都笑迎上来。

Translation: Several maids dressed in red and green rose from the terrace and hurried to greet them with smiles. (Translated by Yang)

Some gaily-dressed maids were sitting on the steps of the main building opposite. At the appearance of the visitors, they rose to their feet and came forward with smiling faces to welcome them. (Translated by Hawkes)

In the first example, from the point of view of color matching, red and green are complementary colors, forming a stark contrast, giving people the strongest sense of visual stimulation. The girls, dressed in red and green, shows a lively, lovely and pleasant feeling. Yang Xianyi used the literal translation but Hawkes used the free translation. Yang Xianyi has directly translated “红” as red, while Hawkes has translated “穿红” as “gaily dressed”, meaning to wear brightly coloured clothes. Hawkes deliberately avoids the translation of red and opts for the paraphrase. He explains the connotation, which is in line with the cultural tradition of Westerners, and avoids any ambiguity or misunderstanding due to cultural differences. Hawkes’s translation is in line with the context and more readable for the foreigners.

Example 2

Source text: 碧纱橱后，隐隐约约有许多穿红着绿，戴宝簪珠的人。

Translation: and behind the green gauze screen the doctor glimpsed other figures wearing gay silks and trinkets set with precious stones and pearls. (Translated by Yang)

Vaguely discernible glimpses of brightly-coloured dresses and golden hair-ornaments betrayed the presence of numerous younger women behind the green muslin curtains at the back. (Translated by Hawkes)

In the second example, Yang Xianyi translates “穿红着绿” as “wear red and green”, and Hawkes translates “穿红着绿” as “brightly-coloured dresses”. The translation of “穿红着绿” as “brightly-coloured dresses” is also free translation. In the context here, because the character is behind the green gauze, it is not possible to see clearly the person behind it, so the translator describe color vaguely and use the free translation, which does not necessarily require a clear translation of the colour. This version is more delicate and is in lie with the context. However, as a Chinese reader, Yang Xianyi’s version is more understandable because her translation is faithful to the original text.

Example 3

Source text: 又看包袱，只得一个弹墨花绫水红绸里的夹包袱

Translation：Now, seeing that Xiren’s wrapper was of black and white silk gauze, lined with pink silk. (Translated by Yang)

After giving Aroma the jacket, Xi-feng inspected her bundle. The carrying-cloth was of silk gauze in a nondescript black-and-white pattern, lined with strawberry-colored silk. (Translated by Hawkes)

Example 4

Source text: 又看身上穿着桃红百花刻丝银鼠袄子

Translation：and was wearing an ermine-lined peachred silk tapestry jacket with a hundred-beads design. (Translated by Yang)

She had on an ermine-lined silk tapestry dress of peach-pink satin, sprigged with a pattern of different sorts of flowers, a leek-green padded skirt embroidered in couched gold thread and colored silks. (Translated by Hawkes)

Example 5

Source text: 凤姐忙道: “昨儿我开库房,看见大板箱里还有好几匹银红蝉翼纱。”

Translation:“When I opened the storeroom yesterday”, put in Xifeng, “I saw several rolls of pink cicada-wing gauze in one of the chests”. (Translated by Yang)

The other day when I had to open the silk-store,’ said Xifeng, ‘I came across a lot of rose-coloured “cicada wing” gauze in a long wooden chest. (Translated by Hawkes)

In these three examples, Yang Xianyi simply translates the ‘水红’, ‘桃红’ and ‘银红’ into similar colors, such as peach-red, pink and so on. However, Hawkes uses strawberries, peaches and roses, which are very familiar to Westerners, to represent these three colors, and he uses the physical colour word plus colored, which is an altered translation method. This method means that when one language uses a physical object to represent a certain

YAO Chunzhen; LIU Lianlian (2023).

Studies in Literature and Language, 27(3), 47-53

which is an altered translation method colour, and another language does not have the habit of using that object to represent that colour, another physical object can be found in the translation that is similar to the original colour. Using this method, readers can imagine the color of the described object because this description is vivid and visual.

Example 6

Source text: 到了第二天开箱，这姑爷看见一条猩红汗巾，方知是宝玉的丫头。

Translation：The next day when her chests were opened and he saw his old scarlet sash, he realized that this was Baoyu’s maid. (Translated by Yang)

The next day, when they were unpacking her cases together, Jiang noticed among her things a crimson cummerbund. From this clue he deduced that his bride must have been one of the maids in attendance on Baoyu, to whom he had once presented this cummerbund. (Translated by Hawkes)

In this example, “猩红” is translated as scarlet and crimson respectively, both avoiding the word red. The translation of “猩红” is word that has the similar meaning with red. In this context, the red scarf has a beautiful connotation. In ancient times, a man and a woman would be married with a red and green scarf and sent to the bridal chamber. In the story, Jiang Yuhan gives Jia Baoyu a red scarf, and Jia Baoyu gives Jiang Yuhan her green scarf in exchange. To some extent, Jia Baoyu contributes to the marriage of Jiang Yuhan and Xiren.

3.3 Red in Architectures

Example 7

Source text: 怡红院 Translation: Happy Red Court (Translated by Yang) The House of Green Delights (Translated by Hawkes) In this example, Yang Xian Yi’s version is a direct translation from the Chinese, “怡” means happy, so it is translated as “happy”. The word “red” is a positive word in Chinese, so it is directly translated as “red”. The word “courtyard” means courtyard and is translated as “court”. This version is translated from word to word, so it is easy for the original readers to understand.

David Hawkes’ version avoids the direct translation of red and uses a literal translation. In Western culture, green has a positive connotation of vitality and energy. Green in Western culture has a similar meaning to red in Chinese culture. So translated “红” as green is helpful for the reader to avoid cultural misunderstandings and to better understand the content of A Dream of Red Mansions as faithfully expressed. The method of translation depends on the cultural connotation of the color.

Example 8

Source text: 绣鸳鸯梦兆绛云轩识分定情悟梨香院

Translation：A Dream During the Embroidering of Mandarin Ducks in Red Rue Studio Foretells the Future

Baoyu Learns in Pear Fragrance Court That Each Has His Share of Love (Translated by Yang) Bao-chai visits Green Delights and hears strange words from a sleeper, Bao-yu visits Pear-tree Court and learns hard facts from a performer (Translated by Hawkes).

In this example, there are different versions of the translation of ‘绛云轩’. The word ‘绛云’ means a red cloud. Legend has it that the heavenly emperor’s residence was often surrounded by red clouds. Jiang Yun Xuan was the name of Jia Baoyu’s original residence, which was later renamed Yi Hong Yuan when he moved into the Da Guan Yuan. However, in many later episodes, the name Jiang Yunxuan is also used. Literally, Yang Xianyi translates it as ‘Red Rue Radio’. Instead of translating the chapter names literally, Hawkes explains the general content of the chapter, and Jiang Yunxuan is also explained by the new name ‘Yi Hong Yuan’. Hawks is more flexible in his translations, making the meaning of the context clearer to the reader.

Example 9

Source text: 上面悬着一个匾额，四个大字，题道是 “怡红快绿”

Translation：while above its door hung a tablet inscribed with the words: Happy Red and Delightful Green. (Translated by Yang)

above which a horizontal board hung, inscribed with the words：CRIMSON JOYS AND GREEN DELIGHTS (Translated by Hawkes)

In this example, there are two versions of the translation of “怡红快绿”. Yang Xiangyi adopts a direct translation, literally translating it as Happy Red and Delightful Green. “怡” and “快” have similar meaning in Chinese, so he translated “怡” and “快” as happy and delightful. Hawkes’ version is CRIMSON JOYS AND GREEN DELIGHTS, which is more grammatical and avoids the need to translate red as red. This version has a symmetrical structure and sounds like the name of the house.

3.4 Red in Cosmetics

Example 10

Source text: 平儿倒在掌上看时，果见轻白红香，四样俱美

Translation: Pinger holding it on her palm found it light, pinky white and fragrant, delightful in every respect. (Translated by Yang)

Patience emptied the contents of the tiny phial on to her palm. All the qualities required by the most expert perfumers were there: lightness, whiteness with just the faintest tinge of rosiness, and fragrance. (Translated by Hawkes)

In this example, the described object is a powder made by crushing the seeds of garden-jalap, which is a kind of rouge. There are two versions of the translation of “白红”, Yang Xiangyi adopts a direct translation, literally translating it as pinky. white, he uses pinky to modify white, so in this version, “红” is a modifier. Hawkes’ version is whiteness with just the faintest tinge of rosiness,

A Study on the Translation of “Red” Based on the Chinese-English

Parallel Corpus of A Dream of Red Mansions

“红” is rosiness as a noun. Both of them do not use red because in the context, the color describes rouge. Their translations are close to the real situation.

3.5 Red in Handiwork

Example 11

Source text: 蒋玉菡情赠茜香罗薛宝钗羞笼红麝串

Translation：Jiang Yuhan Gives a New Friend, a Scarlet Perfumed Sash, Baochai Bashfully Shows Her Red Bracelet, Scented with Musk (Translated by Yang)

A crimson cummerbund becomes a pledge of friendship, and a chaplet of medicine-beads becomes a source of embarrassment (Translated by Hawkes)

In this example, “红麝串” is made of musk and some other materials into beads, holes and strings, made of art handicraft. Yang Xianyi translated “红麝串” as red bracelet scented with musk. He used the literal translation. According to this version, readers can know the colour and materials of this handiwork. Hawkes translated it as a chaplet of medicine-beads. This version is a kind of explanation. It explains that “麝” is a kind of medicine, but it does not describe the color of this handiwork.

3.6 The Meaning of Red in Chinese Culture

There are many reasons why the colour red has been so cherished in the history of the Chinese nation. According to the five-element theory, red represents the south. To the ancients, the south was the place where everything grew and “sun” was at its peak.

Since the sun and fire can bring light, warmth and happiness to people, people like to use red to symbolize happiness, festivity, good luck, joy and enthusiasm, so red has the relevant meaning such as prosperity, development, smoothness, success, good luck, achievement and so on (Zhang, 2011, pp.115-116)

The symbolic meaning of colour words varies greatly in different national cultures. Different nationalities, due to differences in geography, folklore, religion and values, are bound to give different associative meanings to words and accumulate a great deal of cultural information when expressing the same concept, under the role of their unique cultural traditions. They can make language more vivid, interesting, humorous and affectionate, so when we learn and understand English-Chinese colour words, we should not only grasp the transmission of their superficial semantic information, but also pay attention to the transmission of their deep cultural information. Through continuous comparative studies, we can recognize and master the different cultural meanings of Chinese-English colour words. This is not only conducive to the improvement of English learning, but also serves as a guide to promote and enhance the exchange and integration between Chinese and Western cultures (Zhang, 2008, pp.367-368).

CONCLUSION

A Dream of Red Mansions accurately and creatively uses a large number of color words especially red with rich variety and semantic meaning. These color words are stained by Cao Xueqin’s brilliant brush to create a colorful painting of red Mansions.

Under the guidance of Corpus translatology, this paper analyzes and researches the different English translation of A Dream of Red Mansions with the help of parallel corpus. In the different contexts, the English translation of red words is different at the lexical and syntactic levels. The study finds that Hawks often uses the translation strategy of naturalization and the method of Italian translation, while Yang Xiangyi often uses the translation strategy of dissimilation and the method of direct translation. The reason maybe translators in different countries have different understanding of color and culture. Hawkes adopted this strategy of literal translation for two reasons: first, literal translation can preserve the unique aesthetic value and thematic significance of these words in the original works; Second, there are a large number of “red” color words in English with the same meaning which can be flexibly used. Only for a very few color words involving strong feelings or negative emotional expression, when there are obvious differences between Chinese and English, free translation will be carried out to avoid cultural misinterpretation.

In the writing process of thesis, the author carefully consulted the data, drew the tables, carried out theoretical analysis, and treated the thesis with a rigorous attitude. Although the author try her best to improve the paper, there are still some cognitive limitations. First of all, the author have only done some basic work on the collation and analysis of color words, and there is still a problem of insufficient statistical accuracy. Moreover, the author only made a tentative exploration on the semantic field of red color, and the tracing analysis is not thorough enough. Due to the lack of in-depth research on translation theory, the author cannot perfectly combine theory with practice in the process of analyzing the translation strategies and methods embodied in translation examples. Thus, the theoretical basis of the paper is a little weak. In addition, the author can’t use rich sentence patterns in the process of writing, so the paper is less readable. These are drawbacks which need to be improved in the future. Because of the limited materials, the research is limited to only one version, and there is no more comparison, which make the research seem superficial. In the future, the author will continue to improve the professional level and strive to broaden the research vision, so as to make the research more in-depth and valuable in terms of translation research.

YAO Chunzhen; LIU Lianlian (2023).

Studies in Literature and Language, 27(3), 47-53

In short, the English translation of A Dream of Red Mansions has different characteristics, which shows culture differences. Analyzing such different versions in order to do a good job in the translation of other texts and learn their culture backgrounds. The translator should not only have a solid language foundation, but also have a comprehensive understanding of the target language country and target readers.

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