没有成为女英雄的人—-林黛玉和崔莺莺外文翻译资料

ON NOT BECOMING A HEROINE ----LIN DAI-YU AND CUI YING-YIN

ANN WALTNER

Why and how people read fiction is an issue that has increasingly come under the scrutiny of Western literary critics. In her recent Becoming a Heroine, Rachel M. Brownstein suggests ways in which fiction may serve a special role in shaping an adolescent girlrsquo;s expectations of the future.¹ The fiction Brownstein discusses is chiefly nineteenth-century English novels； the readers she discusses are twentieth-century American adolescents. The novels of Jane Austen and Anthony Trollope, where the plot centers on finding a husband and the marriage is the happy ending, are read, so Brownstein suggests, as scripts for life by countless adolescent girls who view finding a husband as their central task in a life that will in many crucial ways end with marriage. Expectations about life and marriage are gathered not from observations of the real world but from ruminations within the realm of fiction.

Fictional heroines, too, may be readers of romance, and the ways in which the heroine reads the romance reveal a good deal about her, about the romance, and about the fictional world they both inhabit. Lin Dai-yu, a central character in Cao Xue-qinrsquo;s eighteenth-century Chinese novel Dream of the Red Chamber, is a reader of romances, especially dramas such as Romance of the Western Chamber.² Western is one of the finest exemplars of the “scholar-beauty romance,” a genre in which a beauty and a talented youth meet, fall in love, overcome obstacles, and eventually marry. The genre mandates a happy ending.³ Dai-yu^ reading of Westem Chamber leads her to see her own future with the image of Cui Ying-ying, the heroine of Western Chamber, firmly in mind. It is an image that both attracts and repels her. While Rachel Brownsteinrsquo;s reader of Jane Austenrsquo;s novels finds an unambiguous map for the future, Dai-yu sees a warning in the story of Ying-ying. The resonances between Western Chamber and Red Chamber are not limited to the imagination of Dai-yu, but it is there that they find their sharpest resolution.

Lin Dai-yu lived in a society where love was not a necessary or even a desirable prelude to marriage. In eighteenth-century China, marriage was a transaction involving the families of the bride and

Dream of the Red Chamber, first published in 1792, is one of the masterworks of the Chinese novel. In 120 chapters, it juxtaposes an allegorical structure with a day-to-day description of the decline of the house of Jia.^[1] Central to the framing allegory is the assertion that human passion is illusion. The tension between allegory and realistic depiction is mirrored in a couplet that recurs in the novel, inscribed on an arch proclaiming entry into the “Land of Illusion.” The couplet reads:

Truth becomes fiction when the fictionrsquo;s true;

Real becomes not-real when the unrealrsquo;s real.^[2]

As we shall see, Dai-yu uses fiction to interpret her emotional life. The illusion of desire is seen refracted through the mirror of the illusion of fiction.

The action of the Red Chamber centers around the character of Jia Bao-yu, the adolescent scion of the house of Jia, and his young female cousins, the most important of whom are Lin Dai-yu and Xue Bao-chai. For much of the novel, Bao-yu, his cousins, sisters, and their maids live in dwellings in a garden at some remove from the supervision of their elders, where they live a life of ease burdened neither by the responsibilities of adulthood nor the restrictions of childhood. Bao-yu and his companions in the garden are adolescents who occupy a twilight world between childhood and adulthood. (At the beginning of the novel Bao-yu is thirteen； Dai-yu is two years younger.) The novel charts the progress of these charmed adolescents toward adulthood, a progress portrayed as a fall from grace.

The crucial ritual that will signify the transition to adulthood is marriage, and the essential plot revolves around which of the cousins, Dai-yu or Bao-chai, will marry Bao-yu. The tragedy of the novel is that, according to the allegorical structure of the novel, Dai-yu cannot marry Bao-yu. She is the human incarnation of the Crimson Pearl Flower, and Bao-yu that of the Divine Luminescent Stone. Because the Stone had watered the Flower, saving her life, the human Dai-yu owes Bao-yu a debt of tears. The allegorical structure enters the narrative several times during the novel, perhaps most prominently in chapter 5, in which the immortal Disenchantment reveals to Bao-yu the future fates of the most important female characters in the novel, fates that are inextricably linked with his own. Bao-yu does not understand the meaning of the poems that delineate each characterrsquo;s fate, but the reader does. The prophecy of a marriage between gold and jade (implying Bao-chai and Bao-yu) is first referred to in a song tellingly entitled The Mistaken Marriage(Zhong shen wu), thereby predicting that Bao-yu will marry Bao-chai, the wrong cousin. The prophecy recurs at several points throughout the novel. This tension between the allegorical mode that places strict demands on plot development and a diurnal realism that seems to leave the question of the marriage open-ended is one of the sources of the power of the novel.

Bao-chai and Bao-yu do marry. However, the marriage takes place at almost the precise moment of Dai-yursquo;s death, and Bao-yu, half-mad, has been duped into thinking that it is Dai-yu he is marrying. The marriage is thus a perversion of the youthful dreams of all three of the cousins. Indeed, marriage in the novel almost never implies happiness. One by one, beginning with Xi-chun, the young women of the garden marry and leave. Their marriages decimate the garden and diminish its gai

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没有成为女英雄的人----林黛玉和崔莺莺

安bull;沃特纳

人们为什么和怎么读小说成为一个问题，这个问题受到越来越多的西方文学家的审视。雷切尔bull;布朗斯坦提出了小说在塑造青春期少女对未来的期望中发挥特殊作用的方式。布朗斯坦的小说主要是十九世纪的英国小说，她讨论的读者是二十世纪的美国青少年。 简·奥斯丁和安东尼·特罗洛普的小说情节集中在寻找丈夫和幸福的婚姻结局，因此，布朗斯坦认为，作为无数的青春期女孩的生命脚本，在以许多关键的方式结束婚姻的生活中找到丈夫是她们的中心任务。 关于生命和婚姻的期望不是来自现实世界的观察，而是来自小说领域内的反刍。

虚构的女主人公，也可能是浪漫的读者，女主人公阅读浪漫的方式揭示了很多关于她，关于浪漫，以及他们居住的虚构世界。曹雪芹十八世纪中国小说《红楼梦》的中心角色——林黛玉，是一位追求浪漫的读者，她特别向往《西厢记》中的浪漫。《西厢记》是“才子佳人小说”最好的范例，一种美丽俏佳人与有才华的男子相遇、相爱、克服重重困难最终走进婚姻的殿堂的体裁。这种体裁要求以圆满结局收尾。《西厢记》让黛玉看到了自己的未来也许会跟崔莺莺一样，（崔莺莺——《西厢记》的女主人公），印象极为深刻。这是一个既吸引她又能让她不开心的形象。然而雷切尔bull;布朗斯坦的读者在简·奥斯丁的小说中发现了一幅明确的、通往未来的地图，黛玉从崔莺莺的故事中看到了警示。《西厢记》和《红楼梦》的共鸣并不局限于林黛玉的想象力，在于它们找到了她们最坚定的决心。

林黛玉生活在一种恋爱不是必需品甚至不是婚姻称心如意的前奏的社会中。在十八世纪的中国，婚姻是一种涉及家族新娘和新郎的交易。即使年轻夫妇的意见不会被完全忽视，但他们的意见也不是至高无上的。而且在上层社会，女性会被隔离，直到新婚之夜才能见到自己的丈夫。贞洁作为女性最重要的美德被颂扬：当地历史会纪念那些竭尽全力捍卫自己贞洁的女性（甚至为了贞洁会自杀）。难怪林黛玉在爱情小说的阅读中会寻求庇护。

《红楼梦》，与1792年首次出版，是中国最有名的小说之一。在其20个章节中，它把寓言结构和贾府衰败的日常描述并列起来。对框架寓言十分重要的是人类激情是幻象的声明。对联中反映的寓言和现实叙述的紧密联系再次出现在小说中，刻在大石牌坊宣布进入“幻想之地”，该对联是这样写的：

假作真时真亦假，无为有时有还无。

正如我们所看到的，黛玉用小说来解释她的情感生活，欲望的幻象通过小说的镜面幻象来折射。

《红楼梦》的中心活动围绕着贾宝玉的性格、贾府的少年子孙和年幼的女性堂姐妹，其中最终孤傲的就是林黛玉和薛宝钗。这部小说大部分都在描述贾宝玉和他的堂兄弟、姐妹、女仆们住在一个一定程度上不受长辈监督的、带花园的大观园里，在那里他们不用担负成年人的责任，也不受儿童时代的拘束。宝玉和同伴们在大观园里享受着温室的幸福，从幼年到成年都受到女仆们无微不至的照料。小说开头将宝玉定位十三岁，黛玉为10岁。这部小说一点一滴地记录着这些可爱的孩子们的成长，描绘了一幅从养尊处优到家破人亡的人间悲剧。

标志着童年向成年转变的的重要仪式是婚姻，并且关键的情节皆围绕堂姊妹来写，和宝玉结婚的要么是黛玉，要么是宝钗。这部小说的悲剧性在于，根据小说的寓言式结构，黛玉是不能嫁给宝玉的。黛玉是三生石畔绛珠仙草的人类化身，宝玉身上有一块由顽石变成的通灵宝玉。因为这块石头给绛珠仙草浇过水，救过它的命，所以林黛玉欠宝玉一辈子的眼泪。寓言式结构在小说中多次运用叙述手法，最明显的是在第五章，不朽的幻象揭示了宝玉与小说中最重要的几个女性角色具有千丝万缕、不可摆脱的命运。宝玉看不出勾画每个角色命运的诗歌含义，但是读者却能看出。金玉良缘的预测（暗示宝钗和宝玉）第一次被提及是在一首名为“错误的婚姻”的歌曲里提到的，由此预测出宝玉会娶宝钗（宝钗——一个错误的表亲）。预言在全篇小说中再现了几个关键点。对情节发展要求极其严格的语言模式与似乎留下了一个关于婚姻的开放性结局的问题之间的紧张关系是本部小说的力量源泉之一。

最终，宝玉还是与宝钗结婚了。然而，这场婚姻正巧发生在黛玉含泪逝世之时。而这时的宝玉已然半疯半傻，贾母及王夫人都欺骗他、误导他所结婚的对象正是黛玉。也正是因为如此，这场婚姻曲解了堂兄妹三人的青春梦想。确实，小说中的婚姻也几乎从不意味着幸福。一个接一个，一开始是惜春，大观园里的年轻女孩逐渐远嫁他乡。她们的婚姻摧毁了大观园、剥夺了快乐，但最明显的是，这种婚姻也象征着女孩们从田园诗般静谧、和谐的生活一落千丈。婚姻并不意味着幸福的结局。宝玉将结婚视为对女孩的污染。红楼梦》第五十九回中，春燕和藕官等人闲谈时，转述了贾宝玉说过的这样一段话：“女孩儿未出嫁，是颗无价之宝珠；出了嫁，不知怎么就变出许多的不好的毛病来，虽是颗珠子，却没有光彩宝色，是颗死珠了；再老了，更变的不是珠子，竟是鱼眼睛了。分明一个人，怎么变出三样来？”宝玉认为，女人在没和男人交合之前，处女的贞操是世界上最有魅力的东西。一旦有了性关系，这种美，也就荡然无存了。少女们不用承担成年人的责任从而表现出来的那种天真烂漫之美将宝玉迷得神魂颠倒。

性与成年的联系通过第五章的不朽觉醒已经表现得很明显了。当黛玉对宝玉说：“你是我见过最好色的人”时，宝玉力证清白，说：“我还小，不懂什么是性欲！”黛玉承认，宝玉的好色不是那种普通的庸俗的爱好女性身体的好色，但也确实是一种对性的渴望。她为他呈现了一个梦中的新娘，她的姐姐——秦可卿，促使他进入性的幻象中。宁荣二公委托太虚幻境的司主警幻仙子让她帮忙把宝玉从肉体的欢乐中拯救出来，唤醒愚蠢、糊涂的宝玉。这样的话他就有机会逃脱专为人类设置的陷阱，以此一心一意地走上仕途经济的正路。这种性启蒙理应导致成熟。然而宝玉依旧异常地无知：他未能理解他所做的梦，那个梦预示着本小说剩余部分的发展进程。尽管他后来吸取了那个在梦中与他交媾的女子的教训，但他内心对于性欲含义的理解仍是天真无邪的。

大观园里的雌雄同体强调了这种天真无邪。通常在中国的传说中，性别混乱象征着一种更大的骚乱：它是模糊的，使得社会秩序得以区别。然而，《红楼梦》中的性别困惑（特别是涉及到宝玉的）象征着宝玉拒绝进入粗鲁的、堕落的官场世界。宝玉偏爱女性在其早年生活中表现得十分显著。比如，宝玉满周岁的那天，由他挑选摆在他面前的一排物品，以此看出他的未来走向。令人意外的是，他全然不顾那些鱼男性仕途经济有关的物品，相反，选择了一些胭脂、粉饼盒、发饰品和手镯。《红楼梦》自始至终都在描写宝玉的女性倾向。老祖宗贾母说宝玉本该是个女孩，事实上在《红楼梦》的开头，她也的确误以为宝玉生来是个女儿身；滑稽的农村远亲刘姥姥误以为黛玉的房间应该是一位年轻绅士的房间，把宝玉的房间也视为一位年轻女性的房间；麝月把宝玉的声音听成了宝钗；宝玉和擅唱小旦的蒋玉菡（琪官）被视为孪生兄弟；大夫初次被传入贾府中也把宝玉的房间误以为是女性的闺房。湘云着装像宝玉，贾母无法区别他俩。蒋玉菡按照宝玉的要求，穿得也像个男生，还剪了头发。宝玉尚未进入一个外部的、男性的、成年的世界，在那，性别特征是很明显的；他居住的那个偶尔雌雄同体的世界强调了这一点。

大观园里所有的姑娘都会结婚，并且会在大观园里留下一丝犹豫和潜在的性欲。大观园是个天真无邪的地方，但仍有一丝尚未解决的性欲的味道盘旋在大观园的上空。大观园的纯真是短暂的，随着小说情节的发展，一个刺着女性胴体的香囊被发现，大观园开始进行大搜查、大整治。搜查的结果并没有发现更多露骨、色情的荷包，但却 涉及到一桩牵涉到女仆象棋的风流韵事。性丑闻及其凶兆成为粗俗的成人世界冲击大观园田园诗班的生活的途径之一。

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