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1、英文文献资料（要求达到2000字）Beginnings and Departures:the dream of the red chamberYao Huashi（Wake Forest University）Abstract: Chapter One of the Dream of the Red Chamber (Honglou meng)consists of a series of beginnings or “false starts” as one critic has characterized them. The first of three narrative episode
2、s which make up the prologue casts the protagonists mythic origin in the primordial past. Key words: the beginning, innovation ,vestige of traditionA brief summary of the familiar story runs as follows. In order to repair a leaky sky, the goddess Nwa moulds 36, 501 five-colored rocks. In the end she
3、 finds use for only 36,500 of them. Having become sentient and quasianthropomorphic, the supernumerary rock is despondent over his rejection. One day, while lamenting his misfortune, Stone sees a Buddhist monk and a Daoist prelate approaching and overhears them reminiscing about the prosperity of th
4、e sublunary world. Stone is sorely tempted to partake in the sensual pleasures that the two have described so vividly and begs them to help him descend to earth. Having unwittingly enticed Stone, the Buddhist and the Daoist now try to warn him of the transient and illusory nature of earthly pleasure
5、s. Their words, however, fall on deaf ears. Stone is determined to seek his fulfillment on earth. The subsequent narrative, or the novel proper, is thus literally consequent upon Stones fateful departure from the ethereal world.An immense time span separates the first episode from the next. Eons hav
6、e passed before a Daoist named Vanitas chances upon Stone, who has since returned to the ethereal world. Or rather, the Daoist finds a rock bearing an inscription of Stones earthly sojourn; hence the original title of the novel, the Story of the Stone.5 After perusing it, the Daoist acknowledges to
7、Stone, author of the inscribed tale, that it indeed has some interest, but he maintains that it is also seriously flawed. Despite his initial reservations, Vanitas agrees to transcribe the narrative. This episode, which contains a lengthy debate between Stone and the Daoist on the tales literary mer
8、its or lack thereof, is an important point of departure from what Stone describes as an exhausted narrative tradition. As such, this section will feature prominently in the subsequent discussion. The third and final episode of the prologue introduces a set of new characters including the penurious s
9、cholar Jia Yucun, who serves an ingenious narrative link between the mundane and the ethereal world.Vestige of Tradition or Sign of InnovationDespite its exceedingly complex nature, scholars are curiously indifferent to the beginning of the Dream of the Red Chamber. Instead, they are fixated on the
10、missing part the ending of the novel, looking for clues and hints in every conceivable place. A review of the scholarly and critical literature on the novel reveals few studies of the novels extraordinary beginning. In a way, that is only to be expected. The prospect of “ completing” the novel in so
11、me way, or even figuring out its overall design is too tantalizing a challenge to resist.6 From time to time new theories put forward, some more plausible than others. Granted, to the extent that the significance of a narrative rests on its ending, the task of evaluating the novel is made more diffi
12、cult without its conclusion.The absence of critical attention to the beginning of the novel can also be attributed to other factors, some of them ideological. Critics in mainland China dismiss the mythic elements of the Dream of the Red Chamber as dregs of a “ feudal” belief system, choosing to emph
13、asize realistic elements instead.Expatriate scholars such as Zhao Gang hold that the allegorical elements in the Dream of the Red Chamber result from the influence of its commentator Zhiyan Zhai.8 Still others, Yu Pingbo and Wu Shichang among them, dismiss the mythic framework on textual grounds, se
14、eing it as a spurious interpolation by Gao E, editor of the first printed version of the novel.9 Lumping together the supernatural elements in the novel, Wu Shichang writes,These stories are obviously too superstitious to be convincing. They are hardly relevant to the central theme of the novel or t
15、o other stories. Even if they are well written, so many of them must be boring to any reader; and the great space they occupy in the last forty chapters does little justice to the novel or to its reader. They look like grotesque buildings artificially scattered on one-third of a well-designed garden
16、, neither serving any useful purpose or adding any pleasant sight for the visitor.10 Other critics regard the beginning of the novel as a product of literary inertia. In his preface to Chi-chen Wangs English translation of the Dream of the Red Chamber, the venerable sinologist Arthur Waley comments
17、on its framework within the historical context of the Chinese narrative tradition. Waley begins by noting the historical hierarchy governing Chinese literature or written texts in which the Confucian canon was ensconced at the top while fiction was relegated to the bottom. Therefore, to ensure a mea
18、sure of respectability, the author of the vernacular narrative superimposed a didactic framework on his work. Waley writes, “Even the most licentious of Chinese novelists did indeed make some show of pointing a moral, but the pretense is usually carried out in such a way as to irritate those who rea
19、d for pleasure without appeasing those who read for improvement.” Despite its overall break from convention, Waley sees the Dream of the Red Chamber as tradition-bound in two important respects, namely, in its didactic framework and its oral mode of narration. Unlike its predecessors, the Dream of t
20、he Red Chamber does not recycle historical materials, but it nevertheless shares certain characteristics with them:“It has their inordinate length their lack of faith in the interestingness of the everyday world, leading to the conviction that a realistic story must necessarily be set in a supernatu
21、ral framework. It has the storytellers tendency to put far more art into the technique of the individual sance or chapter, than into the construction of the work as a whole. It has the same moralizing tendency; for as I have said, Chinese fiction is always on the defensive is always, with an eye on
22、official Puritanism, trying to prove that, like serious and approved literature, it has a “message.”According to Waley, what makes the Dream of the Red Chamber such a milestone in Chinese literature is its realism. Waley asserts that all realistic novels are autobiographical. Following Hu Shis lead,
23、 Waley asserts that Cao Xueqins innovation lies in modeling his characters upon himself and his family. Indeed, only by using a “ rigid framework imposed by tradition” is Cao able to prevent himself from committing “ the error of transcribing with too careful a fidelity the monotonies of actual life
24、.”To Waley, then, the beginning is paradoxically a shortcoming as well as an asset. However, the novels debt to tradition appears rather modest if one examines the Honglou meng carefully. The Dream of the Red Chamber departs from convention at the very outset in conspicuously lacking the customary p
25、refatory poem and its attendant prose commentary.14 Even such a full-fledged literary work as The Scholars preserves the entire traditional opening sequence. However, the oral residues in the Dream of the Red Chamber are minimal. They are confined to the retention of the traditional framework and so
26、me terminology from oral storytelling. However, as I intend to argue, the framework is put to such a radically different purpose that it is no longer a simple throwback to the huaben tradition.英文文献中文翻译（要求达到2000字） 来源：维克森林大学新西兰杂志亚洲研究七作者：姚华士（维克森林大学）出版社：YILI PEOPLES PRESS出版时间：2005年6月由石头离开引发的开端论红楼梦的叙事结构的
27、起源艺术姚华士（维克森林大学）摘要：红楼梦第一章由一系列开端，或者说“假托”组成，就像一个评论家在表述。前三段的故事情节，为主角虚构了远古时期他的神奇的来源。下面探讨一下这个让人疑惑的小说开头。关键词：开端，传统延续，革新为了修补有漏洞的苍天，天神女娲铸造了36501块5色岩石。最后，她只使用了其中的36500块。由于石头已经具有灵性，它对于自己被遗弃感到非常沮丧。一天，当石头对自己的不幸哀叹不已，它看到一个和尚和道士走过来，并无意中听到他们回忆起红尘的荣华富贵。石头被这两个人生动描绘的俗世浮华景象所深深吸引，它急切地想体验一下其中的乐趣，于是它请求他们将它也带到人世。因无意中引诱了石头去凡间
28、走一遭的欲望，和尚和道士试图警告他俗世的繁华是短暂和虚幻的。但石头一心只想着要去人世体验一番，他们的话就如随风过隙。接下来的故事，恰当地说，是整本小说，就是石头离开天上后发生的事情。 第一个情节与以后的故事相差的时间跨度很大。当空空道人遇见已回到天上的石头时，已经过去很多时代了。更确切地说，道士看到了石头背后刻着文字才辨认出了这块就是曾经由他携带入尘世的顽石，因为这些文字详细地讲述了石头在尘世的际遇。因此，小说原来的书名是石头记。细读之后，道士认为写下故事的作者，石头以及石头上的故事确实有些趣味，但他同时认为，它也有大的缺陷和不足。尽管如此，空空道人还是同意抄录这个故事。这个情节，转录了石头和
29、道士之间对这个故事的文学价值和不足之处的长篇讨论，将一块身心俱疲的石头作为故事的出发点而形成的重要的叙事传统。有鉴于此，本节在随后的讨论中将着重这一部分。在序言第三部分也就是是最后一个情节中，一系列人物被牵引出来，其中包括穷困的文人贾雨村。通过他，人世和天上的故事巧妙地被链接起来。传统的延续，创新的标志尽管开头很复杂，学者们却难以置信地忽略了红楼梦的开头。相反，他们关注小说的缺失部分，即结尾，期望从可能的地方找到线索和提示。回顾一下研究红楼梦的研究文献，我们可以看到，研究其与众不同开头的文献很少。在某种意义上说，这是我们可以预料的。在某种程度上对于“完成”小说来说，人们情不自禁地想要找出它的整
30、体设计的前景。随着研究的不断发展新的理论不断提出，有一些看起来似乎比以前的更有说服力。诚然，故事的意义在一定程度上取决于它的结尾。如果没有结尾，对小说的评价将变得更困难。 缺乏对小说开头的必要关注还有一些其它的因素，其中不乏意识形态的原因。中国大陆的评论家将红楼梦中的神话作为封建意识形态的糟粕而将其剔除，转而侧重其中的现实基础。移居国外的学者，譬如赵钢则认为红楼梦中的寓言来源于它的评论者脂砚斋对其批注的影响。然而，研究者中的俞平伯和吴石昌，在原本中去掉了神化类的框架，他们把这些看作是被小说的第一版编者高鹗篡改的。吴石川提到这些故事明显过于迷信，不能相信。它们与小说的中心思想和其他故事几乎没有关
31、系。即使这些故事写得很好，但太过于繁杂，任何一个读者都会厌烦；在最后四十章中，它们占据大量的篇幅，这对小说本身和读者阅读来说，都是极其不合理的。它们看起来像分散在一座精致花园的三分之一处奇怪的人工建筑，既不是为了实用的目的，也不能令游者更悦目。其他一些评论家则将小说的开头看作作品的文学因袭。老汉学家阿瑟瓦利在王持成翻译的红楼梦英文版中评论说该小说把它的框架和中国的叙事传统联系在一起。瓦利首先注意到，控制中国文学和书面语言的历史上的等级。在这种等级中，儒家教义排在最上面，而小说则最底下。因此，为了能够获得更多的尊敬，作者在他作品的白话叙事中添加一些说教的框架。瓦利写道，“即使是最不羁的中国小说家
32、，也会写一些道德的说教，但作者以不为满足进取而读书的人而为满足因休闲而读书的人为幌子。”虽然从总体而言，红楼梦突破了传统，但瓦利将它看作传统的两个方面，即它的说教框架和叙述的口语化。跟以前的作品不同，红楼梦没有重复利用的历史资料，但它仍然具有同它们相同的某些特征： 这部作品过于冗长描述的是作品角色缺乏信仰，在趣味性的日常生活世界中产生种种信念，即现实的故事都必须设定在一个超自然的框架。它有说书人的倾向，把更多的艺术融入设置独特的场景和独立的章节的语言组织技巧当中，而构建成一个具有统一性的整体；它具有相同的道德说教的倾向，正如我刚才所说，中国的小说总是在防守方面总是在官方的清教上尝试证明像这样严
33、肃但经核准文学，它带有一些让人遵守时代规则的“信息”。 根据瓦利的观点，使红楼梦成为中国文学一个里程碑最主要是它的现实主义因素。瓦利称，所有现实主义小说都是自传性的。在借鉴胡适关于曹雪芹的考证说瓦利提出曹雪芹的创新来源于他自己和他的家庭，据此他高于现实，站在文学的高度拟写故事情节和塑造人物形象。事实上，曹雪芹只有用“因袭传统的硬性框架”才能避免犯下小心翼翼地转录现实的枯燥生活的错误。瓦利对于故事的开头有个似非而是的评价是开头是缺陷，也是好的。不过，如果谁仔细看过红楼梦，那么应该不难发现该小说对传统的背离还是比较适中的。红楼梦每章开头缺少序诗，结尾缺少散文评论，这明显地与以往的传统相异。即使这样一个完全成熟的文学作品还只是刚刚拉开了整个传统故事框架的开放的序幕，我们可以看到，红楼梦中的口头语微乎其微。他们只限于保留传统框架和一些口头故事的术语。不过，正如我想说的，该框架提出了这样一个根本不同的目的，即它不再是话本传统的倒退。