Yes The Enigmatic Molly Bloom: Reading and Translating Joycean Autonomous Monologue

閱讀與翻譯摩莉的自主獨白

10.29912/CTR.201709_10(2).0005

鄭永康(Carlos G. Tee)

Ulysses ； Penelope ； James Joyce ； Xiao Qian & Wen Jieruo ； Jin Di ； 《尤利西斯》 ； 〈潘娜洛普〉 ； 喬伊斯 ； 蕭乾與文潔若 ； 金隄

編譯論叢

10卷2期（2017 / 09 / 01）

153 - 188

英文

This paper focuses on the autonomous monologue technique in the last episode of Ulysses, ＂Penelope,＂ and how it affects reading and translation. After getting acquainted with psycho-narration, narrated monologue and quoted monologue, as well as their various combinations in many of the preceding chapters of Ulysses, a reader faces a totally different perspective and format in this very last episode. ＂Penelope＂ is the only instance in the novel where the authorial voice is totally obliterated by the figural voice all throughout the episode. There is absolutely no sign of an omniscient storyteller's presence nor are there echoes of an overt narrative voice. Autonomous monologue is the most extreme form of stream of consciousness and the purest. In this episode, Molly tells her story by drawing from her memories of the past and her present circumstances, and her flights of fancy often touch on unexplained allusions to circumstances and details from the other Ulysses episodes. This makes reading ＂Penelope＂ all the more challenging, and when thought-representational aspects related to autonomous monologue, as well as the absence of punctuation, exacerbate the difficulty of interpreting Molly's mental excursions, the obstacles to a clear, unequivocal reading are multiplied. Reading virtually overlaps with decoding in the translation process, including the process of translation of this episode by the two teams of Chinese translators who adopted different translation strategies. The first part of this paper discusses the various expressive, textual and stylistic aspects of ＂Penelope＂- which contribute to the difficulty of reading the text-as a prelude to the study of how the two Chinese translators interpreted ＂Penelope＂-including the hurdles they had to overcome and the limitations of the translation strategies they adopted.

本文研究重點為《尤利西斯》的最後一篇，即〈潘娜洛普〉。喬伊斯在這一篇選擇了最極端且最純正的意識流表現模式，讓主要人物摩莉生動敘述她的回憶和當下聯想到的豐富思緒。不同於《尤利西斯》前17篇，摩莉的自主獨白模式（autonomous monologue）獨當一面擔任故事的敘述工具。正因為未經過心理敘述（psycho-narration）穿針引線，摩莉的自言自語和天馬行空般回憶帶給了讀者諸多閱讀上的挑戰，再加上整篇故事省略了標點符號，使閱讀極為不流暢。此篇文本語言層次雖然大致上比其他篇章較為淺易，卻因獨白句子支離破碎且摩莉漂浮不定的敘述內容並無一致的主體脈絡可循，讀者往往很難跟得上敘述者的思路轉變，且得以斷斷續續、前瞻後顧地模索出無標點符號散碎句子的頭尾。文中以〈潘娜洛普〉文本片段為例，詳細分析喬伊斯如何靈活應用自主獨白模式來展現摩莉的內心世界。透過比較兩中譯本，本文更進一步探討蕭乾與文潔若，以及金隄這兩組譯者如何詮釋喬伊斯的原文，進而分析摩莉的自主獨白如何影響閱讀難度。

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