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（天津科技大学外国语学院，天津300222）孙丙堂，付欣桐赛珍珠眼中的“现代中国”——从《我所知道的中国》谈起［收稿日期］2019-05-20［作者简介］孙丙堂（1965—），男，河北固安人，天津科技大学外国语学院教授，硕士生导师，研究方向：英语文学批评，应用语言学；付欣桐（1994—），女，满族，吉林松原人，天津科技大学外国语学院2017级硕士研究生，研究方向：英语语言文学。
[摘要]美国著名作家赛珍珠毕生致力于中国题材的跨文化书写，被尼克松总统誉为“沟通东、西方文明的人桥”。
文章以赛珍珠的演讲集《我所知道的中国》（China As I See It ）为研究文本，从“现代中国”的社会变革和文化决策两个方面阐释在特定历史文化语境下赛珍珠对“现代中国”的看法。
赛珍珠怀有世界主义精神，她指出“现代中国”激进的社会变革造成文化断层，武断的文化决策源于文化自卑心理，表明“现代中国”应该走“外化内不化”的道路，同时充分发扬传统文化的包容性。
研究赛氏对“现代中国”的思考对当今中国的传统文化复兴也有着重要意义。
[关键词]赛珍珠；“现代中国”；社会变革；文化决策；意义[中图分类号]I106.6[文献标识码]A[文章编号]2096-2991（2019）05-0072-07doi ：10.3969/j.issn.2096-2991.2019.05.009第5期2019年9月吉林师范大学学报（人文社会科学版）Journal of Jilin Normal University （Humanities &Social Science Edition ）No.5Sep.2019赛珍珠，原名珀尔·赛登斯特里克·巴克（Pearl Sydenstricker Buck ，1892-1973），在襁褓中随同传教士父母来到中国，并在中国文化的土壤里度过四十载春秋。
她是一位杰出的美国作家，一生笔耕不辍，著作等身，作品体裁多样。
龙源期刊网 赛珍珠与《水浒传》作者：来源：《作文周刊(中考版)》2014年第29期着迷赛珍珠在童年时就迷上了中国名著《水浒传》。
因为这本描绘农民起义的史诗般的作品写到了她的中国故乡镇江。
稍稍大些，赛珍珠也爱听评书了，登云山寓所附近打谷场的“说淮书”吸引了赛珍珠。
淮书也叫“淮海锣鼓”，演出时由演员自击锣鼓说唱，曲目有长篇和短篇两类，长篇如《水浒传》《封神演义》，短篇如《十二月花风》等，偶尔说书人也编写说唱社会生活中的故事。
赛珍珠经常下山跑到不远处的山巷书场去听书，有时没有座位，她倚在板壁上也能听一个时辰，常常忘了回家吃饭。
翻译赛珍珠于1927年到1932年历时4年多完成了《水浒传》71回（将原71回本第一回“张天师祈禳瘟疫洪太尉误走妖魔”改为引首）的英文全译本。
书名应叫什么？赛珍珠选取了《论语》中的一句名言“四海之内，皆兄弟也”，将其译成“All Men Are Brothers”，把108位绿林好汉的侠义精神凸显出来。
她后来在序言中说“这个题目无论从广度上还是从含义上，都表达了这帮正义强盗的精神”。
畅销赛珍珠译本在美国很是畅销，从中国杀将过去的这批“梁山好汉”，一下子就登上了美国权威的“每月图书俱乐部”的排行榜。
甚至有西方读者将施耐庵比作中国的荷马，他们说“想不到中国也有《伊利亚特》《奥德赛》那样的作品”。
《水浒传》迄今已有多种英文译本，但比较起来，仍属赛氏译本最具影响力。
在中国四大名著的欧美译本当中，发行量最大的还是美国作家赛珍珠当年翻译的《四海之内皆兄弟》。
[注]赛珍珠（Pearl S. Bu-ck，1892年6月26日-1973年3月6日），直译珀尔·巴克，美国作家。
1932年凭借小说《大地》，获得普利策小说奖，并在1938年以此获得美国历史上第二个诺贝尔文学奖。
她是唯一一个同时获得普利策奖和诺贝尔文学奖的女作家，也是目前作品流传语种最多的美国作家。
2003年5月第19卷 第3期四川外语学院学报Journal of S ichuan International S tudies UniversityMay,2003V ol119 N o.3为赛珍珠的“误译”正名马红军(河北大学外国语学院,河北保定 071002)提 要:美国女作家赛珍珠一生致力于将中国文化介绍到西方,也因此被誉为“沟通中西方文化的人桥”。
尽管她的英译作品《水浒传》在西方享有很高声誉,在我国翻译界却一直饱受非议;这在很大程度上源于译作中一个莫须有的“误译”。
因此有必要介绍赛氏英译《水浒传》的翻译目的、翻译风格及过程,评述“误译”的发现及其传播经过,并对“误译”说加以澄清。
关键词:赛珍珠;《水浒传》;误译中图分类号:H08513 文献标识码:A 文章编号:1003-3831(2003)03-0122-05I n defense of Pearl S.Buck’s“mistranslation”MA Hong2junAbstract:Pearl S.Buck,who dev oted herself to bringing Chinese culture to the Western w orld,has been reputed as“the human bridge that connects the Chinese and Western cultures”.Her English translation of Shuihuzhuan(All Men Are Brother s),though highly praised in the West,has always met with challenges from the Chinese translation critics.T o a great extent,this was resulted from an assumed“mistranslation”in her w ork.This paper,by tracing Mrs.Buck’s translation purpose,style,procedures,the discovery and spread of her“mistranslation,”aims to clarify the issue of the assumed“mistranslation.”K ey w ords:Pearl S.Buck;All Men Are Brother s;mistranslation 赛珍珠(1892～1973)因其“对中国农民生活史诗般的描述,这描述是真实而取材丰富的,以及她传记方面的杰作”而荣获1938年诺贝尔文学奖。
赛珍珠大地读后感的英语Pearl S. Buck's "The Good Earth" is a captivating and thought-provoking novel that delves into the intricate tapestry of human life, exploring the profound connections between individuals, their land, and the ever-changing tides of societal transformation. As I immersed myself in this literary masterpiece, I was struck by the author's remarkable ability to weave a narrative that not only entertains but also challenges the reader to confront the complexities of the human experience.The story follows the life of Wang Lung, a humble Chinese farmer, as he navigates the turbulent waters of his existence. From his humble beginnings, toiling the land with unwavering determination, to the unexpected twists and turns that reshape his destiny, Wang Lung's journey becomes a microcosm of the broader societal changes that were sweeping through China during the early 20th century.One of the most striking aspects of "The Good Earth" is the way in which Pearl S. Buck seamlessly intertwines the personal and the political. The novel's central protagonist, Wang Lung, is not merely a character but a reflection of the larger societal forces that were shaping the country. His struggles, triumphs, and the choices hemakes are not merely individual, but rather emblematic of the broader challenges faced by the Chinese people during a time of profound upheaval.As I read, I was captivated by the author's ability to capture the essence of the human condition, transcending the boundaries of culture and time. The universal themes of love, loss, greed, and the pursuit of a better life resonate powerfully, reminding us of the shared experiences that bind us together as a global community.One of the most poignant aspects of "The Good Earth" is the way in which it explores the relationship between the individual and the land. The land, personified as a living, breathing entity, becomes a character in its own right, shaping the lives of those who toil upon it. The novel's depiction of the cyclical nature of life, the ebb and flowof prosperity and hardship, and the deep-rooted connection between the land and the people who inhabit it, is both beautiful and profoundly meaningful.Throughout the narrative, Pearl S. Buck masterfully weaves in the complexities of family dynamics, the clash of tradition and modernity, and the ever-present specter of social upheaval. The characters, richly drawn and multifaceted, become vessels through which the author explores the broader societal changes that were transforming China at the time.As I turned the final pages of "The Good Earth," I was left with a profound sense of admiration for the author's ability to craft a story that is both timeless and deeply relevant. The novel's enduring relevance is a testament to the power of literature to transcend the boundaries of time and place, and to offer us a window into the human experience in all its complexity.In conclusion, "The Good Earth" is a masterful work of literature that deserves its place among the great classics of our time. Through its captivating narrative, its rich character development, and its profound exploration of the human condition, the novel invites us to reflect on our own place in the world, and to consider the ways in which our individual stories are inextricably linked to the larger tapestry of human history.。
赛珍珠：贫瘠的春天（一）本篇是美国作家赛珍珠的名篇，文章对中国底层农民生活的描写深刻而细致。
作为教本的第一篇，赛珍珠振聋发聩，担起激发知识青年救国强民信念的重任。
在文章中，洪水过后的饥荒让农民老刘陷入无尽的绝望，为了让一家人能活下来，在吃光了所有的粮食之后，他们吃掉了用来播种的种子，杀掉了耕地的水牛，甚至劈掉了犁来煮熟牛肉。
即便如此，老刘还是失去了自己的老母亲，老父亲，小女儿和一个羸弱的儿子。
赛珍珠用洗练的笔触描写代表性的事件与细节，描写最终的画面，寥寥数语，将凄惨、无奈的痛楚铺陈在我们面前，引起了读者的共鸣。
她不做评论，但我们处处能感受到悲悯。
如果没有对生活的深入了解，没有一颗满怀同情的心，是不可能达到如此境界的。
作者简介赛珍珠（Pearl S. Buck，1892年6月26日－1973年3月6日），美国作家、人权和女权活动家。
出生4个月后即被身为传教士的父母带到中国，赛珍珠在中国生活了近40年。
1932年凭借其描写中国农民生活的长篇小说《大地》获得普利策小说奖，并在1938年以此获得诺贝尔文学奖。
她也是唯一一个同时获得普利策奖和诺贝尔奖的女作家，是目前作品流传语种最多的美国作家。
英文原文Barren Spring Part 1Liu, the farmer, sat at the door of his one-room house. It was a warm evening in late February,and in his thin body he felt the coming of spring. How he knew that the time had now come when sap should stir in trees and life begin to move in the soil he could not have told himself. In other years it would have been easy enough. He could have pointed to the willow trees about the house, and shown the swelling buds. But there were no more trees now. He had cut them off during the bitter winter when they were starving for food and he had sold them one by one. Or he might have pointed to the pink-tipped buds of his three peach trees and his six apricot trees that his father had planted in his day so that now, being at the height of their time, they bore a load of fruit every year. But these trees were also gone. Most of all, in any other year than this he might have pointed to his wheat fields, where he planted wheat in the winter when the land was not needed for rice, and where, when spring was moving into summer, he planted the good rice, for rice was his chief crop. But the land told nothing, this year. There was no wheat on it, for the flood had covered it long after wheat should have been planted, and it lay there cracked and like clay but newly dried.赛珍珠：贫瘠的春天（二）⽼刘把三株桃树和六棵杏树都砍了卖了，吃光了所有的粮食之后留下的仍是无尽的绝望，他接下来会怎么做呢？老刘一家的命运又会怎样呢？英文原文Barren Spring Part 2Well, on such a day as this, if he had his buffalo and his plow as he had always had in other years, he would have gone out and plowed up that cracked soil. He ached to plow it up and make it look like a field again, yes, even though he had not so much as one seed to put in it. But he had no buffalo. If anyone had told him that he would eat his own water buffalo that plowed the good land for him, and year after year pulled the stone roller over the grain andthreshed it at harvest he would have called that man idiot. Yet it was what he had done. He had eaten his own water buffalo, he and his wife and his parents and his four children, they had all eaten the buffalo together.But what else could they do on that dark winter's day when the last of their store of grain was gone, when the trees were cut and sold, when he had sold everything, even the little they had saved from the flood, and there was nothing left except the rafters of the house they had and the garments they wore? Was there sense in stripping the coat off one's back to feed one's belly? Besides, the beast was starving also, since the water had covered even the grass lands, and they had had to go far afield to gather even enough to cook its bones and flesh. On that day when he had seen the faces of his old parents set as though dead, on that day when he had heard the crying of his children and seen his little daughter dying, such a despair had seized him as made him like a man without his reason, so that he had gathered together his feeble strength and he had done what he said he never would; he had taken the kitchen knife and gone out and killed his own beast. When he did it, even in his despair, he groaned, for it was as though he killed his own brother. To him it was the last sacrifice.赛珍珠：贫瘠的春天（三）老刘一家都在挨饿，但是已经没什么能卖，甚至没什么能杀掉吃的了。
One of the most popular American authors of her day, humanitarian, crusader for women's rights, editor of Asia magazine, philanthropist, noted for her novels of life in China. Pearl S. Buck was awarded the Nobel Prize for Literature in 1938. The decision of the Swedish Academy stirred controversy, especially among critics who believed that Buck lacked the stature the Nobel Prize was intended to confirm. Nowadays Buck's books are generally considered dated although attempts have been made to rehabilitate her work."One does not live half a life in Asia without return. When it would be I did not know, nor even where it would be, or to what cause. In our changing world nothing changes more than geography. The friendly country of China, the home of my childhood and youth, is for the time being forbidden country. I refuse to call it enemy country. The people in my memory are too kind and the land too beautiful." (from A Bridge for Passing, 1963)Pearl S. Buck was born in Hillsboro, West Virginia. She spent her youth in China, in Chinkiang on the Yangtse River. She learned to speak Chinese before she could speak English. Her parents were missionaries. Buck's father, Absalom Sydenstricker, was a humorless, scholarly man who spent years translating the Bible from Greek to Chinese. Her mother, the former Caroline Stulting, had travelled widely in her youth and had a fondness for literature. Buck's life in China was not always pleasant. When she was only a child, the family was forced to flee from the rebel forces of the Boxer Rebellion.After being educated by her mother and by a Chinese tutor, who was a Confucian scholar, Buck was sent to a boarding school in Shanghai (1907-09) at the age of fifteen. She also worked for the Door of Hope, a shelter for Chinese slave girls and prostitutes. Buck continued her education in the United States at Randolph-Macon Woman's College in Virginia, where she studied psychology. After graduating in 1914, she returned to China as a teacher for the Presbyterian Board of Missions. Her mother was seriouslyill and Buck spent two years taking care of her.Buck married Dr. John Lossing Buck, an agricultural expert, devoted to his work. When her mother recovered, they settled in a village in the North China. Buck worked as a teacher and interpreter for her husband and travelled through the countryside. During this period China took steps toward liberal reform, especially through the May 4th Movement of 1917 to 1921. In the 1920s the Bucks moved to Nanking, where she taught English and American literature at the university. In 1924 she returned to the United States to seek medical care for her first daughter, who was mentally retarded. In 1926 she received her M.A. in literature from Cornell University.The Bucks went back to China in 1927. During the civil war, they were evacuated to Japan – Buck never returned to China. In 1935 Buck divorced her first husband and married her publisher and the president of John Day Company, Richard Walsh, with whom she moved to Pennsylvania.As a writer Buck started with the novel EAST WIND: WEST WIND (1930), which received critical recognition. She had earlier published autobiographical writings in magazines and a story entitled 'A Chinese Woman Speaks' in the Asia Magazine. Her breakthrough novel, THE GOOD EARTH, appeared in 1931. Its style, a combination of biblical prose and the Chinese narrative saga, increased the dignity of its characters. The book gained a wide audience, and was made into a motion picture.In 1936 Buck was made a member of the National Institute of Arts and Letters. She became in 1938 the third American to win the Nobel Prize in Literature, following Sinclair Lewis and Eugene O'Neill. In 1951 she was elected to the American Academy of Arts and Letters. During World War II she lectured and wrote on democracy and American attitudes toward Asia.It has been said, that Buck introduced the theme of women's corporality into 20th century literature. Another major theme was interracial love. Through her personal experiences, Buck had much first-hand knowledge of the relationships between men and women from differentcultures. In THE HIDDEN FLOWER (1952) a Japanese family is overset when the daughter falls in love with an American soldier. THE ANGRY WIFE (1949) was about the love of Bettina, a former slave, and Tom, a southerner who fought for the army of the North.Buck and Walsh were active in humanitarian causes through the East and West Association, which was devoted to mutual understanding between the peoples of Asia and the United States, Welcome House, and The Pearl Buck Foundation. A friend of Eleanor Roosevelt, Margaret Mead, and Paul Robeson, she also advocated the rights of women and racial equality before the civil rights movement. As a consequence of these activities, the F.B.I. kept detailed files on her for years.After the communist revolution in China, Buck became disillusioned about the chances for international cooperation. THE PATRIOT (1939) focused on the emotional development of an university student, whose idealism is crushed by the brutalities of war. Buck gradually shifted her activities to a lifelong concern for children. She coined the word ''Amerasian'' and raised millions of dollars for the adoption and fostering of Amerasian children, often abandoned by their American fathers stationed in the Far East. Buck's own family included nine adopted children as well as her biological daughters. THE CHILD WHO NEVER GREW (1950) told a personal story of her own daughter, whose mental development stopped at the age of four. The subject is also dealt with in Buck's famous novel The Good Earth. The book was filmed in 1937. Irving Thalberg had wanted to produce the novel since the 1931 publication. Thalberg employed many Chinese as extras and authentic background shots were made in China. Luise Rainer won an Academy Award for best actress. Buck did not first complain her small royalty, until years later, when MGM ignored her plea for a substantial donation to help Amerasian children.The Good Earth(1931) sold 1,800,000 copies in its first year. It has been translated into more than thirty languages and was awarded the Pulitzer Prize for fiction in 1932. The story follows the life of Wang Lung, from his beginnings as an impoverished peasant to his eventualposition as a prosperous landowner. Wang Lung collects a slave, O-lan, from the prosperous house of Hwang. O-lan's parents sold her to Hwang because they were poor and needed money. According to an old Chinese custom, Wang Lung's and O-lan's marriage is pre-arranged. The fiancée is not beautiful, she is humble but shares with him the devotion to land, to duty, and to survival. First year is happy: the crop is good and they have two sons. Then the crops fail, and O-lan gives birth to a girl. The family moves to south, and the man abandons the plan to sell the child. Revolution breaks out, houses are plundered, and Wang Lung gets in his possession a silver treasure. The family returns to their home region. Wang Lung buys land and soon owns also the house of now impoverished Hwang. The only problem is their retarded child, a girl, who don't speak. O-lan gives birth to twins, a boy and a girl. The elder boys go to school. Wang Lung buys another wife, Lotus. O-lan is not well after the birth of the twins, and she dies after the wedding of her sons. In his old days, Wang Lung gives his love to a young slave girl, who also takes care of the retarded girl. His youngest son moves from the house to become a soldier and because he also loves the young slave girl. Old Wang Lung witnesses for his sorrow that his children do not share his unyielding devotion to the land. - The novel was followed by two sequels, SONS (1932), which focused on the youngest son, Wang the Tiger, and A HOUSE DIVIDED (1935), which was Yuan's story. The three novels were published in 1935 in one volume as THE HOUSE OF EARTH. At her death Buck was working on 'The Red Earth', a further sequel to The Good Earth, presenting the modern-day descendants of that novel's characters.After Walsh's death, Buck formed a relationship with Ted Harris, a dance instructor 40 years her junior, who took charge of the Pearl S. Buck Foundation. Buck died at the age of eighty in Danby, Vermont, on March 6, 1973. Her manuscripts and papers are at the Pearl S. Buck Birthplace Foundation, Hillsboro, West Virginia and the Lipscomb Library of Randolph-Macon Women's College, Lynchburg, Virginia."I feel no need for any other faith than my faith in human beings, Buck said in 1939. "Like Confucius of old, I am so absorbed in the wonder of earth and the life upon it thatI cannot think of heaven and the angels... If there is no other life, then this one has been enough to make it worth being born, myself a human being." During her career as an author, spanning forty years, Buck published eighty works, including novels, plays, short story collections, poems, children's books, and biographies. She also wrote five novels under the name John Sedges and translated Lo Guangzhong's (1330-1400) The Water Margin / Men of the Marshes, which appeared in 1933 under the title All Men Are Brothers. The book depicts adventures of outlaws and was banned by Sung rulers. COMMAND THE MORNING (1959) concerned the efforts of the Manhattan Project to develop the atomic bomb and the ethics of dropping it on Japan. THE CHINESE NOVEL (1939) was largely an explanation of her own writing style.For further reading:Pearl S. Buck by Kang Liao (1997); Pearl S. Buck: A Cultural Biography by Peter Conn (1996); World Authors 1900-1950, ed. by M. Seymour-Smith and A.C. Kimmens (1996); The Several Worlds of Pearl S. Buck, ed. by Elizabeth J. Lipscomb (1994); Pearl S. Buck: Good Earth Mother by W. Sherk (1992); Pearl Buck. A Woman in Conflict by N.B. Stirling (1989); Pearl S. Buck: The Final Chapter by Beverly E. Rizzon (1988); The Lives of Pearl Buck by I. Block (1973); Pearl S. Buck by P. Doyle (1980; Pearl S. Buck: A Biography by T. Harris (1971); Pearl S. Buck by T.F. Harris (1969); Pearl S. Buck by P.A. Doyle (1965); The Image of the Chinese Family in Pearl Buck's Novels by C. Doan (1964) - Other film adaptations: China Sky, 1945, dir. by Ray Enright, starring Randolph Scott, Ellen Drew。
