转自 霸权棱镜 2026年10月23日
听见张爱玲：1969，哈佛那场关于「翻译即权力」的演讲
▶听原声｜哈佛施莱辛格图书馆馆藏录音（约 73 分钟）录音于 2025 年由哈佛大学拉德克利夫研究院施莱辛格图书馆数字化，2026 年 10 月随柴静节目在中文互联网走红。音频以张爱玲丈夫赖雅的姓氏「Reyher」著录，馆藏号 RA.T-106_nd_Reyher。发掘过程见柴静《张爱玲录音如何发掘？》：
https://chaijing.substack.com/p/767
录音直链：https://mps.lib.harvard.edu/sds/audio/503996508
【编者按】1969 年，冷战正酣，中西之间几乎断绝往来。张爱玲在哈佛讲「翻译如何成为文化影响的媒介」——在她眼里，翻译从来不是中立的语言搬运：谁被译进来、谁被译出去、谁被改写、谁被「归化」，每一步都是权力的选择。一篇演讲，半部近代中西文化角力史。当「文化影响力」被一个在两种语言间辗转的写作者说出来，它本身就不只是文学课，而是一份关于文化权力的清醒自白。 一、中文版全文（民间听译整理，非张爱玲本人中文稿）
来源与 disclaimer：以下中文整理稿转载自微信公众号「桂林一蓝」（2026-10-22 推送），系民间听译版本。据该文说明：哈佛馆藏仅有英文（书面讲稿手稿＋问答即兴口语），并不存在张爱玲亲笔的中文完整稿，所有中文均为后人听译，音质有磨损、部分词句模糊，准确性未获官方背书，仅供参考。本号转载仅为阅读便利，版权归原作者所有。 第一部分：宣读讲稿
标题：Chinese Translation: A Vehicle of Cultural Influence。中文：《翻译：文化影响的媒介》。
今天我想谈的，是翻译在中国，如何成为东西方文化交流的媒介。
晚清的时候，有一件很有意思的轶事。当年《红楼梦》被很多人看作诲淫之书，有一位文人提出一个奇特的对策：不必禁毁，直接把书运送到国外去。他觉得，这本书可以用来报复鸦片贸易给中国带来的伤害，把毒素传给西方人。在他的想象里，一本书只要送到海外，自然就能产生文化影响。他完全没有想到，中间还隔着翻译，隔着语言与文化巨大的鸿沟。这恰好可以作为我们讨论的起点：文化影响，从来不能跳过翻译自动发生。
最早进入中国的西学翻译，多是宗教文本。明末耶稣会士翻译天文、几何，目标不是文学，是传教。到严复，才系统翻译西方社科著作。他翻译达尔文、赫胥黎，用典雅古文包装西方思想。外来观念进入中文，往往会被本土原有的思想框架改造、重塑。读者读到的，一半是西学，一半是中国旧学。
比严复更有名的是林纾，他不懂外文，靠别人口述，用文言翻译大量西方小说。有趣的是，林纾笔下的外国人，生气时也会扬起中国古人的宽大衣袖。外来故事，穿上了中国古典的外衣。翻译，从来不是简单的字对字替换。他的译本影响巨大，但很多细节都经过归化改写，甚至增删情节。
等到五四新文化运动，翻译变成改造社会的工具。当时的知识分子大量翻译西方小说、戏剧，鼓吹个人主义，反抗旧家族制度，提倡自由恋爱、婚姻自主。他们借助翻译引进新的生活观念。旧文学本身并非不美，就像一件好看但已经不合身的旧衣裳；时代变了，旧形式已经不足以承载新的现实。翻译推动白话文学诞生，参与重塑中国人对生活的理解。
这里有一个很关键的不对称：把外文译成中文，和把中文译成外文，难度完全不一样。
外文译成中文，更容易归化。译者可以把故事、人情，转化成中国人熟悉的语境，中国读者接受门槛低。反过来，中文作品翻译成英文，损失巨大。中文文字里含蓄的留白、礼教之下微妙的人际分寸、吴语小说里鲜活的市井气息，在英语体系里很难找到对等表达。很多西方读者读中国古典小说，只抓住表层的故事情节，很难体会文字背后的情绪与文化肌理，常常带着东方猎奇的眼光来看。
我自己现在就在翻译《海上花列传》。这本书写晚清上海的青楼世界，藏着大量潜台词、人情暗示，很多意思不说破，靠语境意会。吴语对白是它的灵魂。这类文字最难外译。直译会生硬难懂；过度归化，又会抹掉独属于中国的质感。译者始终两难。
人名翻译也是一大麻烦。中文名字本身带寓意，放到英文只是一串音节。像《红楼梦》里袭人、蒋玉菡这类名字，字面含义、人物暗示全部丢失。西方读者很难读懂名字本身的隐喻。这还只是小问题，更难的是人物之间那种克制、迂回的中国式人情。
翻译不只是语言转换，更是文化移植。移植不是简单搬运，需要考虑土壤。文化之间相遇，既不必全盘崇拜外来的，也不必固守本土而封闭。
还有一个现象值得留意：有些文学形式，在西方早已过时，传入中国之后，反而还有生命力。毛姆就曾经批评宋春舫推崇的西方戏剧，说那套形式在西方已经陈旧。但一种艺术形式在一地衰老，换一个文化空间，可能又获得新的表现力。时代、地域、读者，共同决定一部作品的命运。
近代以来，中国对西方的认知，很多都是经由翻译塑造。战争、革命、思想风潮，都会影响翻译选择，决定我们会引进什么、舍弃什么。冷战时期两边隔绝，翻译又带上意识形态的筛选。翻译史，本身就是中国和西方之间一段充满波折的关系史。
有人幻想完美翻译，希望原作丝毫不减，原样抵达另一国读者。但完美翻译并不存在。翻译必然有损耗、有变形。但这不代表翻译不值得做。
文化传播不能指望「一本书送出去就自动发挥作用」，像晚清那位士人的幻想。真正有效的跨文化影响，依靠持续、耐心的翻译，还要有愿意去理解异质文化的读者。
中国旧文学里的美好依然存在，动人之处并未消失，只是像旧衣裳，不再适配今天这个世界。我们可以把它翻译出去，不是幻想它立刻征服西方，而是让两种文化得以相遇，彼此看见。
（宣读稿到此结束，现场响起掌声，进入问答环节）
第二部分：现场问答（即兴脱稿）
说明：据整理者注明，录音部分听不清，缺失处标注【听辨模糊】，此为学界流传的听译整理版本，并非逐字定稿。 听众提问 1：您翻译《海上花列传》最大的障碍是什么？
张爱玲：最大困难是它的对话。全书大量吴语，不是方言猎奇，是人物说话方式，决定人物性格。翻译成标准英文，那种绵软迂回、话留三分的味道就没了。如果写成方言英语，又会显得滑稽，像乡下土话。书中的交际也是问题。晚清上海长三堂子的一套礼仪、人情往来，是一套完整的微型社会。西方人没有对应的参照。读者很容易直接套入西方妓女的想象，完全误解人物关系。比如书中客人、倌人之间，感情、金钱、面子纠缠在一起，不是简单的情爱故事。
听众提问 2：您怎么看《红楼梦》后四十回？您认为曹雪芹原本的结局，袭人、蒋玉菡、宝玉之间会如何发展？
张爱玲：很多人争论后四十回是不是高鹗续写。我倾向于认为，后四十回里保留了曹雪芹一部分残稿，但大量改动。曹雪芹原本的构思，袭人最后和蒋玉菡在一起，不是简单改嫁。脂批提示，宝玉落魄之后，曾经得到袭人夫妇接济。这段关系非常微妙。不是背叛，是人世的不得已。曹雪芹对袭人没有简单褒贬，不写好人坏人。这恰恰是中国古典小说高明之处。西方小说习惯把人物善恶分得清楚。中国小说常常灰色。翻译的时候，这种不做评判的态度最难传递。【录音微弱，部分推测】
听众提问 3：五四时期大量翻译西方小说，对中文本身造成了什么样的改变？
张爱玲：白话本身就是翻译催生出来的。以前书面只用文言。翻译西方长篇小说，需要长句、心理描写，文言不够用。所以译者创造现代白话。代价也有。早期白话翻译，很多欧化句式。句子很长，层层嵌套。这种句式丰富了中文，但有时候生硬，脱离中国人本来说话习惯。直到后来作家慢慢消化，白话才成熟。
听众提问 4：您认为，中国现代文学翻译成英文，最大的误读来源是什么？
张爱玲：东方主义。西方读者预先有一套固定想象：神秘、苦难、古老。译者有时为了迎合读者期待，会放大这一面。反过来，中国人读西方小说，也会用自己的观念去套。误读是双向的，翻译永远带着双方文化的滤镜。这不可避免，但译者应当尽量警惕这种预先的刻板印象。
听众提问 5：您自己的小说英译时，您是否会亲自介入修改原文？
张爱玲：我翻译自己作品时，常常会改写。不是单纯翻译，而是重新创作。两种语言的叙事节奏不一样。中文适合暗示，英文需要更明确的逻辑链条。所以有时候，我要增减细节，调整心理描写，让英文读者看懂。自译比翻译别人的作品自由度更大，但也更容易陷入两难：忠于中文原作，还是忠于英文读者的阅读感受。
听众提问 6：未来，中国古典小说外译，您觉得最值得优先译介哪些作品？
张爱玲：不只是四大名著。很多二流小说反而更能展现普通人的生活，比如《海上花》。名著名气大，但太宏大。二流世情小说，写日常人情，最能展现中国人细微的处世方式。只是这类书翻译吃力，在西方市场也不容易卖，出版社往往不愿意投入。
听众最后一问：您认为翻译可以弥合文化隔阂吗？
张爱玲：翻译可以搭建桥梁，但不能消除隔阂。隔阂来自完全不同的历史经验。翻译只能邀请人去理解，不能强迫认同。最好的翻译，是让读者意识到，这是另一种文明的思维方式，不是把它改得和我们一模一样。
勘误（整理者原注）：网上疯传的「文人该是园里的一棵树」「离开了中国现代文学之后，生活里的一切都失去了意义」两句，整理者经查证指出——前者出自张爱玲 1944 年散文《写什么》（收入《流言》），后者是后世读者结合其生平的发挥与文学化重写，均非本次演讲原文。引用时请勿张冠李戴。 二、英文版（扩写对照版：原文片段 + 重构补全）
关于本节的说明：本节把 6 段权威英文片段（来自哈佛官方录音转录 Reyher.ts，经虚词 p-articles 整理）嵌入到一条完整的英文叙事线中。其中——
· ▍VERBATIM 标记的为录音转录逐字原文，可对照时间码回听哈佛录音；
· 〔reconstructed〕 标记的为编者依非官方中文听译稿回译 / 补全的英文段落，仅用于串联上下文，并非张爱玲英文定本逐字，亦未逐字转载受版权保护的 PMLA 正文。
权威英文定本仍以 PMLA 130.2 (2015) 为准（见文末获取方式）。这样排布既能读到更完整的英文段落，又能一眼分清“哪句是真原文”。 图例：▍VERBATIM = 录音逐字原文（Reyher.ts）｜ 〔reconstructed〕 = 依中文听译稿补全的英文（非定本逐字） 1 · 开场：文化影响不会自动发生
〔reconstructed〕In April 1969, at the Radcliffe Institute, Eileen Chang delivered a talk later given the title Chinese Translation: A Vehicle of Cultural Influence. She opened not with theory but with a late-Qing anecdote: when Dream of the Red Chamber was denounced as a corrupting book, one literatus proposed a curious remedy — ship it abroad. He imagined the novel would "retaliate" for the harm of the opium trade by poisoning Western readers with its toxicity. He never reckoned with the gulf of language and culture that translation must cross. For Chang, this was the perfect starting point: cultural influence never travels on its own; it must pass through translation.
2 · 最早的译入：从宗教文本到严复
〔reconstructed〕The earliest Western works to enter China came as religious texts. Jesuit missionaries of the late Ming translated astronomy and geometry, but their aim was conversion, not literature. It was Yan Fu who systematically rendered Western social thought into Chinese, dressing Darwin and Huxley in elegant classical prose. Foreign ideas, entering the language, were inevitably reshaped by the native framework; what the reader met was half West, half old China.
3 · 林纾：铜镜中的倒影
〔reconstructed〕More famous than Yan Fu was Lin Shu. He knew no foreign language, yet with a collaborator who read the originals aloud to him in Chinese, he produced a torrent of classical-style translations of Western fiction — and a host of imitators.
▍VERBATIM · Reyher.ts 06:36–07:12 "It was translated by Lin Shu, a classical stylist who did not know English, collaborated with a Mr. Wei, who read it out to him in Chinese. They were a prolific team, with lots of imitators. Dickens, Walter Scott, The Arabian Nights, The Vicar of Wakefield, Hawthorne, The Scarlet Letter, and Sherlock Holmes became household words. All in classical Chinese, like a reflection in a bronze mirror." — 林纾译本如铜镜中的倒影▍VERBATIM · Reyher.ts 07:14–07:41 "No less an authority than Arthur Waley praised Lin Shu highly as a translator, especially of Dickens, in his Notes on Translation, Atlantic Monthly, November 1958. 'Dickens inevitably becomes a rather different and to my mind a better writer. All the over-elaboration, the overstatement and uncurbed garrulity disappear,' said Waley." — 阿瑟·韦利盛赞林译狄更斯▍VERBATIM · Reyher.ts 07:44–08:13 "The improved David Copperfield was the best known of the Lin-translated fiction, as they were called, regardless of the author. Its popularity, against the traumatic national experience, was a reaching out as well as escape. Commercially, at least, this was the golden age of Chinese translation, although, strictly speaking, it was not translation." — “改良”的大卫·科波菲尔〔reconstructed〕Chang pointed to the quiet domestication at work: in Lin's versions, foreigners in anger would flip the wide sleeves of ancient Chinese robes. The stories were clothed in a classical Chinese guise. Translation was never a simple word-for-word exchange, and Lin's editions — enormously influential — quietly added and cut.
4 · 五四：翻译催生了白话
〔reconstructed〕With the May Fourth movement, translation became an instrument of social reform. Intellectuals imported Western fiction and drama to champion individualism, overthrow the old family system, and promote free love and marriage by choice. The old literature was not without beauty — yet like a fine garment that no longer fits, its forms could no longer hold the new reality. Translation helped birth the vernacular literature and remade how Chinese readers understood life itself.
〔reconstructed〕Here lay a crucial asymmetry. Rendering foreign works into Chinese was the easier direction: the translator could naturalize stories and sentiments into familiar Chinese contexts, lowering the threshold for readers. The reverse — carrying Chinese works into English — exacted a heavy loss. The restrained emptiness of the original, the delicate measure of conduct beneath rites, the living street-voice of Wu-dialect fiction: none found easy equivalence in English. Many Western readers grasped only the surface plot, often through an Orientalist gaze.
5 · 把中文译出去：《海上花列传》
〔reconstructed〕Chang spoke of her own labor translating The Sing-song Girls of Shanghai (Haishang Hua Liezhuan). The book breathes in its Wu-dialect dialogue — implication and unspoken courtesy layered so thickly that meaning hangs in the air. Literal translation turns it wooden; over-domestication erases the distinctly Chinese texture. The translator is caught between two impossibilities.
〔reconstructed〕Even names pose a trap. Chinese names carry meaning; in English they collapse into mere syllables. "Xiren" and "Jiang Yuhan" in Dream of the Red Chamber lose every hint of their irony. Harder still is the restrained, roundabout Chinese manner of feeling between people.
6 · 旧衣裳，与中国戏曲的形式
〔reconstructed〕Chang returned to a governing image — the old literature's beauty does not vanish, but the world has changed around it:
▍VERBATIM · Reyher.ts 12:37–12:47 "We need a literature that's more relevant to our life. The old things are there, as good as ever, but like old clothes, no longer fit." — “旧衣裳”之喻〔reconstructed〕And she turned to the stage to make the point about form. Chinese opera is a composite art — drama, music, dance and acrobatics bound together, with no starkly focused dramatic climax. The Western curtain was a theatrical prop unknown in China, its possibilities unexplored.
▍VERBATIM · Reyher.ts 15:59–16:32 "But it's not necessarily bad taste to admire surprise and an electrifying curtain, even if it's dated. The curtain was a theatrical prop unknown in China, its dramatic possibilities unexplored. Chinese opera is a composite art: drama, music, dancing and acrobatics combined. There is no starkly focused dramatic climax. You have to have a thing before you can go beyond it." — 中国戏曲与西方戏剧的形式差异7 · 选译背后的意识形态
〔reconstructed〕The forms that reached China were themselves filtered by history. War, revolution, and intellectual tides all shaped what got translated — and what got left behind.
▍VERBATIM · Reyher.ts 23:43–24:10 "Marx was all right, but not Freud. Positive values, not ambiguity or cynicism. Squalor and negativeness savored of 'foreign countries have bedbugs too.' That ruled out much of modern Western literature, leaving mainly the great Russians, the only nineteenth-century writers whose stature has grown, if anything, in our time." — 改革思潮如何影响选译8 · 结语：桥，而非橡皮
〔reconstructed〕Some dream of the perfect translation — the original arriving intact in another tongue. But perfection does not exist; translation always loses something, always deforms. That does not make it worthless. Cultural influence cannot be hoped for by "sending a book out and letting it work." What works is patient, sustained translation, and readers willing to meet an alien culture on its own terms. The beauty of the old literature survives; we translate it not to conquer the West overnight, but so that two civilizations may meet and see each other.
〔reconstructed〕Asked whether translation can close the gap between cultures, Chang answered: it can build a bridge, but not erase the gap. The gap comes from wholly different historical experience. The best translation invites understanding without forcing sameness — letting the reader see another civilization's way of thinking, rather than remaking it in our own image.
获取完整英文定本：
· PMLA / Cambridge 页面（摘要与购买）：https://www.cambridge.org/core/journals/pmla/article/abs/chinese-translation-a-vehicle-of-cultural-influence/95AF6EC0791D5F35ADF5EFA0359A27E8
· 配套研究：Christopher Lee, "Translation in distraction…", Journal of Modern Literature in Chinese 14.1 (2017): 65–87（开放获取）：https://commons.ln.edu.hk/jmlc/vol14/iss1/3
· 中文较完整考释（含译文）：李贵成《「翻译与 E—W 关系」——张爱玲演讲稿〈中文翻译的文化影响力〉考释》，《现代中文学刊》2022 年第 5 期（CNKI / 维普可查） 资料来源哈佛施莱辛格图书馆（录音）· 微信公众号「桂林一蓝」（中文听译整理）· 虚词 p-articles（英文节选整理）· PMLA 130.2 (2015)（英文权威定本）· 《现代中文学刊》2022 第 5 期（中文考释）
版权声明张爱玲演讲英文定本 © 2015 Estate of Eileen Chang；Introduction and notes © 2015 Christopher Lee。中文听译整理稿版权归原作者所有，本推送仅作阅读与索引之用，转载请取得授权并注明出处。演讲录音使用请遵守哈佛施莱辛格图书馆条款。
