Moment in Peking 是林语堂先生的英文原文小说，在 Moment in Peking 中，语言承载着林语堂向西方读者传播东方文化的重要使命。而对译本而言，语言又肩负着传达译者思想，吸引读者的艰巨任务。本文以多元系统理论为依托，针对文化多元系统中语言(词汇、句法和语态) 出发，举例分析张振玉译本和原文比较具有的特征。
关键词：林语堂；Moment in Peking；张振玉
词汇是组成语言形式库的重要元素。小说 Moment in Peking 中的语言千变万化，而词汇作为语言必不可少的组成部分，在小说中显得尤为重要。
例 1：
Then she took a spoon and lifted slice of the heart and some soup from the bowl and tried to feed him, holding the bowl close to him. But he was lying down and headdress was heavy, and she could not do it. Her hand shook with excitement, but barely had he taken a little sip when the soup ran out of his mouth, and she hastily tried to put the bowl down, and the soup was spilled on the new quilts. She set the bowl on the low table, and took a towel from the rack over his head to dry his face and neck and then discovered that her own dress also was spoiled. (173-174)
张振玉译本：
她又拿起汤勺儿来，从碗里舀了一片猪心，一点儿汤，把碗端进平亚，想喂他。可是平亚躺着，她的凤冠又沉重，她实在没办法喂他。她的手激动得发颤，刚让平亚喝了一点儿汤，汤就从他嘴里流出来，她连忙想把碗放下，汤就洒在新被子上。她把碗放在炕桌上，从上面架子上拿下一块毛巾来擦他的脸和脖子，发现自己的衣裳也弄脏了。（105）
这段话是描写新婚之夜，曼娘喂汤给平亚喝的情景。“headdress”本是“头饰”之意，中国自古以来就有结婚新娘带凤冠霞帔的习俗，尤其是大户人家娶亲更是如此。因此，在这里，张振玉译本将其译为“凤冠”比较贴切。而对于原文中的“the low table”，将其译为“炕桌”，因为旧时家中用来睡觉的寝具是炕而非床，人们常在炕上放置一个低矮的小桌子来吃饭，因此，“炕桌”在这里即符合中国人北方人的生活习惯，又形象生动。作者在努力遵循译语传统和规范，体现出词语的多元特性。
例 2：
The colanut tree cast its shade over the entrance, and a driver was sitting on a low stone tablet sunk into the ground. The morning was delightful, and yet it promised to be a hot day with a clear sky. A medium-sized earthen jar was standing near the tree, which provided tea in hot summer days for thirsty wayfarers. But it was still empty. Noticing the jar, a driver remarked, “Your master does good deeds.” (4)
张振玉译本：
梧桐的树荫罩盖着门前。一个骡夫正坐在安在地上的一块方厚的石头上。晨光虽然是清爽宜人，看来又是一个晴空万里的炎热天气。树下安放着一个不大不小的茶缸，是夏天施给过路人解渴的，可是这时候儿那茶缸还空着。看见了这个茶缸，一个骡夫开口说：“你们东家是个大善人哪。”（3）
“delightful”一词，原意为“可爱的，可喜的，令人愉快的”。在原文本中作表语，修饰“morning”。在两译文中，张振玉译本将其译为“清爽宜人”用来形容“晨光”，极为贴切，给读者不尽相同的感受，多元特征尽显无疑。
句法属于语法层面，同样是语言形式库不可或缺的部分。而英语和汉语之间在句法上也存在着很大差异，这在小说中也得到了充分地体现。
例 3：
A strange drowsiness came over her, and hardly had she closed her eyes when she saw an old, deserted temple, in a field covered with snow. She was walking in the snow, which was still falling in big flakes, and she wondered why she was alone and where her companions had gone. (127)
张振玉译本：
她觉得有点异乎寻常的困倦，刚一闭上眼，就看见一座荒废的古庙，在一片雪地上。她自己在雪地上行走，大大的雪片还纷纷扬扬地下。她自己不由得纳闷儿，而同伴有哪儿去了呢？（78）
中英文在句式上有很大差异。英文多用物作为主语，或以“it”作形式主语。中文则多以人作主语。原文则是以“a strange drowsiness”作主语，在翻译时，张振玉振玉则将语序稍加改动，以“她”作主语，更遵循汉语行文规范，体现出句式上的多元性。
例4：
The idea of having a concubine for her husband rather enchanted her. Somehow it was true that a wife without a graceful, helpful concubine was like a crown prince without a pretender. The “rightful” wife’s position was set off and enhanced only by the presence of a vice-wife, as a presidency sounds better and is more worth having when there are two vice-presidents. (490)
张振玉译本：
让丈夫有一个妾，她心里越想越美。一个做妻子的若没有一个妾，斯文而优美，事事帮助自己，就犹如一个皇太子缺少一个觊觎王位的人在旁，一样乏味，她觉得这期间颇有道理。一个合法的妻子的地位当然是及其分明，若是有一个“副妻子”，就如同总统职位之外有一个副总统，这个总统的职位就听起来更好听，也越发值得去做了。 （298）
原文中的第一句话仍是以物为主语，而张振玉仍将原文主语加以转换，使其更符合汉语语用习惯。除此外，文章第二个划线部分是一个以“it”为形式主语的主语从句，针对原文，张振玉不仅将主从句分别译出，又将主从句的语序调换，还采用了增译的方法。张振玉译本在遵从原著的基础上具有文学之美，使译文更加生动有趣。
例 5：
The trouble with him was that he had a facility in expression coupled with an amazing ability for finding out what was wrong in any situation around him, and this resulted in an unusual gift for calling a spade a spade and for pinning vague generalities down with a felicitous phrase. And as human beings are constituted, when a felicitous phrase comes to the mind it has to be expressed somewhere, either orally or in writing. Perhaps Lifu was by nature impatient, intolerant of evil, and especially of sham and hypocrisy. But so much intolerance of evil is merely a matter of seeing more clearly than others where the evil lies. (500-501)
张振玉译本：
他写文章表达情意是轻而易举的，并且对身外各种情势能洞察弊端，所以表达时能一针见血，把难达之情，一语道出，恰到好处。每逢人心里有一警句妙语，心想表达于外，或出诸口头，或行诸笔下，可以说是人之本性。也许立夫天性偏 于急躁，愤世嫉俗，对诡诈伪善全不能容忍。因为不能容忍邪恶，就比普通人越发能看到罪恶。 （305）
张振玉译本在表达原文大意的基础上，加以润色，并使用汉语最惯用的排比句，使译文更加流畅自然，也易为汉语读者所接受。
英汉两语之间，同样也存在着语态上的不同。语态和句法相互作用共同构成语法这一语言形式库的要素。
例6：
“Even when a girl is born with intelligence, it is better to dim it a little. Reading history and poetry is all right, but we must not take it too seriously, or the more we read the farther apart we get from everyday life. When you are ill, I should advise you to give up reading novels. Take up some knitting， it is good for a woman.” (505-506)
张振玉译本：
“女孩子即使天生聪明，也要隐晦一点儿。看历史和诗当然好，但也不要太认真。不然，越看得多，和日常的生活离得越远。你病了，我劝你不要再看小说。可以编织点儿东西，对女人有好处。”（308）
中英文在语态方面存在差异的最典型的例子就是“be born（出生）”，英语中使用被动形式，汉语使用主动形式。因此，译者选择将原文译为主动形式。另外，对于原文中“it”作形式主语的句子，张振玉译本采用了异化的方法，将“dim it a little”译为“隐晦一点儿”。
例 7：
It seemed as if she had hardly fallen asleep before she was wakened by voices and saw pale light breaking in through the crevices of the window panels. She shook Sunya and said, “It is dawn already! We must not miss the sunrise.” (580)
张振玉译本：
木兰被声音惊醒时，仿佛始终未曾入睡，睁眼只见灰白的晨光，正从窗板缝中自外射入。她退荪亚说：“天有点儿亮了！不能误了看日出呀。”（356）
原文以“she”作主语，使用被动语态“be wakened”并用“by”引出动作的发出者。对于这一被动语句的处理，张振玉用被动形式，译为“木兰被声音惊醒”；译者用被动形式进行翻译，体现出语态上的多元特征。
[1]. Lin Yutang. Moment in Peking [M].Beijing: Foreign Language Teaching and Research Press, 2009.
[2]. 刘宓庆. 翻译与语言哲学[M].北京:中国对外翻译出版公司,2011．
[3]. 张振玉 译 《京华烟云》[M] 陕西师大出版社，2005年出版.
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