• <tr id="yyy80"></tr>
  • <sup id="yyy80"></sup>
  • <tfoot id="yyy80"><noscript id="yyy80"></noscript></tfoot>
  • 99热精品在线国产_美女午夜性视频免费_国产精品国产高清国产av_av欧美777_自拍偷自拍亚洲精品老妇_亚洲熟女精品中文字幕_www日本黄色视频网_国产精品野战在线观看 ?

    Paratexts in the Partial English Translations of Sanguo yanyi

    2020-02-25 06:26:34WenqingPENG
    翻譯界 2020年2期
    關(guān)鍵詞:孺子之術(shù)射箭

    Wenqing PENG

    Soochow University

    Abstract As Lawrence Venuti (2013,p.105) put it,the paratexts which accompany retranslations normally constitute“a more immediate form of intertextuality”.However,paratexts become unreliable when those involved in retranslation process do differently in practice or cover up relevant intertextual relations and,as a result,the actual translation is at variance with its paratexts.This article examines the unreliability (inconsistency) of paratexts and values inscribed,based on three cases in English translations of Sanguo yanyi:Z.Q.Parker’s,Yang Xianyi & Gladys Yang’s and Cheung Yik-man’s translations of “The Battle of the Red Cliff” excerpted from the novel.

    Keywords:paratexts; retranslation; Sanguo yanyi; Z.Q.Parker; Yang Xianyi and Gladys Yang;Cheung Yik-man

    1.Paratexts and retranslation

    Paratexts,in Gérard Genette’s classic definition,are the “accompanying productions”,both within and outside a book,which “enable a text to become a book and to be offered as such to its readers and,more generally,to the public” (Genette,1997,p.1).Paratexts can be categorized into peritexts and epitexts,with the former being “within the same volume,and are such element as the title or the preface and sometimes elements inserted into the interstices of the text,such as chapter titles or certain notes” (ibid.,pp.4-5),and the latter being “all those messages that,at least originally,are located outside the book generally with the help of the media (interviews,conversations) or under cover of private communications (letters,diaries,and others)” (ibid.,p.5).In this paper,I will discuss the issue of paratexts accompanying three partial retranslations of a classic Chinese novel.

    Let me begin by recalling the definition of retranslation.According to Koskinen and Paloposki (2010,p.294),retranslation as a product “denotes a second or later translation of a single source text into the same target language”.The phenomenon of retranslation has received attention from critics and scholars.For instance,in Jorge Luis Borges’s essay (2012),the author explores mostly antagonistic motives of retranslators who seek to destroy their predecessors.Recently,Cecilia Alvstad and Alexandra Assis Rosa(2015) edited a special issue of the journalTargeton retranslation.

    The main critical contribution on which I will focus in this paper is Lawrence Venuti’s essay“Retranslation:The Creation of Value” (2013).For Venuti,in translation,“the value-creating process takes the form of an interpretation inscribed in a source text” (Venuti,2013,p.96) and in retranslation one more value is added by retranslators to establish differences from the previous versions.Venuti elaborates on the values created in retranslation from the perspectives of institution,agency,intertextuality and historical moment.In the part of intertextuality,he discusses paratexts in retranslations,noting that “a retranslation is sometimes accompanied by a more immediate form of intertextuality; paratexts,which signal its status as a retranslation and make explicit the competing interpretation that the retranslator has tried to inscribe in the source text” (ibid.,p.105).According to this statement,“immediate” and “explicit” imply that the paratexts unveil the relation among the original text,the first translator and the retranslator in a more direct way and make it easier for readers to figure them out.

    But the situation in practice may be more subtle,implicit,and complex.Is a paratext always “an immediate form” of intertextuality? What more hidden links might be involved? In what follows,I will seek to add to Venuti’s argument,based on my case study of the English translations of the classic Chinese novelSanguo yanyi(Romance of the Three Kingdoms).

    Before I go into my examples,I will briefly introduce the original novel and its translations.Sanguo yanyi,composed by Luo Guanzhong from the 13th to 14th century,is a historical novel based onRecords of the Three Kingdoms(Sanguo zhi) written by the historian and writer Chen Shou (233-297).The novel outlines the turbulent events of the period from AD 168 to 280,when China’s Han Dynasty (202 BCAD 220) was riven by decades of bloody strife into three separate states.The novel contains one hundred and twenty chapters with more than 750,000 words,describing the waxing and waning of the states and depicting around five hundred characters,some of whom are known to almost every Chinese household,for instance,the resourceful Zhuge Liang,the crafty Cao Cao,the proud Guan Yu,the forthright Zhang Fei,and the generous Liu Bei.

    Sanguo yanyiwas transmitted overseas at a comparatively early date.The earliest translation into a foreign language was Japanese in 1689.In English,translations of excerpts appeared in various periodicals as early as 1820.Apart from the two full prose translations by C.H.Brewitt-Taylor in 1925 and by Moss Roberts in 1991,I have found 28 excerpted translations and adaptations in various forms,including partial and abridged renderings,prose and drama versions,as well as extracts inserted in journal articles or in monographs.The cases discussed in this paper are the one by Yang Xianyi & Gladys Yang in 1962,and by Cheung Yik-man in 1972.Another translator is Z.Q.Parker,who produced an excerpted translation titled“The Battle of Red Cliff 赤壁鏖戰(zhàn)” inThe China Journal of Science and Artsin 1925.This translation was published in four issues successively,centering around the chapters from 42 to 50 in the original novelSanguo yanyi.

    2.Z.Q.Parker’s translation

    Parker’s translation contains a very brief preface by the editor.This preface mentions another translation by X.Z.,which selected the first ten chapters of the original novel.It also mentions the review onSanguo yanyiby Brewitt-Taylor in 1898.According to the preface,the translation by Parker is a continuance of X.Z.’s translation and mainly works on the battle of Red Cliff (Parker,1925,p.250).An intertextual relation can be seen between Parker’s translation and previous works:It is very likely that Parker’s translation was inspired and influenced by X.Z.’s translation and the translator Parker also had more knowledge of the original novel in Brewitt-Taylor’s review,which elaborated in detail on the characters,plot,genre and other literary merits ofSanguo yanyi.The previous works may also exert an impact on Parker’s translation methods as the editor claimed it as a continuance of the previous one.

    Consider the translation of a character’s name.In the main text of Parker’s translation,the principal character Cao Cao is addressed as “the old traitor” in both conversations and the narration.For the first time,the translator put it into this phrase “the old traitor”,and he added a footnote,“Hereafter this word will be used to represent Ts’ao Ts’ao” (ibid.,p.253).It is highly likely that this translation method is influenced by Brewitt-Taylor’s review in which the character Cao Cao was described and commented as “permeant villain”,“wicked”,“having no reputation”,“eminently deceitful”,etc (Brewitt-Taylor,1925,p.174).

    “The old traitor” is not only used to translate “老賊”,but also in any other place to address the character Cao Cao in place of some respectful ones like “丞相” (the Minister) or intimate address like “孟德” (Mengde,literati name of this character).For example in the 43rd chapter,Kongming told Sun Quan,“向者宇內(nèi)大亂,故將軍起江東,劉豫州收眾漢南,與曹操并爭天下” (Luo,1996,p.264).[My literal translation:Before,the whole country was trapped in a big upheaval.Therefore,Your Highness occupies the territory to the east of the Changjiang River and my Lord to the south of the Han,both desired to combat with Cao Cao.] In Parker’s translation,Cao Cao’s name is rendered as the old traitor,“In former years,when your Highness occupies a piece of territory to the east of the river and my chief to the south of the Han,both desired to combat with the old traitor” (Parker,1925,p.253).Evidently,it overestimates the negative part in the character and even reshapes the character Cao Cao in the translated text.The translation retains the pro-Liu position by the author of the original novel,and also underscores the character’s crafty and treacherous profile.

    Another example can be found in translating Guan Yu’s name.In the original text,the character is often addressed with the more respectful title of Lord Guan.In Chinese,adding the wordLordafter someone’s last name shows respect and the person’s social status.Even today,the mere mention of Lord Guan echoes in the image of Guan Yu in Chinese readers’ minds.It not only demonstrates the influence of Guan Yu on Chinese culture,but also unveils the shaping of his character through this address.In Parker’s translation,this preference is further strengthened by adding an even more respectful address.When Guan Yu is introduced for the first time,his name is rendered as Kuan Kung (Lord Guan) (ibid.,p.250).In the following parts,Guan Yu is often addressed as Kuan Kung,even when it was not the case in the original text.For example,in the 45th chapter,when Guan Yu accompanied Liu Bei to Dongwu,there was a conversation between Liu Bei and Zhou Yu,the greatest general of Dongwu:

    ST:“酒行數(shù)巡,瑜起身把盞,猛見云長按劍立于玄德背后,忙問何人。玄德曰:“吾弟關(guān)云長也?!辫ん@曰:“非向日斬顏良、文丑者乎?”玄德曰:“然也?!辫ご篌@,汗流滿背,便斟酒與云長把盞?!?Luo,1996,p.275)

    [My literal translation:After several rounds of wine,Zhou Yu rose up with his cup in hand when he suddenly saw Yunchang standing behind Liu Bei.Zhou asked who he was and Liu Bei said,“This is my brother Guan Yunchang.” Zhou Yu was surprised,“The general who slayed Yanliang and Wenchou?” “Precisely.” On hearing it,Zhou Yu was appalled and soaked with sweat; he soon poured a cup of wine for Yunchang.]

    In the original text,there was no mention of Guan Gong (Lord Guan).Instead,Guan Yu was called Yunchang (literati name).However,in Parker’s translation,the name was rendered into Kuan Kung (Lord Guan) and Zhou Yu’s reaction was described in Parker’s version as “Now the host was considerably surprised,rising to fill a goblet with wine and sending it round to Kuan Kung” (Parker,1925,p.309).Through the adaptation on addressing,Guan Yu is reshaped into a more positive character.However,it is worth noting that this characteristic in Parker’s translation does not conform to the translational style of X.Z.,which overly simplifies lots of details while not flattening or adapting the characters’ profiles.

    The publishing details in paratexts can provide us a more comprehensive image of the translation process and the target reader.Parker’s translation was published inThe China Journal of Science and Artswhich belonged to the foreign North-China Daily News & Herald Ltd.based in Shanghai.The magazine published articles mostly in English and focused on introducing Chinese science and arts to Western readers.Furthermore,Parker’s translation was published in 1925 when not many Chinese literary works were translated to the West as opposed to the large number of Western works introduced into China.Hence,Western readers may not have a good command of Chinese literature,particularly the classic ones.An overestimation of some typical features in characters could help the reader quickly comprehend so many characters and appreciate the novel.

    In addition,Parker’s translation is not a full-text one of 120 chapters,only nine chapters around the Battle of the Red Cliff.The target reader does not have access to the cohesion between chapters in the whole novel or a comprehensive image of characters’ profiles.Therefore,the repetition of “the old traitor”for describing the character Cao Cao can contribute to the reader’s interpretation and appreciation of the excerpted translation.Though,this oversimplification does not continue the previous translation by X.Z.in terms of translation methods and style.

    3.Yang Xianyi and Gladys Yang’s translation

    Yang Xianyi and Gladys Yang selected chapters 43 to 50 of the novelSanguo yanyiand published their translation in January and February,1962,under the title “Selections from Classics:The Battle of the Red Cliff” inChinese Literature,a journal based in Beijing and founded by the Chinese Foreign Languages Bureau and Foreign Language Press in 1951.It was later edited intoThree Classic Chinese Novelsin 1981 in thePanda Bookseries,which was designed to introduce Chinese literature to the West.

    There is a one-page introduction as a kind of translator’s note or preface before the main translated text in Yangs’ version.Though unsigned,the phrase “our translation is made from […]” in the last paragraph of the introduction shows that its authors were the translators themselves.The first four paragraphs of their introduction are centered on the plot and characters of the novel.The following two relate to other relevant articles in this journal and the edition of the original text which they refer to.A sentence in the last paragraph is worth mentioning,“A few verses interposed in the text have been cut”(Yang & Yang,1962a,p.41).They did not speak of any other changes or adaptations in their translation,so it may be assumed that the deletion of a few inserted verses is the only obvious change they made to the original text.

    The text conforms to the usual style of the Yang couple’s translations,which is always quite literal to the original text,according to several scholars and critics as well as the translators themselves,and is again very close to the original novel.As a comparison between their translationA Dream of Red Mansionsin 1976 with the other full-text version by David Hawkes and John Minford in 1973 will show,this style can be seen in many of their works.It can also be found in some of their paratexts,such as a 1980 seminar where the couple talked about their translation of Chinese literature.During the seminar,conducted with the Chinese scholar Wang Zuoliang in Australia,Yang and his wife spoke of their general strategy in translating Chinese literary works:

    We must be very loyal to the original text […] make the meaning of the translation as close to the original text as possible […] I don’t think we should make too many explanations in the translation.The translator should be faithful to the images in the original text as much as possible,neither any exaggeration nor any addition.Of course,if it is really impossible to find equivalent expressions in the target language,it is inevitable to sacrifice part of the meaning in the original text.Yet,it is inappropriate to overstate the creativity because then it is no longer translating but rewriting.(Henderson,1989,pp.83-84)1The quotation here is originally in English and translated into Chinese by Wang Zuoliang in his book published in 1989.I have been unable to find the original text,so I translated it literally back to English myself.

    In this talk,Yang described his strategy as literal translation,or faithful translation.Although he understood the unavoidability of making some changes to the translation,he showed a strong preference for faithfulness to the original text rather than the creativity of the translator.Gladys Yang presented a different voice as she preferred a less literal translation,but in their collaboration,she followed the strategy of her husband.

    Is this the whole story? Did the Yang couple stick to their translational ideology and strategy in their excerpted translation ofSanguo? Let us look at two brief examples:

    ST:“為將而不通天文,不識地利,不知奇門,不曉陰陽,不看陣圖,不明兵勢,是庸才也?!?Luo,1996,p.282)

    Brewitt-Taylor (1925,p.485):

    “One cannot be a leader without knowing the workings of heaven and the ways of earth.One must understand the secret gates and the value of forces.It’s but an ordinary talent.”

    Yang & Yang (1962a,p.84):

    “A general is mediocre unless he knows the law of heaven and earth,the changes of nature and the complexities of army formations.”

    The original text is uttered by a main character Kong Ming after he has won a battle against the enemy.It concerns the six capabilities which a good general should be equipped with.1In order to illustrate the original text in a more faithful way to the reader,I give the version by Moss Roberts here since his translation is almost word-for-word:“A military commander is a mediocrity unless he is versed in the patterns of the heavens,recognizes advantages of the terrain,knows the interaction of prognostic signs,understands the changes in weather,examines the maps of deployment,and is clear about the balance of forces.” (Roberts,1991,p.355)Both versions condensed the six abilities to four,yet the Yangs’ version is more simplified than Brewitt-Taylor’s.For example,in translating the first two phrases “不通天文’” and “不識地利”,Brewitt-Taylor put them as“without knowing the workings of heaven and the ways of earth”,while Yangs rendered them as “unless he knows the law of heaven and earth”.Though Yangs translated “兵勢” literally as “the complexities of army formations”,which was omitted in Brewitt-Taylor’s version,the couple simplified “不知奇門,不曉陰陽”(It literally means one does not know the interaction of prognostic signs,nor does he understand yin and yang),as “the changes of nature”.Meanwhile,Brewitt-Taylor translated the original image “奇門” literally as “secret gates”.

    Here is another example:

    ST:“此人有奪天地造化之法、鬼神不測之術(shù)!若留此人,乃東吳禍根也。及早殺卻,免生他日之憂。”(Luo,1996,p.297)

    Brewitt-Taylor (1925,p.511):

    “Really the man has power over the heavens and authority over the earth; his methods are incalculable,beyond the ken of god or devil.He cannot be allowed to live to be a danger to our land of Wu.We must slay him soon to fend off later evils.”

    Yang & Yang (1962a,p.44):

    “Why,the fellow has the power to change the course of Nature:he is more than human! If we let him live,he will be the ruin of our state.I had better kill him now to avoid trouble later.”

    This example is more representative.When dealing with the phrase “天地造化之法、鬼神不測之術(shù)”,Brewitt-Taylor’s translation is almost word-for-word to the original text,“power over the heavens and authority over the earth; his methods are incalculable,beyond the ken of god or devil”.In contrast,Yangs’version,“the power to change the course of Nature”,omits the original images of god and devil,heaven and earth,and is then followed by their own interpretation or addition in the phrase “he is more than human!”.

    The Yang couple’s translation of their selected chapters fromSanguo yanyidoes not offer very strong evidence to illustrate the unreliability of the paratexts with respect to the main translated text.In any case,Yang Xianyi’s view quoted above bears on their translations as a whole,not specifically on the translation ofSanguo.Yet it is worth our attention as it shows that we cannot make judgments on or draw conclusions about a translator’s style based solely on the translator’s own claims.The translated text may deviate slightly or substantially from the translator’s own explanation.

    4.Cheung Yik-man’s version

    Now,let me move on to another version of the same chapters that the Yangs translated.Cheung Yik-man self-published his translation entitledRomance of the Three Kingdoms:From Chapter 43 to Chapter 50三國志演義精華 in 1972,printed by the Tai Tung Printing Company 大同印務(wù)公司 in China’s Hong Kong.It was reprinted in 1986 in the mainland of China by the Youyi Publishing Company 中國友誼出版公司.The first edition of 1972 is bilingual,with both the Chinese and the English text in parallel.Prior to the main text,it has forewords by four Chinese scholars and the translator’s note.

    4.1 Textual comparison

    Before I go on to analyze the paratexts accompanying this translation,let me compare Cheung Yik-man’s version with the translations of the Yangs and Brewitt-Taylor.The source text is from chapter 44 of the novel when the character Kong Ming is replying to a brutal interrogation from a Wu advisor.

    ST:孔明答曰:“儒有小人君子之別。君子之儒,忠君愛國,守正惡邪,務(wù)使?jié)杉爱?dāng)時,名留后世?!舴蛐∪酥?,惟務(wù)雕蟲,專工翰墨,青春作賦,皓首窮經(jīng);筆下雖有千言,胸中實無一策?!保↙uo,1996,p.263)

    Brewitt-Taylor (1925,p.453):

    Kung-ming replied,“There are scholars and scholars.There is the noble scholar,loyal and patriotic,of perfect rectitude and a hater of any crookedness.The concern of such a scholar is to act in full sympathy with his day and leave to future ages a fine reputation.There is the scholar of the mean type,a pedant and nothing more.He labours constantly with his pen,in his callow youth composing odes and in hoary age still striving to understand the classical book completely.Thousands of words flow from his pen but there is not a solid idea in his breast.”

    Yang & Yang (1962a,p.48):

    Zhuge Liang retorted,“There are two types of scholar:the noble and the mean.A True scholar is loyal to his sovereign and loves his country,abiding by the right and hating evil,eager to benefit the men of his time and leave a good name to posterity.A mean scholar on the other hand devotes himself to trivialities.All he can do is flourish a pen,wasting his youth writing poetry and studying the classics till his hair turns white.A thousand words flow from his pen,but there is not one sound principle in his head.”

    Cheung (1972,p.20):

    Then Zhuge Liang replied,“There are noble scholars and mean scholars.The noble scholars are loyal to their sovereign and love their country,abiding by the right and hating evil,eager to benefit the men of his time and leave a fine reputation to future ages.However,the mean scholars devote themselves,only to literary trivial skill and labour only with pen [sic],in their youth composing odes and in their hoary age striving to understand the classical books completely.Although a thousand words may flow from each of their pens yet there is not a single plan in each of their heads.”

    If a comparison between the translation by the Yangs and that by Cheung Yik-man is attempted,it can be seen that the two versions are remarkably similar in language and structure.In this example,on the textual level,Cheung’s version copies both Brewitt-Taylor’s and the Yangs’ translation,with slight modifications.For instance,when translating the phrase “名留后世” (“l(fā)eave a good reputation to future ages”),Cheung copied the expressions in Brewitt-Taylor’s version “future ages“ and “fine reputation”; while in translating the phrase “忠君愛國” (“l(fā)oyal to the king and love the country”),he copied Yangs’ version “l(fā)oyal to his sovereign and loves his country”.However,a subtle mistake reveals his inconsistency.Brewitt-Taylor uses subjects and related verbs in the plural form,such as “noble scholars”,while the Yangs’ version applies the singular form,such as “a true scholar is […]” But Cheung seems to be less cautious when referring to the two translations,thus making his own version incorrect on a grammatical level.Cheung translates the first sentence of this passage as “There are noble scholars and mean scholars” using the plural form,but then continues with ‘The noble scholars are loyal to […],eager to benefit the people of his time and leave a fine reputation to future ages”,when he tries to imitate the Yangs’ version:“eager to benefit the men of his time and leave a good name to posterity”.The highlighted word suggests his negligence and inconsistency.Another example is the title of Chapter 44 given in the following.

    ST:孔明用智激周瑜 孫權(quán)決計破曹操(Luo,1996,p.267)

    Brewitt-Taylor (1925,p.459):

    KUNG-MING STIRS CHOU YU TO ACTION:SUN CH’UAN DECIDES TO ATTACK TS’AO TS’AO

    Yang & Yang (1962a,p.55):

    Wily Chuko Liang Incites Chou Yu Action // Sun Chuan Decides to Rout Tsao Tsao

    Cheung (1972,p.36):

    Chuko Liang Incites Chou Yu Wisely; Sun Chuan Decides to Rout Tsao Tsao

    Cheung’s version remains almost the same as the Yangs’ except for a single difference in the translation of “智”.In Yangs’ version,they rendered it as the adjective “wily”,meaning crafty.In comparison,Cheung rendered it as the adverb,“wisely”.Lexically,the two words contain different implications.“Wily” is an objective description of the character’s plan in this story,while “wisely” implies a positive comment on the character’s behavior.In this context,the Yangs’ version is closer to the original text than Cheung’s version.The copying by Cheung can be discerned in the almost identical nouns,verbs and structure.

    The examples above illustrate the similarities and even sameness between Cheung’s and the Yangs’versions in chapters 43 and 44,and the way in which Cheung copied both Brewitt-Taylor’s and the Yangs’translations at times.Moreover,from Chapter 45 to Chapter 50,Cheung’s version remains the same as the Yangs’,except for the notes,which are more numerous in the Yangs’ translation than in Cheung’s.

    4.2 Paratextual evidence

    Textually,it is evident that Cheung Yik-man copied the Yangs’ version.I will provide further evidence from paratextual elements,including the reviews inChinese Literature,the Yangs’ translation,as well as the reputation of the Yangs,in order to support my argument from the perspective of the impact of the Yangs’ version.

    Let us first have a look at the translators’ profiles.Yang Xianyi and Gladys Yang are well-known translators of Chinese literature—both ancient and modern novels.They made significant contributions to the introduction of Chinese literature and culture to the West.One of their most famous works,which received high praise in academic circles,is their translation ofHong Lou Meng紅樓夢,A Dream of Red Mansions,which I mentioned above.

    I could not find any biographical information about Cheung Yik-man.The only description I found comes from a journal article in Chinese titled “《三國演義》的外文譯文” (“Research on the Version of Novel ofTheThree Kingdoms”) by two authors based in the mainland of China.In this article,Cheung Yik-man was referred to as a Canadian-based or Canadian translator (Wang & Du,2006).Another two writers quoted this view in their essays:Wen Jun and Li Peijia (2011) in their article on the history ofSanguo yanyitranslations published in a journal based in the mainland of China and Feng Lei in his PhD dissertation (2012) on two English translations ofSanguo yanyi.

    According to the preface to the book in this case study,Cheung was probably working at Chu Hai College of Higher Education 珠海書院 in China’s Hong Kong,when the work was published,as both the president of this college and one of Cheung’s colleagues wrote forewords to his book.In addition,the page containing publishing information at the end of this version shows that the book was printed in China’s Hong Kong,and self-published.Cheung appeared to live in China’s Hong Kong at that time,with the address noted on the page,“香港九龍?zhí)拥?99A五樓/ 199A,Prince Edward Rd.,5/F.,Kln.,Hong Kong” (Cheung,1972,p.217).

    Chinese Literature,the journal in which the Yangs’ translation was published,was very well known.It was founded by the Chinese Foreign Language Bureau and Foreign Languages Press in 1951,and produced many classic Chinese literary works from 1951 to 1965.The purpose of the journal was to introduce Chinese culture to the West.Due to the prevailing political and cultural norms of the fight against the outdated feudal ideologies,the works translated were selected by the authorities and supposed to satirize the decay of feudal society.

    The circulation ofChineseLiteratureabroad illustrates the popularity of the journal.For instance,as an author of a PhD dissertation claims,around 15,000 volumes in 1957 were printed and there were more subscriptions after 1963 (Zheng,2012,p.103).Libraries outside the mainland of China and universities with sinological studies often subscribed toChinese Literature,either its paper edition or in microform.1Frustratingly,I searched in the libraries of Hong Kong Baptist University,Chinese University of Hong Kong,Lingnan University of Hong Kong,yet their collections of Chinese Literature lack the volumes of 1962 in which Yangs’ excerpted translation of Sanguo was firstly published.

    Chinese Literaturewas also an important channel for sinologists in European countries to learn about China and developments in Chinese literature.Good evidence comes from a special issue titled “Chinese Literature” fromChinese Literature Quarterlyin 1963; some articles contained many quotations fromChinese Literature.

    The public epitexts—book reviews and journal papers—relating to the Yangs’ version as well as the journalChinese Literatureillustrate the considerable impact of the press and the availability of the Yangs’translation; thus the materials support the assumption that Cheung Yik-man was aware of the Yangs’ work before his retranslation,and that his work was the result of copying rather than coincidentally thinking along the same lines.

    5.Unreliable Paratexts

    Based on the textual analysis as well as the paratextual evidence,we have obtained a clear image of Cheung’s copying.Now let us have a closer look at the paratexts in Cheung’s translation.As we will see,they blur the intertextual relations and weaken the function of the paratexts as interpretation.

    5.1 Translator’s Autographic Preface

    Let us look at the translator’s own preface.Cheung Yik-man’s preface is one page and a half long with three paragraphs,justifying the changes he has made in this version compared with previous works and speaking of his plans for more translations in the future.Cheung (1972,p.29) claimed that his translation was more loyal to the original text than that by Brewitt-Taylor:

    […] the difference between my translation and that by C.H.Brewitt-Taylor is that my translation is a line for line and sometimes,if it is possible,word for word translation,whereas the other translation is only an inaccurate paraphrase in which it is very easy for any Chinese reader with a little knowledge of English to find out the inexcusable mistakes.A translation with such mistakes must be a stumbling block for the foreigners to have a thorough understanding of our Chinese classics.I confess my translation is by no means the best one,but I profess it to be a faithful one which,I am perfectly sure,is a requisite for the foreigners to study the Chinese literature and culture.

    Cheung directly clarified the differences between his version and Brewitt-Taylor’s at the very beginning of the preface.He used quite a few critical words to comment on Brewitt-Taylor’s work and to justify his retranslation,such as “inexcusable mistakes”,“stumbling block”,“profess”,“perfectly sure” and “requisite”.Though Cheung claimed that his translation originated from his reflections on the errors in Brewitt-Taylor’s translation,he did not say a word about the Yangs’ 1962 version.Given the reputation and the impact ofChinese Literatureabroad at that time and the obvious copying on the textual level in his version,Cheung’s deliberate omission suggests an attempt to cover up his copying.Cheung (ibid.) then talked about his plans to translate more works of ancient Chinese literature since he was not satisfied with the inaccuracies in previous works by other translators.

    As for the mistakes in C.H.Brewitt-Taylor’s translation,I plan to write a special article about them.I also plan to publish my translation of other chapters of this novel in the near future.

    In fact,it is quite necessary for us to have faithful translations for the Chinese classics such asWater Margin水滸傳 andThe Dream of the Red Chamber紅樓夢 because in these two present translations by other writers I have also found out many serious mistakes that not only would make such lively and interesting novels dull but would distort the real meaning of the authors.It is my hope that after finishing the translation of this novel,some day I may have an opportunity to devote myself to this task.

    However,no evidence can be found to prove that he fulfilled his ambition of translating other Chinese literary works.1I have searched the British Library and the SOAS library in London,the Library of Congress in Washington,and the libraries at the Chinese University of Hong Kong and Hong Kong Baptist University.In terms of the two Chinese literary works Cheung mentions in the preface,the two full translations of 水滸傳Water Marginwere published before 1972:One in 1933 by Pearl S.Buck,which was heavily criticized for its errors and inaccuracies,and one in 1937 by J.H.Jackson.A better full translation by Chinese-naturalized scholar Sidney Shapiro 沙博理 was published in 1980,which could not have been read by Cheung before he wrote this preface.As for 紅樓夢The Dream of the Red Chamber,after several early partial translations,two full versions highly praised in academic circles were published in 1973 and 1978 respectively,both after this preface.

    According to the English title applied by Cheung in the preface,it is likely that the version to which Cheung referred isThe Dream of the Red Chamberby Florence and Isabel McHugh,published in 1958.So the previous works with “serious mistakes” as Cheung said in the preface may refer to those early translations of the two novels,and it is likely that Cheung did not have time to produce his own translation of 紅樓夢 when the two full-text versions by David Hawkes and John Minford and by the Yangs respectively came out in 1973 and 1976,as these two works would have greatly diminished the significance of his intended retranslation.

    5.2 Allographic prefaces

    Apart from the translator’s own preface,those by others also reveal the intertextual relations between author,translator,reader,previous translations,and the retranslation.As Genette (1997) pointed out,the functions of the allographic preface overlap with “the functions of the original authorial preface (prefaces are to promote and guide a reading of the work)”,but the allographic prefaces also have some special functions:“High praise of the text becomes a recommendation,and information about the text becomes a presentation” (p.265).

    It is common that an author would invite someone “whose reputation is more firmly established than the author’s” and “who is capable of adding a value to a work” (Genette,1997,p.268) to write prefaces to a work.This is the meaning we could give to the prefaces to Cheung’s translation.In Cheung’s book,the forewords were written by the president of Chu Hai College of Higher Education,Kong Mou-sum 江茂森,scholars Huang Wen-shan 黃文山 and Wu Fu-kun 伍福焜,as well as Cheung’s colleague,Professor Lo Hsiang-lin 羅香林.

    It is necessary to probe into their personal profiles and reconstruct the context in which their prefaces were produced.Kong Mou-sum (1901-1982) was a well-known educator during the Republic of China(1912-1949),and one of the founders of Chu Hai College of Higher Education before it moved from Zhuhai,Guangdong Province,in the south of the mainland of China to China’s Hong Kong.Lo Hsianglin (1906-1978) was a famous scholar in Hakka language and culture.From 1956 to 1968,he worked as a professor in Hong Kong University’s Chinese department,and in 1969,he was the first director of the Research Institute of Chinese Literature and History at Chu Hai College of Higher Education.Huang Wen-shan (1898-1988) produced a great deal of excellent research in fields of cultural studies,sociology,anthropology,and ethnology.Huang was a supporter of anarchism during the May 4th Movement of 1919.I have not found much information about Fu-kun Wu,with only a few words online about his background as “伍福焜,密歇根大學(xué)博士,中山大學(xué)、珠海等院校教授” (Wu Fu-kun,Doctor of Michigan University and Professor of Sun Yat-sen University,Chu Hai College of Higher Education,etc.).According to my research,there were several editions of Wu’s manuscripts during the Republic of China (1912-1949)in recent years,which indicates both his reputation as a well-known scholar and the value of his works.

    These preface-writers all praised Cheung’s good knowledge of English literature and language as well as Chinese literature.As president Kong Mou-sum said,“Professor Cheung Yik-man writes in good colloquial English without falling into slang,and the short paragraphs are pleasant” (Cheung,1972,p.2).Professor Lo Hsiang-lin also justified Cheung’s retranslation since previous versions contained inadequacies.Two preface-writers even recalled traditional Chinese translation concepts in their preface to advocate Cheung’s work.Prof.Huang Wenshan showed his admiration for Cheung’s translation using Yan Fu’s three principles,“Such style of translation is really up to the three standards:resonance,assimilating and creating.As to the standards of translation,in addition to Yen Fu’s three standards:accuracy,intelligibility and elegance,I think these standards are the standards of ‘integral translation’”(ibid.,p.25).

    Yet the previous English translations were not mentioned in any of these prefaces,with the exception of the one by Lo Hsiang-lin,who discussed in detail Brewitt-Taylor’s version of 1925.IfChinese Literaturewas widely visible at home and abroad,why did none of the four preface-writers mention the Yangs’translation of 1962? It is possible that they knew of the Yangs’ work but did not check it or compare it with Cheung’s version when they wrote the prefaces; alternatively,they were never aware of the Yangs’translation.

    5.3 Notes to the main text

    Apart from the prefaces,I will also examine another kind of paratext:notes.The main function of notes is “to serve as a supplement,sometimes a digression,very rarely a commentary” (Genette,1997,p.327).In the case of the novelSanguo yanyi,things are more complex because all the notes or,more precisely,commentaries on a popular edition ofSanguo yanyiwere made by a Qing Dynasty critic Mao Zong-gang and his father Mao Lun in the mid-1660s,rather than by the original author Luo Guan-zhong.Moreover,it is a different situation in the translations because not all versions include the translation of Mao’s commentaries,with some translators preferring to give their own notes to their translated texts,as the Yangs did,in order to help readers understand the novel’s content and context.

    Interestingly,the notes to the main translated text in the Yangs’ 1962 version were mostly removed in Cheung’s translation,except for the last note at the end of the text about an allusion to the historical story of Zizhuo Ruzi (子濯孺子).Cheung put this note into both Chinese and English,in accordance with the whole text as a bilingual version.

    The only note in Cheung’s translation is the following:

    春秋時,衛(wèi)國派庾公之斯追擊子濯孺子,他們都很會射箭,但子濯孺子因為生病,不能拿弓應(yīng)戰(zhàn)。庾公之斯對他說:“我跟尹公之他學(xué)射箭,尹公之他跟您學(xué)射箭,我不忍用您的技術(shù)反過來害您?!庇谑前鸭^敲掉,射了四枝沒有箭頭的箭回去了。

    In the time of Ch’un Ts’ew age,Kingdom of Wei sent Yu-kung-chih-szu to overtake and attack Tzu-cho-ju-tzu.They both could shoot arrows very well.But Tzu-cho-ju-tzu being ill could not handle his bow to defend himself.Yu-kung-chih-szu said to him,“I learned archery from Yin-kung-chih-tar.Yin-kung-chih-tar learned archery from you.I cannot bear to use your skill to harm you.” So he knocked off the tips of some of his arrows and returned after shooting four arrows without tips.(Cheung,1972,p.216)

    The English version above is literally translated from the Chinese one.It is different from the note to the same allusion in the Yangs’ version.The Yangs put it as a footnote as they did to all notes in their version:

    They were both famous archers of ancient times.During a battle Yu-kung Chih-szu was sent to overtake Tzu-cho Ju-tzu,who being ill was unable to defend himself.“I learned archery from your pupil,”said Yu-kung Chih-szu.“I cannot use your skills to harm you.”So he knocked off the tips of four arrows and returned after shooting these.(Yang & Yang,1962b,p.59)

    Although the English version of Cheung’s note is different from the Yangs’,some similarities in word choice and sentence structure remain.For example,Cheung slightly modified Yangs’ “I cannot use your skills to harm you” to “I cannot bear to use your skills to harm you”.The last sentence is also quite similar:Cheung kept most of the sentence with minor modifications.Also,this allusion was neither explained in Mao’s commentaries to the original novel,nor in Brewitt-Taylor’s 1925 translation; so Cheng’s note was highly likely inspired by or had referred to the Yangs’ footnote.In this regard,it can be assumed that Cheung’s intention was to cover up his copying of the Yangs’ translation and to distance his version from previous works.

    6.Value in paratexts

    It is evident that the textual comparison presents a different story from that in the paratexts.If paratexts are,as Venuti (2013,p.105) suggests,“a more immediate form of intertextuality”,what information could be read in the paratexts of Parker’s translation,the Yangs’ translation and Cheung’s translation?

    Parker’s footnotes present his individual comprehension of the characters and the reshaping of the characters by overemphasizing negative or positive parts in them.Then,the translator’s value-inscribing directly affects the main translated text and the target reader’s reception of the story.The value inscription in the Yangs’ version is not that evident since their translation demonstrates only certain degree of simplification though they claimed to be faithful to the original in the interview almost three decades later.

    In Cheung’s case,an intertextual link was hidden by the retranslator on purpose.And if we examine his case in terms of values,what kind of value does that deliberate covering-up involve? On a purely textual level,the identity between Cheung’s and the Yangs’ versions means that Cheung added zero value.With respect to Brewitt-Taylor,Cheung did add value,because there was an appreciable difference between the two versions,which Cheung’s preface made clear.

    The problem,however,is that the value Cheung claimed to have added is not his own but belongs to the Yangs.This fact is important,because this is precisely what plagiarism is about:presenting something as your own which in fact is not your own.Plagiarism,like theft,is a matter of ownership.In this case,Cheung Yik-man merely copied most of the text in the Yangs’ translation and got it published in another place by another press.Cheung is not the rightful owner of the version he presented as his own; it belongs to the Yangs.This could be called “negative” value.

    When the translator not only fails his claim to make a difference but also copies other works to pretend an equal ability,a negative value is therefore inscribed.The adjective “negative” here refers to a retranslation with a value that is not accepted by the moral criteria in the prevailing social norm.Also,we could say that the value plummets upon the discovery of plagiarism.

    What is plagiarism? According to Louis de Jaucourt’s article “Plagiarism” from Diderot’sEncyclopédie,a plagiarist is “a man who,wanting at all costs to become an author,and who having neither the genius nor the talent necessary,copies not only sentences,but even pages and entire passages of other authors,and has the bad faith not to quote them” and the plagiarist “claims for himself the honour of a discovery made by another” (as cited in Randall,2001,p.17),which illustrates the morally objectionable nature of plagiarism.Also,as Randall (2001,p.95) suggests,“Plagiarism exceeds the limits of copyright as authorship exceeds those of ownership”.

    Cheung’s copying of the Yangs’ translation covers most of the text (exactly the same from chapters 45 to 50),and makes deliberate modifications in chapters 43 and 44.As Jaucourt says,the plagiarist “by means of a few minor changes in expression or a few additions presents the productions of others as something that he has himself imagined or invented” (as cited in Randall,2001,p.17).Cheung’s minor modifications reveal his intention of claiming authorship of the translation by making it “l(fā)ook new and different”.

    In addition,whether the value is dubious depends greatly on the information possessed by the reader.As Venuti mentioned in his 2004/2013 essay,some readers,who possess adequate information,might figure out intertextual links where others might not (Venuti,2013,p.100).In Cheung’s case,we can say that the retranslator Cheung Yik-man does not want his intended reader to spot the intertextual link.Indeed,spotting the right link depends on the reader’s access to the earlier version,together with his or her willingness to compare the relevant versions in some detail.The retranslation may be judged differently by readers who do not look at the work from a critical and comparative perspective.

    7.Conclusions

    Lawrence Venuti’s discussion of paratexts in his 2004/2013 essay has offered us a chance to reflect upon paratexts and their actual functions:What do paratexts actually do? Paratexts in retranslations are often regarded as windows on the complex relations between author,translator,retranslator,reader,and translations.However,at times they prove to be value-inscribing,sometimes unreliable,and even cover up highly relevant intertextual links.When this happens,they fail in their function of expounding or announcing new interpretations.Instead,they mislead the reader.

    猜你喜歡
    孺子之術(shù)射箭
    小熊射箭
    學(xué)射箭
    從“長生之術(shù)”到“養(yǎng)生之術(shù)”——中醫(yī)怎么抗衰老
    誰是射箭高手
    孺子牛
    孺子難教
    跳跳龍失蹤
    短路學(xué)校
    孺子驅(qū)雞
    言過其實
    雜文選刊(2014年12期)2014-11-17 09:19:05
    在线观看免费午夜福利视频| 午夜视频精品福利| www.999成人在线观看| 一级,二级,三级黄色视频| 日本vs欧美在线观看视频| 黄色a级毛片大全视频| 一二三四在线观看免费中文在| 国产亚洲精品综合一区在线观看 | 国产精品亚洲av一区麻豆| 日日摸夜夜添夜夜添小说| 午夜激情av网站| 亚洲国产精品999在线| 国产一区二区在线av高清观看| 亚洲精品中文字幕一二三四区| 好男人在线观看高清免费视频 | 香蕉久久夜色| 免费看a级黄色片| 国产三级黄色录像| 99久久国产精品久久久| 波多野结衣巨乳人妻| 夜夜看夜夜爽夜夜摸| 久热这里只有精品99| 亚洲欧美一区二区三区黑人| 亚洲avbb在线观看| 老司机在亚洲福利影院| 亚洲成人国产一区在线观看| 这个男人来自地球电影免费观看| 欧美成人免费av一区二区三区| 精品久久久久久久人妻蜜臀av | 欧美日韩乱码在线| 精品久久蜜臀av无| 欧美激情久久久久久爽电影 | 亚洲国产中文字幕在线视频| 一级a爱视频在线免费观看| 国产精品久久久av美女十八| 日日干狠狠操夜夜爽| 国内精品久久久久久久电影| 亚洲国产日韩欧美精品在线观看 | 美女高潮到喷水免费观看| 精品欧美国产一区二区三| 久久国产精品人妻蜜桃| 丝袜在线中文字幕| 亚洲人成77777在线视频| 18禁黄网站禁片午夜丰满| 高潮久久久久久久久久久不卡| 又紧又爽又黄一区二区| 国产主播在线观看一区二区| 午夜免费激情av| 国产高清videossex| 欧美日韩精品网址| 国产免费av片在线观看野外av| 欧美日韩乱码在线| 婷婷丁香在线五月| 757午夜福利合集在线观看| 搡老岳熟女国产| 国产亚洲精品久久久久5区| 操美女的视频在线观看| 美女国产高潮福利片在线看| 精品国产一区二区三区四区第35| 亚洲va日本ⅴa欧美va伊人久久| 国产熟女xx| 婷婷精品国产亚洲av在线| 久久久国产精品麻豆| 热99re8久久精品国产| 91精品国产国语对白视频| 欧美一区二区精品小视频在线| 欧美黄色片欧美黄色片| 免费搜索国产男女视频| 国产精品一区二区免费欧美| 欧美亚洲日本最大视频资源| 国产黄a三级三级三级人| 99精品久久久久人妻精品| 国产精品电影一区二区三区| 悠悠久久av| 欧美日本中文国产一区发布| 久久这里只有精品19| 丝袜美足系列| 亚洲伊人色综图| 国产av精品麻豆| 夜夜夜夜夜久久久久| 好看av亚洲va欧美ⅴa在| 久久人人精品亚洲av| 欧美激情高清一区二区三区| 亚洲国产精品久久男人天堂| 黄色 视频免费看| 亚洲精品粉嫩美女一区| 女人精品久久久久毛片| 免费无遮挡裸体视频| 日本 av在线| 久久亚洲真实| 国产单亲对白刺激| 真人做人爱边吃奶动态| 日本五十路高清| 日韩欧美一区视频在线观看| 一边摸一边抽搐一进一小说| 日日爽夜夜爽网站| 亚洲国产精品sss在线观看| 国产成人精品久久二区二区91| 中出人妻视频一区二区| 麻豆成人av在线观看| 欧美午夜高清在线| 国产麻豆成人av免费视频| 真人做人爱边吃奶动态| 久久久国产欧美日韩av| 午夜亚洲福利在线播放| av天堂久久9| 午夜两性在线视频| 嫩草影院精品99| 亚洲免费av在线视频| 亚洲va日本ⅴa欧美va伊人久久| 亚洲第一av免费看| 青草久久国产| netflix在线观看网站| 在线视频色国产色| 高清毛片免费观看视频网站| 国产精品野战在线观看| 天天躁狠狠躁夜夜躁狠狠躁| 亚洲aⅴ乱码一区二区在线播放 | 性少妇av在线| 九色亚洲精品在线播放| 中文字幕人妻丝袜一区二区| 黄色片一级片一级黄色片| 黑人操中国人逼视频| 国产精品久久久av美女十八| 青草久久国产| 亚洲国产日韩欧美精品在线观看 | 亚洲精品中文字幕一二三四区| 99久久综合精品五月天人人| 亚洲欧美激情在线| 一个人免费在线观看的高清视频| 欧美丝袜亚洲另类 | 视频在线观看一区二区三区| 窝窝影院91人妻| 99国产极品粉嫩在线观看| 18禁美女被吸乳视频| 午夜成年电影在线免费观看| 一区二区三区高清视频在线| 日日干狠狠操夜夜爽| 午夜久久久久精精品| 999精品在线视频| 国产成人精品在线电影| 校园春色视频在线观看| 少妇粗大呻吟视频| 亚洲一码二码三码区别大吗| 精品国内亚洲2022精品成人| 亚洲国产精品999在线| 久久久久国内视频| 久久精品国产综合久久久| 一a级毛片在线观看| a级毛片在线看网站| 亚洲在线自拍视频| 97人妻精品一区二区三区麻豆 | 制服诱惑二区| 在线十欧美十亚洲十日本专区| 在线观看一区二区三区| 欧美日韩福利视频一区二区| 色婷婷久久久亚洲欧美| 亚洲中文av在线| 国产成人欧美在线观看| 久久国产精品影院| 欧美日韩中文字幕国产精品一区二区三区 | 9色porny在线观看| av天堂在线播放| cao死你这个sao货| 久久 成人 亚洲| 波多野结衣av一区二区av| 亚洲五月天丁香| 精品第一国产精品| 久久久国产欧美日韩av| www.www免费av| 成人欧美大片| 一区二区日韩欧美中文字幕| 欧美色欧美亚洲另类二区 | 一区二区三区精品91| 久久久久久久久中文| 欧美在线黄色| 人人妻人人澡人人看| 亚洲国产精品合色在线| 天堂动漫精品| 国产成人啪精品午夜网站| 妹子高潮喷水视频| 一个人观看的视频www高清免费观看 | 每晚都被弄得嗷嗷叫到高潮| 亚洲aⅴ乱码一区二区在线播放 | 亚洲天堂国产精品一区在线| 欧美日本亚洲视频在线播放| 好男人在线观看高清免费视频 | 国产野战对白在线观看| av视频在线观看入口| 九色国产91popny在线| 此物有八面人人有两片| 在线观看免费日韩欧美大片| 亚洲国产欧美网| 午夜a级毛片| 69精品国产乱码久久久| av免费在线观看网站| 成人免费观看视频高清| 亚洲avbb在线观看| 国产三级在线视频| 好男人在线观看高清免费视频 | 一二三四在线观看免费中文在| 美女免费视频网站| 国产精品久久久久久人妻精品电影| 亚洲久久久国产精品| 别揉我奶头~嗯~啊~动态视频| 91老司机精品| 久久精品91蜜桃| 日本精品一区二区三区蜜桃| 一区在线观看完整版| 99精品在免费线老司机午夜| 麻豆久久精品国产亚洲av| 久久中文看片网| 69精品国产乱码久久久| 国产精品野战在线观看| 欧美亚洲日本最大视频资源| 久久精品影院6| 国产成人影院久久av| 亚洲国产精品久久男人天堂| 咕卡用的链子| 亚洲专区中文字幕在线| www.999成人在线观看| 给我免费播放毛片高清在线观看| 成人国语在线视频| netflix在线观看网站| 日韩免费av在线播放| 亚洲av美国av| 老鸭窝网址在线观看| 国产亚洲欧美精品永久| 无限看片的www在线观看| 久久人人精品亚洲av| 久久久久久久精品吃奶| 黄色a级毛片大全视频| 美女免费视频网站| 日本vs欧美在线观看视频| 亚洲中文字幕日韩| 制服丝袜大香蕉在线| 一级毛片女人18水好多| 他把我摸到了高潮在线观看| av片东京热男人的天堂| 不卡一级毛片| 亚洲精品久久国产高清桃花| 亚洲av成人一区二区三| 中文字幕人妻丝袜一区二区| 在线播放国产精品三级| 在线观看一区二区三区| 女人被狂操c到高潮| 色哟哟哟哟哟哟| 满18在线观看网站| 中文字幕高清在线视频| 亚洲精品美女久久久久99蜜臀| 日韩一卡2卡3卡4卡2021年| 黑人巨大精品欧美一区二区mp4| 成人亚洲精品一区在线观看| 精品一区二区三区av网在线观看| 国产三级在线视频| 三级毛片av免费| 一边摸一边做爽爽视频免费| 国产成人精品久久二区二区91| 精品国产乱子伦一区二区三区| 91成人精品电影| 男人操女人黄网站| 日韩中文字幕欧美一区二区| 视频在线观看一区二区三区| 97人妻天天添夜夜摸| 国产一区二区三区在线臀色熟女| xxx96com| 在线观看一区二区三区| 欧美一级毛片孕妇| 涩涩av久久男人的天堂| 免费在线观看亚洲国产| 久久人人97超碰香蕉20202| 午夜福利在线观看吧| 好看av亚洲va欧美ⅴa在| АⅤ资源中文在线天堂| 久久人妻av系列| 一级a爱片免费观看的视频| 欧美日韩福利视频一区二区| 免费在线观看影片大全网站| 午夜福利视频1000在线观看 | 18美女黄网站色大片免费观看| 精品卡一卡二卡四卡免费| 午夜福利,免费看| 午夜福利成人在线免费观看| 亚洲第一av免费看| 日本撒尿小便嘘嘘汇集6| 国产一级毛片七仙女欲春2 | 欧洲精品卡2卡3卡4卡5卡区| 搡老岳熟女国产| 国内精品久久久久久久电影| 日韩精品青青久久久久久| 亚洲成av人片免费观看| 久久香蕉精品热| 亚洲黑人精品在线| 欧美激情久久久久久爽电影 | 女性被躁到高潮视频| 久久久久久大精品| 中文字幕av电影在线播放| 亚洲激情在线av| 精品午夜福利视频在线观看一区| av中文乱码字幕在线| 国产欧美日韩一区二区精品| 不卡一级毛片| 制服诱惑二区| 国产一区二区三区视频了| 一级,二级,三级黄色视频| 欧美性长视频在线观看| 精品国产乱码久久久久久男人| 国产成人av激情在线播放| 久久婷婷人人爽人人干人人爱 | 精品一品国产午夜福利视频| 亚洲第一欧美日韩一区二区三区| 乱人伦中国视频| 亚洲色图 男人天堂 中文字幕| 亚洲一区中文字幕在线| 欧美成人性av电影在线观看| 少妇熟女aⅴ在线视频| 国产一区二区三区在线臀色熟女| 成人欧美大片| 亚洲中文av在线| 我的亚洲天堂| 欧美激情 高清一区二区三区| 自拍欧美九色日韩亚洲蝌蚪91| 国产高清视频在线播放一区| 一区在线观看完整版| 亚洲欧美激情在线| 国产亚洲av嫩草精品影院| 少妇 在线观看| 最近最新中文字幕大全免费视频| 搞女人的毛片| 久久精品国产亚洲av高清一级| 丝袜美足系列| 免费高清在线观看日韩| 韩国av一区二区三区四区| 久久精品人人爽人人爽视色| 国产激情欧美一区二区| 国产成年人精品一区二区| 黄色丝袜av网址大全| 一区福利在线观看| 人妻久久中文字幕网| 午夜福利18| 女人精品久久久久毛片| 在线视频色国产色| 亚洲免费av在线视频| av中文乱码字幕在线| 国产精品秋霞免费鲁丝片| 丝袜在线中文字幕| 国产欧美日韩综合在线一区二区| 少妇粗大呻吟视频| 女警被强在线播放| 亚洲 国产 在线| 精品一区二区三区视频在线观看免费| 人成视频在线观看免费观看| 欧美激情久久久久久爽电影 | 亚洲五月色婷婷综合| 一个人观看的视频www高清免费观看 | 国产亚洲精品第一综合不卡| 两人在一起打扑克的视频| 久久人人97超碰香蕉20202| 欧美日韩福利视频一区二区| 亚洲 国产 在线| 99久久国产精品久久久| 日本五十路高清| aaaaa片日本免费| 嫩草影视91久久| 欧美日韩一级在线毛片| 日韩欧美国产一区二区入口| 成人国语在线视频| 国产又色又爽无遮挡免费看| 高清在线国产一区| 99热只有精品国产| 免费观看精品视频网站| 女性生殖器流出的白浆| 亚洲国产欧美网| 国产精品自产拍在线观看55亚洲| 精品久久久久久久久久免费视频| 宅男免费午夜| 91老司机精品| 亚洲中文av在线| 热re99久久国产66热| 欧美日韩中文字幕国产精品一区二区三区 | 在线观看www视频免费| www.www免费av| 亚洲熟女毛片儿| 一区二区三区精品91| 精品国产超薄肉色丝袜足j| 久久九九热精品免费| 成人特级黄色片久久久久久久| 视频在线观看一区二区三区| 亚洲 欧美 日韩 在线 免费| 波多野结衣一区麻豆| 一区二区三区高清视频在线| 日韩一卡2卡3卡4卡2021年| 日本五十路高清| 久久久国产成人精品二区| 最好的美女福利视频网| 成人国语在线视频| 亚洲片人在线观看| xxx96com| 琪琪午夜伦伦电影理论片6080| 国内精品久久久久精免费| 欧美日本中文国产一区发布| 在线国产一区二区在线| 午夜亚洲福利在线播放| 午夜激情av网站| 欧美成人一区二区免费高清观看 | 国产精品秋霞免费鲁丝片| av天堂在线播放| 国产单亲对白刺激| 久久精品国产亚洲av香蕉五月| 91麻豆av在线| avwww免费| 国产人伦9x9x在线观看| 国产一区二区三区综合在线观看| 成人欧美大片| 亚洲九九香蕉| 欧美激情久久久久久爽电影 | 不卡一级毛片| 久久这里只有精品19| 国产三级在线视频| 午夜久久久在线观看| 久久精品国产清高在天天线| 国产激情欧美一区二区| 久久中文字幕一级| 岛国在线观看网站| a在线观看视频网站| 老汉色∧v一级毛片| 18禁黄网站禁片午夜丰满| 婷婷精品国产亚洲av在线| 少妇的丰满在线观看| 欧美在线黄色| 久久国产精品人妻蜜桃| 色综合站精品国产| 一本大道久久a久久精品| 亚洲七黄色美女视频| 国产精品98久久久久久宅男小说| a在线观看视频网站| 亚洲国产欧美日韩在线播放| 国产成人一区二区三区免费视频网站| 国产亚洲精品第一综合不卡| 国产成人啪精品午夜网站| 亚洲第一青青草原| 成人欧美大片| 国产伦人伦偷精品视频| 久热爱精品视频在线9| 两性夫妻黄色片| 自线自在国产av| e午夜精品久久久久久久| 亚洲国产看品久久| 欧美久久黑人一区二区| 久久久久久久午夜电影| 老司机深夜福利视频在线观看| 国产精品亚洲美女久久久| 搡老妇女老女人老熟妇| 亚洲专区国产一区二区| 99香蕉大伊视频| 99国产极品粉嫩在线观看| 大码成人一级视频| 欧美激情 高清一区二区三区| 国产成人av激情在线播放| 亚洲中文av在线| 国产免费男女视频| 麻豆av在线久日| 黄色 视频免费看| 99久久精品国产亚洲精品| 中文字幕人成人乱码亚洲影| 成人18禁高潮啪啪吃奶动态图| 亚洲av美国av| 在线观看舔阴道视频| 最近最新中文字幕大全免费视频| 变态另类成人亚洲欧美熟女 | 伊人久久大香线蕉亚洲五| 成年女人毛片免费观看观看9| 中文字幕人成人乱码亚洲影| 精品久久久久久久久久免费视频| 久久久久久国产a免费观看| 国产成+人综合+亚洲专区| 啪啪无遮挡十八禁网站| 亚洲精品中文字幕在线视频| 国产亚洲欧美98| 午夜a级毛片| 50天的宝宝边吃奶边哭怎么回事| 91成年电影在线观看| 不卡av一区二区三区| 高清毛片免费观看视频网站| 波多野结衣高清无吗| 欧美日韩亚洲国产一区二区在线观看| 久久精品国产亚洲av香蕉五月| 久久国产精品人妻蜜桃| 天天添夜夜摸| 亚洲欧美日韩另类电影网站| 人人妻人人澡人人看| 精品国产一区二区三区四区第35| 久久影院123| 亚洲中文av在线| 少妇熟女aⅴ在线视频| 禁无遮挡网站| 午夜福利18| 午夜久久久久精精品| videosex国产| 免费无遮挡裸体视频| 久久久国产成人免费| 亚洲美女黄片视频| 伦理电影免费视频| 国产一区二区三区在线臀色熟女| 美女国产高潮福利片在线看| 99在线视频只有这里精品首页| 婷婷精品国产亚洲av在线| 亚洲国产精品久久男人天堂| 亚洲中文av在线| 国产精品国产高清国产av| 国产色视频综合| 日本五十路高清| 国产片内射在线| 亚洲中文av在线| 美女国产高潮福利片在线看| 别揉我奶头~嗯~啊~动态视频| 欧美日本亚洲视频在线播放| 国产精品一区二区在线不卡| 日韩视频一区二区在线观看| 欧美成人午夜精品| 免费在线观看亚洲国产| 久久天堂一区二区三区四区| 国产亚洲精品av在线| 麻豆av在线久日| 神马国产精品三级电影在线观看 | 非洲黑人性xxxx精品又粗又长| 亚洲成人精品中文字幕电影| 久久久久久久久免费视频了| 少妇裸体淫交视频免费看高清 | 久久影院123| 极品教师在线免费播放| 日韩中文字幕欧美一区二区| 亚洲一区高清亚洲精品| 亚洲第一青青草原| 无限看片的www在线观看| 禁无遮挡网站| 美女大奶头视频| 夜夜躁狠狠躁天天躁| 黄频高清免费视频| 亚洲国产欧美日韩在线播放| 精品日产1卡2卡| 中文字幕人妻丝袜一区二区| 色婷婷久久久亚洲欧美| 中文字幕人妻熟女乱码| 一a级毛片在线观看| 成人欧美大片| a级毛片在线看网站| 此物有八面人人有两片| 亚洲天堂国产精品一区在线| 国内毛片毛片毛片毛片毛片| 国产一级毛片七仙女欲春2 | 在线十欧美十亚洲十日本专区| 高清毛片免费观看视频网站| 亚洲自拍偷在线| xxx96com| 国产av又大| 欧美av亚洲av综合av国产av| 久久青草综合色| 满18在线观看网站| 亚洲专区中文字幕在线| 国产精品永久免费网站| 嫩草影院精品99| 一区二区三区激情视频| 亚洲第一欧美日韩一区二区三区| 欧美黑人欧美精品刺激| 日韩国内少妇激情av| 69精品国产乱码久久久| 在线观看免费视频网站a站| 看黄色毛片网站| 午夜福利在线观看吧| 男女午夜视频在线观看| 高潮久久久久久久久久久不卡| 国产伦人伦偷精品视频| 一进一出抽搐gif免费好疼| 欧美另类亚洲清纯唯美| 女性生殖器流出的白浆| 亚洲欧美日韩另类电影网站| 女人被狂操c到高潮| 久久精品影院6| 国产精品99久久99久久久不卡| 一级作爱视频免费观看| 久久精品国产亚洲av香蕉五月| 91精品国产国语对白视频| 视频在线观看一区二区三区| 无遮挡黄片免费观看| 欧美最黄视频在线播放免费| av网站免费在线观看视频| 嫩草影视91久久| 精品第一国产精品| 男女下面插进去视频免费观看| 老熟妇仑乱视频hdxx| 国产片内射在线| 制服丝袜大香蕉在线| 国产精品综合久久久久久久免费 | 大型黄色视频在线免费观看| 高清在线国产一区| 日本免费a在线| 亚洲成人久久性| 高清在线国产一区| 午夜亚洲福利在线播放| 18禁观看日本| 最新美女视频免费是黄的| av视频在线观看入口| 神马国产精品三级电影在线观看 | 亚洲欧美精品综合久久99| 亚洲av日韩精品久久久久久密| 国产精品1区2区在线观看.| 欧美色欧美亚洲另类二区 | 9191精品国产免费久久| 亚洲成av人片免费观看| 在线观看免费视频网站a站| 搡老熟女国产l中国老女人| 波多野结衣一区麻豆| 色综合亚洲欧美另类图片| 超碰成人久久|