2) 雖不曾會面，然一個在瀟湘館臨風灑淚，一個在怡紅院對月長吁，卻不是人居兩地，情發(fā)一心?。ǖ诙呕兀?/p>

楊譯：

True, they were still apart: one weeping to the breeze in Bamboo Lodge, the other sighing to the moon in Happy Red Court. But although apart, at heart they were as one.

霍譯：

Though they had still not made it up since their quarrel, the difference between them had now vanished completely ：

In Naiad's House one to the wind made moan,

In Green Delights one to the moon complained,

to parody the well-known lines. Or, in homelier verses:

Though each was in a different place,

Their hearts in friendship beat as one.

寶黛二人因“金”、“玉”之事大吵一場，聽到賈母“不是冤家不聚頭”這句話，“好似參禪的一般，都低頭細嚼此話的滋味，都不覺潸然泣下”。曹雪芹連續(xù)使用對偶，“一個在瀟湘館臨風灑淚，一個在怡紅院對月長吁”寫出了寶黛的動態(tài)，“人居兩地，情發(fā)一心”抒發(fā)了寶黛的心情。這兩組對偶句，雙管齊下，互為映襯，句式勻稱且富有變化，聲律 和諧充滿音樂美，其效果自不是尋常寫法可以同日而語。楊霍二譯句式工整，發(fā)揮了拼音文字句法結(jié)構(gòu)的相對隨意性，霍譯將對偶句單行列出，更突出了形式美感。這一點是霍譯本對齊整句式（包括短語等）的獨特處理樣式，體現(xiàn)了該譯本的一大特色，給讀者提供了發(fā)現(xiàn)美、欣賞美的空間，使語言的表達更加清晰、自然，句式結(jié)構(gòu)更加引人注目。

前文已經(jīng)提到，對偶是漢語特有的修辭手段，盡管英語中也有類似的表達方式，但是，由于漢英語言各成一體，對偶結(jié)構(gòu)上的均衡美無法在譯文中得到全面體現(xiàn)，霍譯的這種獨特的布局方式，無疑在一定程度上彌補了不少缺憾，是對原文整齊對稱的結(jié)構(gòu)形式的消化吸收和再度創(chuàng)作。又如：

3) 園內(nèi)各處，帳舞蟠龍，簾飛彩鳳，金銀煥彩，珠寶爭輝，鼎焚百合之香，瓶插長春之蕊，靜悄無人咳嗽。（第十八回）

楊譯：

Everywhere in the Garden were hangings and screens brilliantly embroidered with dancing dragons and flying phoenixes; gold and silver glittered, pearls and precious stones shimmered; richly blended incense burnt in the bronze tripods, and fresh flowers filled the vases. Not a cough broke the solemn silence.

霍譯：

In the Separate Residence 

painted phoenix and coiling dragon 

flapped and fluttered on drapes and curtains,

gold and silver-work gleamed and glinted,

jewels and gems made a fiery sparkle,

subtle incenses smouldered in brazen censers,

'everlastings' blossomed in china vases;

—and all was so silent，that throughout the whole of that great garden not the sound of a cough was to be heard.

這里連用三組對偶，“帳舞蟠龍”對“簾飛彩風”，“金銀煥彩”對“珠寶爭輝”，“鼎焚百合之香”對“瓶插長春之蕊”，短短不足三十字，便將省親別墅大觀園的景致氣氛渲染得栩栩如生，歷歷如在眼前。經(jīng)過對 比分析，兩段譯文對句中的三組對偶的表達基本相同，但霍譯再次以其獨特的結(jié)構(gòu)布局而羸得了讀者的青睞。由此可見，對偶作為以形式取勝的辭格，其譯文也應從形式上與原文取得一致，才能更接近讀者的審美情趣，使譯文讀者能與原文讀者那樣，得到修辭效果上的共鳴。 像例3這樣的片語傳神之處，《紅樓夢》中多有出現(xiàn)。這種利用對偶句式的簡潔凝練來敘事、狀景、抒情，可抵大段描寫刻畫。

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