陳望道先生在《修辭學(xué)發(fā)凡》中為“錯(cuò)綜句式”所下的定義是：凡把反復(fù)、對(duì)偶、排比、或其他可有整齊形式、共同詞面的語(yǔ)言，說(shuō)成形式參差、詞面別異的，我們稱(chēng)為錯(cuò)綜。并指出了構(gòu)成錯(cuò)綜的四種方法：抽換詞面；交蹉語(yǔ)次；伸縮文身；變化句式?！都t樓夢(mèng)》經(jīng)常運(yùn)用這種錯(cuò)綜的修辭手法，來(lái)調(diào)劑過(guò)于整齊的句式，做到同中有異，從而避免了句式的單調(diào)和呆板，使語(yǔ)言富于變化，具有參差美。
1) 麝月道：“……那些老媽媽子們，老天拔地，伏侍一天，也該叫他們歇歇，小丫頭子們也是伏侍了一天，這會(huì)子還不叫他們頑頑去。所以讓他們都去罷，我在這里看著?！保ǖ诙兀?/p>
楊譯：
"Those old women deserve a rest after waiting on you all day, and the girls ought to have some fun too after a day's work. So I let them all go while I keep an eye on things here."
霍譯：
"...The old women were practically dead on their feet after waiting on you all day; I had to let them go and rest. And the girls have been on duty all day, too. You could scarcely grudge them some time off now for amusement. — Which leaves only me to look after the place.'
麝月的這句答語(yǔ)中，講到“那些老媽媽子們”，說(shuō)的是“也該叫他們歇歇”；講到“小丫頭子們”，說(shuō)的不是“也該叫他們歇歇去”，而是“還不叫他們頑頑去”。這樣的錯(cuò)綜句式在譯文中以不同方式得到了再現(xiàn)：楊譯簡(jiǎn)潔明了，以and連接兩個(gè)并列分句;霍譯則分作兩句表達(dá)，兩句之間也用And連接，表明了緊密的結(jié)構(gòu)關(guān)系。無(wú)論哪個(gè)譯本，and 前后的語(yǔ)法結(jié)構(gòu)和語(yǔ)意均是對(duì)稱(chēng)的，再現(xiàn)了原文語(yǔ)言的形式美。
2) 第二件，這些樓臺(tái)房舍，是必要用界劃的。一點(diǎn)不留神，欄桿也歪了，柱子也塌了，門(mén)窗也倒豎過(guò)來(lái)，階磯也離了縫，甚至于桌子擠到墻里去，花盆放在簾子上來(lái)，豈不倒成了 一張笑“話(huà)”兒了。（第四十二回）
楊譯：
The second essential thing is that in order to get the proportions of the buildings right you'll have to use a ruler. The least carelessness may result in crooked balustrades, collapsing pillars, lopsided windows and doors, steps out of line, or even tables squashed into the walls and flower-pots perched on top of screens. Then the whole thing would be a joke.
霍譯：
One of your difficulties is going to be the ruler-work. With all those buildings you're going to have to do the straight lines with a ruler, and in ruler-work if you're not very careful it's easy to make the most terrible mistakes——railings that slant to one side, leaning pillars, windows on the skew or steps drawn out of line. Sometimes pillars, windows on the skew or steps drawn out of line. Sometimes careless ruling can produce even more grotesque results, like a table squashed into a wall or a flowerpot apparently testing on the side of a curtain. Any one of these things is enough to make a painting look ridiculous.
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