歐威爾《動物農莊》之新版中譯與評析 - 普通高級中學課程英文學科中心 ...

喬治 . 歐威爾《動物農莊》之新版中譯與評析A New Chinese Translation of and Commentary onGeorge Orwell’s Animal Farm研究生 : 黃之彥 Chih-yen Huang指導教授 : 陳瑞山 Ruey-shan Chen國立高雄第一科技大學應用英語系碩士論文A Thesis Submitted toDepartment of EnglishNational Kaohsiung First University of Science and TechnologyIn Partial Fulfilment of the RequirementsFor the Degree of MasterInEnglishJune 2005Kaohsiung, Taiwan, Republic of China中華民國九十四年六月

A New Chinese Translation of and Commentary on George Orwell’sAnimal FarmStudent: Chih-yen HuangAdvisor: Dr. Ruey-shan ChenDepartment of EnglishNational Kaohsiung First University of Science and TechnologyAbstractGeorge Orwell’s Animal Farm is considered one of the most successful fables inthe modern time. Because of its popularity, this novel has been translated into variouslanguages, including Chinese. However, when we read the Chinese translations, we dofind defects, and these defects lead us to question whether the translations havefaithfully rendered the features of a fable or not. To answer this question, this thesisundertakes two major tasks. The first is to explore how the translators can highlight themarked traits of this novel as a fable, and I will use my translation as an example toshow how I have endeavored to make my translation highlight these traits. Secondly,defects found in other translators’ translations will also be mended in my own Chinesetranslation. This thesis is divided into the following two parts.The first part is a commentary and analysis of the two selected Chinese translations.This part contains three chapters. The first chapter is to introduce Orwell’s thoughts, thestyle of Animal Farm, and explain the reason why I choose Kong’s and Gao andZhang’s Chinese translations for analysis. The second chapter is to discuss the relationbetween literary style and translation. Common features of fable like plain language,ii

irony, aesthetic value, and morals are discussed. Another unique feature that AnimalFarm possesses, that is, the political purpose, will also be talked about. Guidelines willbe formulated according to these features to examine if the Chinese translations reflectthese original features. The third chapter is to discuss major technical issues concerningtranslating Animal Farm. These technical issues include the addition of words orphrases, the use of Chinese idiomatic expressions, and the strategy to translating longsentences. Reasons to adopt specific strategies, such as the application of Nida’s idea of“kernels” to translating long sentences, will be provided in order to tackle thesetechnical issues. Problems in the two selected translations will be enumerated, and mysolutions to them will also be given.The second part is my own Chinese translation of Animal Farm. I have tried asmuch as I can to make my translation follow the guidelines generalized in Chapter Two.Technical problems found in the other two selected translations are also corrected in mytranslation. This newly translated version of Animal Farm shall serve as a reference forthe readers.iii

AcknowledgementsI would like to express my sincere gratitude to my advisor, Dr. Ruey-shan Chen,for his continuous efforts to give me suggestions on my academic training. Dr. Cheninspired me to look at translation studies from a unique perspective. His solid academicbackground offered me many ideas during my process of composing my thesis. Iparticularly thank him for his scrupulousness in revising my thesis. I would also like tothank Dr. Vinia Huang and Dr. Sui-fai Wong for their being the committee members inmy defense even though they always have tight schedules. I appreciate their every pieceof advice on my thesis.I would also like to thank my classmates, who have been a source of happiness inthe laborious interpretation and translation training. With their companionship, life atschool becomes colorful.Finally, I would like to express my profound gratefulness to my parents, Shui-zhenHuang and Lai-qiu Wu. Their staunch support helps me all the way through my studies.I also thank my brother, Shi-gang Huang, for his effort in collecting information for me.Last but not least, I would also like to thank my girlfriend, Chia-ling Hsiao, who alwaysgives me her never-failing encouragements in times of difficulties.iv

Chapter Four / 第四章 ……………………………………………….………..…114Chapter Five / 第五章 ……………………………………………….………..…118Chapter Six / 第六章 ……………………………………………….………..…124Chapter Seven / 第七章 ……………………………………………….………..…130Chapter Eight / 第八章 ………………………………………………...…………138Chapter Nine / 第九章 …………………………………………………...………147Chapter Ten / 第十章 ……………………………………………………...……154References………………………………………………………………...…161vi

Part One: A Commentary on the Chinese Translationsof Animal FarmChapter One: Introduction1-1 George Orwell and His ThoughtsGeorge Orwell was born in India in 1903. He went back to England in 1904 andreceived his primary education there in 1911. After finishing primary school in 1917, hewas accepted to Eton College, a school mainly for the upper class. At that time, hisfather had retired and lived on a pension. Being financially stringent, Orwell often feltunable to be fully integrated into his school life and thus developed a strong disliketoward social class system.After Eton College, Orwell served as a police officer in Burma. As a law enforcer,he often found himself oppressing the colonized people, and his dislikes toward socialclass system reached culmination. He witnessed the cruelty and sufferings inflicted tothose people by his colleagues and felt that this was totally against his will. Therefore,resigned from this post and returned to England.In 1928, Orwell decided to become a writer. During 1928 and 1936, Orwell livedwith lower class people and experienced their hardship as a way of finding topics for hisnovels. He traveled between London and Paris, and went wherever those people mightbe. He, however, succeeded in publishing several novels even in this hard condition. Inthese novels, Orwell exposed to the society the hardship that the lower class peoplesuffered and expressed his sympathies toward them. 1On July 18, 1936, the Spanish Civil War broke out. In December of that same year,1 Novels published during this period included Down and Out in Paris and London, Burmese Days, AClergyman’s Daughter, and Keep the Aspidistra Flying.1

Orwell turned himself into a reporter and went to Spain to cover the war. Moved by thespirit of the armed workers, he joined P.O.U.M., 2 or The Workers’ Party of MarxistUnification, a small anti-fascism party whose belief in socialism was based on equalityinstead of class struggle, and was different from the communist party’s. During the war,Orwell discovered that no class difference existed among soldiers of P.O.U.M. They ate,lived and fought together. High ranking officers did not have any privilege and weretreated the same way as any soldier would be treated. Orwell believed this was whattrue socialism should be.Later, power struggle took place in the anti-fascism camp. With the assistance ofthe Soviet Union, the communist party used whatever means it could come up with todisunite the anti-fascism camp. At this moment, Orwell witnessed the conspiracy thatStalin had organized in order to gain control of the Spanish government. His abhorrencetoward the Soviet Union thus grew stronger than ever. In 1937, being a target forStalin’s manhunt, Orwell fled Spain. He finally realized that communism was by nomeans socialism. It was actually an evil force in the disguise of fascism. This crucialrealization became the basis of his masterpiece, Animal Farm.In 1943, Orwell began writing Animal Farm. In order to make readers understandthe underlying meaning of the story while not to harm the friendly relations betweenEngland and the Soviet Union during the wartime, Orwell decided to portray the storyin the style of an animal fable. By using an animal fable, in which the main characterswere animals, Orwell could present his anti-communist thoughts indirectly withoutirritating people or political parties whom he intended to describe.In addition to the anti-communist thoughts, Orwell also showed his sympathytoward the vast lower class workers. These people were ignorant of social changes;what they knew was to work and try hard to satisfy the basic needs of their life. Nomatter how the society changed, they still remained in their inferior status, always ruledby people who were superior to them. Orwell compared these people to animals like2 P.O.U.M. is the Spanish abbreviation of “Partido Obrero de Unificación Marxista”.2

horses, cows, and chickens in Animal Farm. Because just like their human counterparts,these animals worked day and night, only to find that their results of labor weresurrendered to human beings and other superior animals like pigs. In short, AnimalFarm was not merely a fable. It was also a realistic story of the lower class peopletrying to sustain their life under a communist regime. In this novel, Orwell successfullyexpressed his criticism to communism and his sympathy to the proletariat throughskillful arrangements of the conflicts between animals and human characters.After Animal Farm, Orwell published his second masterpiece, entitled 1984. In thisnovel, Orwell presented a future world under the rule of a totalitarian government. Theworld did not become a better place because of technology. Instead, the abuse of thesetechnologies by the totalitarian government resulted in a horrible atmosphere whichsurrounded its people. The whole society was under surveillance, and no one couldescape the government’s control. This novel has received world wide popularity andcredits since its publication. The success lay in Orwell’s thorough observation oftotalitarianism.Most of Orwell’s works focused on his criticism toward totalitarianism and hissympathy toward the lower class people. One cannot deny that it was his vagrant lifewith the lower class people and his personal participation in the Spanish Civil War thatmade it possible for him to create these works. However, one should also notice that itwas his determination and his genius in writing that made Orwell achieve the reputation.3

1-2 Writing Style of Animal FarmAs mentioned earlier, Animal Farm is written in the style of an animal fable inwhich animals are the main characters. The use of animals as characters has been one ofthe world’s traditions in fable writing. In the West, the tradition can be traced back toAesop’s Fables, the first collection of its kind. Most of the characters in Aesop’s Fablesare animals, and each story contains a moral implication.A fable is a “brief allegorical narrative, in verse or prose, illustrating a moral thesisor satirizing human beings. The characters of a fable are usually animals who talk andact like people while retaining their animal traits.” 3 From this definition, one can seethat Orwell’s intention to use animals as main figures is to satirize the acts of humanbeings. The reason for adopting this writing strategy is partly due to the friendlyrelations between England and Russia during the Second World War. If Orwell hassatirized Russian leaders and the Revolution directly with harsh rhetoric, he woulddefinitely be accused of deteriorating the friendly relations. To do this in a safe way,Orwell has to use animals rather than humans as media in Animal Farm. Therefore, it isnoted that the animals have their human counterparts. To name just a few, Old Majorrepresents Marx and Lenin, Napoleon represents Stalin, and Snowball representsTrotsky. More correspondence can be found in this novel. Second, since most animals ina fable are common livestock, people are supposed to know their characteristics verywell. In this way, a feeling of familiarity will be created in the readers. It will thus beeasy for readers to associate some human personalities with designated animals. Forexample, the horse reminds people of persistence, and the donkey symbolizes someonewho is always stubborn. It is with these purposes that Orwell decides to write the novelin the style of a fable.In addition to being a fable, Animal Farm has also been considered a fairy tale,because the subtitle that Orwell chooses for it is exactly “A Fairy Tale”. However, a3 “Fable.” Infoplease. 13 Jan. 2005 .4

fairy tale usually brings a happy ending, and this does not sound true for Orwell’sAnimal Farm. In this book, we see the animals’ life still remains as hard as usual at theend of the story. It is therefore likely that the subtitle is “an ironic comment” itself. 4 Tomaintain the friendly wartime relation, the British government systematicallysuppressed any criticism toward the Soviet Union. Any publication intended to criticizethe Russian government would have been forbidden and dismissed as “a fairy tale byopportunists.” 5 Also, Orwell has already foreseen that hardships will still go on with thevast Russian working class, and there will never be a happy ending for the Sovietregime. With this realization in mind and his duty to expose the truth, Orwell hencesubtitles Animal Farm a “fairy tale”.Since Animal Farm is considered a fable as well as a fairy tale—both are popularliterary forms, one might infer that the language Orwell chooses should be simple andclear. This is true in this case. Throughout the whole story, Orwell uses simple languageto describe every scene and record every speech and conversation. He never intends tochoose difficult words or expressions. For instance, when it comes to describingClover’s sad feeling after the confession and execution in Chapter Seven, Orwell does asuccessful job by using merely simple words to create the sadness. The passage below isthe example:If she herself had had any picture of the future, it had been of a society of animalsset free from hunger and the whip, all equal, each working according to hiscapacity, the strong protecting the weak, as she had protected the lost brood ofducklings with her foreleg on the night of Major's speech. Instead—she did notknow why—they had come to a time when no one dared speak his mind, whenfierce, growling dogs roamed everywhere, and when you had to watch yourcomrades torn to pieces after confessing to shocking crimes.4 Jean Armstrong, Animal Farm by George Orwell (London: MacMillan P, 1985) 13.5 Ibid., 14.5

This passage contains no difficult words, but it clearly depicts the disappointment andhorror that Clover has felt. The readers can feel the sadness and how the animals’ dreamhas been shattered just as Clover does.Although plain language enables readers to understand the writer’s ideas moreclearly, this does not mean translation of such texts is an easy job. Alexander FraserTytler contends that a good translation should reach the goal of “the style and manner ofwriting should be of the same character with that of the original”. 6 This goal mightsound easy but hard to achieve, as it might take a lot of time for a translator to becomefamiliar with a writer’s writing style. Therefore, the translator of Animal Farm shouldalways be careful when s/he wants to create the same effect in the target language whilemaintaining the simple language style. The issue of style and translation will bediscussed in detail in the next chapter.6 Andre Lefevere, ed. and trans., Translation/History/Culture: A Sourcebook (London; New York:Routledge, 1992) 128.6

1-3 Reference to the Two TranslationsAnimal Farm has been a success after its publication in 1945, and of course, it hasbeen translated into various languages because of its popularity. Among the varioustranslations, Chinese translations, both from the Chinese mainland and Taiwan, are alsoincluded. It would therefore be worthwhile to make a comparison between the twotranslations, since the two sides have practiced different political systems after the civilwar. From the comparison, we will be able to find out how the translators from differentpolitical systems deal with Orwell’s ironies and political messages toward a communistregime. That is to say, whether or not these messages are truly reflected in the twotranslations will be examined. This issue will be discussed in Chapter Two where thepolitical purpose is used as one criterion to examine the faithfulness of the selectedtranslations.At least ten versions of translated Animal Farm can be found in Taiwan. However,most of them are either missing the introduction of the translators or are withoutmentioning the translators’ names. It is surprising that some versions look so similar, tothe point that even mistakes are the same. In this situation, I have spent much timefinding out the most suitable version from them for comparison. The selected versionwas first published by Zhiwen Publishing House in 1977. The translator is Kong Fanyun,who used to be a professor at the Department of Foreign Languages and Literature ofNational Taiwan University. Mr. Kong has translated some important literature works, 7and his translation of Animal Farm is considered one of the best in Taiwan even intoday.Contrary to the situation in Taiwan where translations are easily found, it isdifficult to find a translation in China. As of October 2004, only two translations wereavailable. 8 The information about Orwell and Animal Farm is also hard to collect in7 Kong’s translations of literary works included Walden, To The Lighthouse, The Stories of John Cheever,French Writers and Literature, and The Essays of Elia.8 One was translated by Dong Leshan and Fu Weici and published by Shanghai Translation Publishing7

Mainland China. Perhaps this is partly due to Orwell’s anti-communist stance that theCommunist Chinese government tends to downplay the importance of this novel,fearing it would introduce new ideas to its people and bring negative effects on itsregime. The version selected for analysis is the one translated by Gao Xiaoxian andZhang Yi, which was published by Shanghai People’s Publishing House in 1988.However, due to the unavailability of Gao and Zhang’s version in Taiwan prior tothe beginning of the analysis, I have decided to quote the sample paragraphs from theinternet. 9 Also, since simplified Chinese has been adopted in China for decades, thequoted paragraphs will remain in the simplified Chinese form.House. The other one was translated by Gao Xiaoxian and Zhang Yi and published by Shanghai People’sPublishing House.9 Gao Xiaoxian and Zhang Yi. Dongwu zhuanyuan 動物莊園 (Animal Farm). 11. Mar. 2005.8

Chapter Two: Style and Translation2-1 Characteristics of FableFrom a broad perspective, a fable involves many story types. As Blackhammentions, the types of story commonly seen in early fables include “a fairy tale, anaetiological nature myth, an animal story, a series of amusing actions, a novella, a mythabout the gods, a debate between two rivals, and an account of the circumstances inwhich some aphoristic or witty remark was made.” 10 No matter what the story types are,Blackham further suggests that it is the following features that make a fable distinctivefrom other literary forms:1. The language tends to be plain.2. The tone is indirect and sometimes ironic.3. A fable is an aesthetic presentation of a story.4. A fable contains a moral lesson.5. A fable might as well include political purposes. 11I will explain each feature in the following paragraphs.Plain LanguageThe reason why language makes fable—particularly animal fable—a distinctivegenre is that it tends to be plain, and it belongs to the easy level, if compared with thelanguage used in poetry or drama, which is sometimes relatively hard. Since fables arewidely read, the language must appeal to the needs of the majority of people. Therefore,10 H. J. Blackham, The Fable as Literature (London: Athlone Press, 1985) xvii.11 Ibid., xviii, p. 208-9.9

the fabulist must choose plain language in order to make the story and moral understoodto the general public.To serve the general public, a fabulist must be aware of his/her word choice. S/hemust choose clear and simple words to make sure readers can understand immediatelywhat those stories imply. Difficult or even obscure words, as often seen in classicalliterary works, might just create difficulties in understanding and will not lure readers toread the story.The issue of choice of words is also linked to the narrative and descriptive natureof fable. Fable, as a narrative device, involves a more sophisticated way of expression todepict a particular scene or a character’s feeling. As Professor Liu puts it, the languagein this kind of narration is “without boundaries”. 12 In other words, the words in anarrative text like fable are of tremendous variety and can thus be associated with suchaspects of life as psychology, society, culture, politics, and so on. It is, therefore, afabulist’s duty to select and refine the words so that the language can fit the subject andarouse the general public’s interest.Also, the sentences must be concise. Long and redundant sentences will onlyexpand the length of the story, obscuring the main idea that the author wants to express.Readers, on the other hand, may spend considerable time managing to find out themeaning behind the lines and end up feeling confused or bored. They may give up aftertheir initial attempts to understand the plot fail. In this way, reading will only pose anobstacle to readers and the fabulist’s idea will not be clearly shown.Here, it is noted that Orwell himself is a promoter of “clean English”. In his essayPolitics and the English Language published in 1946, he suggests that “Never use along word where a short one will do” and “If it is possible to cut a word out, always cutit out”. 13 Therefore, as one might see, the language in Animal Farm has followed the12 Liu Miqing 劉宓慶 , Wenti yu fanyi 文體與翻譯 (Varieties of English Language and Translation) (Taipei:Bookman, 1997) 227.13 Orwell. Politics and the English Language. 11 Mar. 2005.10

above-mentioned rules for sure. Here is one explicit example from Chapter Ten to showOrwell’s endeavor to use short words and omit redundant sentence structure:[The original: Chapter Ten]It was not that these creatures did not work, after their fashion.The latter part of this sentence actually means “but they only worked after their fashion”.Because of the context, the readers will be able to figure out what is implied in thesentence even though the latter sentence only contains three words. This omissionmakes the sentence concise yet powerful.Also in the same essay, Orwell criticizes political writings by saying that “In ourtime it is broadly true that political writing is bad writing” because it grossly consists of“euphemism, question-begging and sheer cloudy vagueness”. 14 The seemingly benignyet unclear political rhetoric leads to numerous questions being left unsolved. It is thisnon problem-solving political language that Orwell wants to correct. Therefore, inAnimal Farm, short, effective words and expressions are used, and prosaic narrative isadopted, because euphemism, question-begging and vagueness in political writingcannot address an issue and state it clearly. Here is an example of what Old Major, theelderly pig, addresses the animals in Chapter One. This example shows how Orwelldirectly states the root of all farmers’ hardships under the Soviet rule without anyvagueness. He also believes that only through this kind of direct rhetoric can problemsbe exposed, and perhaps be resolved.[The original: Chapter One]Man is the only creature that consumes without producing. He does not give milk,he does not lay eggs, he is too weak to pull the plough, he cannot run fast enough tocatch rabbits. Yet he is lord of all the animals. He sets them to work, he gives back14 Ibid.11

to them the bare minimum that will prevent them from starving, and the rest hekeeps for himself. Our labour tills the soil, our dung fertilises it, and yet there is notone of us that owns more than his bare skin.Orwell openly points out man’s incapability and tyranny. By using negatives like “doesnot” and “cannot”, Orwell first identifies man’s incapability. Later, by stating “Yet he islord of all the animals” and “and yet there is not one of us that owns more than his bareskin”, Orwell exemplifies man’s tyranny to the animals. From these expressions, we cansee that Orwell’s verbal attack contains no euphemism and vagueness. This kind ofwriting is what he sees as effective political writing.Ironic ToneIn addition to plain language, one noticeable characteristic of fable is “the use ofirony and oblique expression of strong emotion.” 15 The emotion is always strong whenan author of a fable puts forward the story. The author must have felt an inner drive tospeak out his/her mind, but s/he cannot do it in a hasty manner for fear that it might betoo offensive for those who are the subjects of the attack. If direct and offensiveexpression is used, the tone might be too harsh, and the intended effect might be spoiled.The best way, perhaps, is to play it in a safer manner. This means an indirect and ironictone will fit the purpose. To achieve this purpose, the author must be careful in choosingthe words and expressions that can create contrasts and comparisons. Here is anexample from Chapter Ten that ironically shows how the Soviet government hasdeceived its people:[The original: Chapter Ten]As for the others, their life, so far as they knew, was as it had always been. They15 Op. cit. 10, p. 209.12

were generally hungry, they slept on straw, they drank from the pool, they labouredin the fields; in winter they were troubled by the cold, and in summer by the flies.Sometimes the older ones among them racked their dim memories and tried todetermine whether in the early days of the Rebellion, when Jones's expulsion wasstill recent, things had been better or worse than now. They could not remember.There was nothing with which they could compare their present lives: they hadnothing to go upon except Squealer's lists of figures, which invariablydemonstrated that everything was getting better and better.The Russian farmers never lived a good life. They still lived desperately after therevolution, just like the animals did in Animal Farm. However, the ruling class, just asthe pigs in Animal Farm, lived in considerable luxury. In order to hold down the farmers,the government had to invent fake stories to prove that everything was indeed gettingbetter and better. Orwell already saw through this ugly trick and decided to attack theSoviet government. Instead of using harsh rhetoric, he made use of such ironic narrationas “the older ones among them racked their dim memories and tried to determinewhether things had been better or worse” and “they had nothing to go upon exceptSquealer's lists of figures, which invariably demonstrated that everything was gettingbetter and better” to express his criticism.Therefore, by adopting an indirect tone just as the one in this example, a fable willnot be viewed as a direct, bitter attack against the subject, and will thus reduce theoffense to the minimum. Also, by adopting an ironic tone, the author will be able toexpress his/her strong emotion while making the reading a pleasant experience.Aesthetic ValueAnother feature worthy of discussion in examining a fable is the aesthetic value init. We cannot deny that writing is an art. Since fable belongs to one category of writing,13

it is thus considered as an art. Orwell says in his essay Why I Write that writers mustacquire “the perception of beauty in the external world” and “the desire to share anexperience which one thought valuable and ought not to be missed.” 16 Therefore, awriter must learn to be sensitive to the beauty of the world and tries to convey it throughwords to his/her readers. This concept applies to the writing of a fable as well. When aword is chosen, a sentence is created or an ironic tone is adopted, it should have itsaesthetic implication. It reflects not only the author’s artful arrangement of words andsentences, but also his/her skillful manipulation of various linguistic elements in orderto create the effect s/he wants. Here is an example from Chapter Seven thatdemonstrates Orwell’s aesthetic conveyance of a sorrowful experience:[The original: Chapter Seven]At last, feeling this to be in some way a substitute for the words she was unable tofind, she [Clover] began to sing Beasts of England. The other animals sitting roundher took it up, and they sang it three times over – very tunefully, but slowly andmournfully, in a way they had never sung it before.After witnessing the cruelty done by the pigs to her fellow animals, Clover beganto think whether this kind of life was something that they had dreamed of or not.However, she was unable to express her thoughts due to her illiteracy. She started tosing Beasts of England, in which beautiful dreams of a land without human traces werepredicted. The song is sung in a mournful tune this time, and readers must have felt theanimals’ sorrow as well. This sad feeling is one of the aesthetic experiences that Orwellthinks valuable and desires to share with his readers.Political Purposes and Morality16 Orwell. Why I Write. 11 Mar. 2005 < http://www.resort.com/~prime8/Orwell/whywrite.html>.14

Last but not least, political and moral purposes are often one of the subjects dealtwith in a fable. For the political part, many writers express their political thoughts,especially their thoughts against a totalitarian regime, in the form of fable. They feel anurge to expose the dictatorship to the world, but at the same time, they are also afraidthat this sharp criticism might bring out negative results to their books, or eventhemselves. Under these circumstances, they will make a detour to invent a story inwhich real political events and figures become the targets and satirize them. This isparticularly true in the case of Animal Farm. Here is a case:[The original: Chapter Three]He [Snowball] formed the Egg Production Committee for the hens, the Clean TailsLeague for the cows, the Wild Comrades' Re-education Committee (the object ofthis was to tame the rats and rabbits), the Whiter Wool Movement for the sheep,and various others, besides instituting classes in reading and writing. On the whole,these projects were a failure.These Committees and Movements satirize Trotsky’s Workers’ Committees that weremeant to organize and educate workers and farmers. In reality, these projects failed justlike those in Animal Farm. Orwell knew this fact and decided to make fun of them.However, he could not criticize them harshly. Instead, he fabricated these projects andsatirized them so that his political purposes were made explicit.For the moral part, it is agreed that moral lessons are what a fable intends to teach.This is also true in Animal Farm. In this fable, the moral is the unavoidable corruptionof an unmonitored authority, no matter how idealistic its aims first appear. This moral ismade clear by the pigs’ behavior. In the beginning, we see all the ideals preached byMajor justifiable, and the animals have every reason to rise and rebel. However, afterthe success of the rebellion, the pigs start to seize power step by step, and the welfare ofthe other animals is gradually deprived of. We see milk being taken away secretly,15

apples being collected without the other animals’ consent, and whisky being purchasedfrom humans, all by the pigs. The ruling class of pigs finally grows out of control. Andbecause of the lack of a monitoring mechanism, the pigs eventually march to the fate ofcorruption. The final few lines from Animal Farm conclude the ultimate corruption ofthe pigs:[The original: Chapter Ten]Twelve voices were shouting in anger, and they were all alike. No question, now,what had happened to the faces of the pigs. The creatures outside looked from pigto man, and from man to pig, and from pig to man again; but already it wasimpossible to say which was which.The pigs and humans are no longer different. They are all alike, namely, they are allcorrupted. The moral of the whole fable is thus summarized in these lines. Orwell waswell aware of the surreptitious change of the Soviet government after the Revolution,and had sent his warnings to the world. His warning messages are successfullypresented in this fable, and are finally perceived by the whole world.The brief explanation of these features will help readers to understand whatcharacterizes Orwell’s Animal Farm as a fable. In the following section, key pointsbased on these features will be taken to examine the two selected Chinese translations tosee whether they have reflected the characteristics of fable or not.16

2-2 Key Points of Translating Animal Farm as a FableIn this section, the key points of translating Animal Farm into Chinese will bediscussed. These key points are based upon the characteristics of fable discussed in theprevious section, including plain language, ironic tone, aesthetic value, politicalpurposes, and morals. Sample paragraphs from Kong’s and Gao and Zhang’stranslations will be selected and brought under examination to see if they comply withthe aforementioned characteristics and recreate the designated effect. If not, I will offermy solution for the readers’ reference.As a rule of thumb, the comprehensive understanding of the original text beforetranslation starts is essential for anyone who would like to translate any text. This basicrule applies to the translation of fable as well. Because reader-response theory maintainsthat a text is only meaningful when a reader actually reads it, it is therefore suggestedthat the translator, as a reader in this sense, should read the fable thoroughly so that s/hecan grasp the storyline, tone, sentence structure, leading role’s characteristic, and othernecessary elements. Failure to do so might result in the loss of the designated effect thatthe original text holds, and might mislead the readers as well. Here is one example ofmistranslation from Chapter Five in Kong’s translation that might mislead the readers:[The original: Chapter Five]At this Snowball sprang to his feet, and shouting down the sheep, who had begunbleating again, broke into a passionate appeal in favour of the windmill.[Kong’s translation: Chapter Five]雪球一下子跳起來 , 把羊的噓聲壓制下來 , 熱情地發出一陣對風車的讚美。What Snowball wants to do here is “to ask for the animals’ votes”. Therefore,Orwell uses “in favour of” to show Snowball’s attempt. The phrase “in favor of” means17

“to support” or “for” something. It does not mean what the underlined words mean inKong’s translation. Kong’s translation of “in favour of the windmill” is “fachu yizhendui fengche de zanmei” 發出一陣對風車的讚美 , which means “to praise the windmill”.This is not what is meant in the original text, and might mislead the readers thatSnowball is only praising the windmill, not persuading the animals to vote for it. Whatthe underlined words actually mean in Chinese should be “zhichi xingjian fengche” 支持興建風車 , and this translation will correctly translate the underlined words in theoriginal text.This example shows the importance for a translator to completely understand theoriginal text before s/he translates. If s/he fails to do so, mistranslation will happen.Plain LanguageIn addition to the understanding of the original text, a translator also has to beaware of its plain language style. As it has been mentioned, the language of fable iscategorized as the easy level, which means the words are supposed to be simple andclear, and the sentences, concise. After the translator has gone through the process ofexperiencing the text as a reader, it is time for him/her to participate in the creation ofthe text in the target language. In other words, s/he will become a co-author from thispoint on. According to reader-response theory, the text does not tell readers everything.There are “gaps” and “blanks” which readers must fill in to assemble the meanings. 17Thus, the translator, who is turned from a reader to a co-author in this sense, should beaware of the words s/he chooses in order to present the original plain style to the readers.If difficult words are chosen, or long sentences are adopted in the translated text, thetranslation is not true to the original style. Here is an example of using difficult words intranslation that jeopardizes the original plain style of Animal Farm.17 Wilfred L. Guerin and Earle Labor, A Handbook of Critical Approaches to Literature (New York:Oxford University Press, 1992) 337.18

[The original: Chapter Nine]There were many more mouths to feed now. In the autumn the four sows had alllittered about simultaneously, producing thirty-one young pigs between them.[Kong’s translation: Chapter Nine]食之者眾 , 生之者寡。秋季裡四條母豬幾乎同時生產 , 共生下三十一頭黑白雜色的小豬。In this case, Kong adopts “wen yan wen” (classical literary Chinese) in translatingthe underlined sentence, that is “shizhizhe zhong, shengzhizhe gua” 食之者眾 , 生之者寡 . The words that he chooses might be difficult for those who do not have basicknowledge of classical Chinese expression. Second, it is known that Orwell is apromoter of plain English, and the style of his writing is supposed to be plain, too.Likewise, when Orwell’s writing is translated, the translated text should also keep thisplain style. Kong’s adoption of classical Chinese phrases certainly does not fit this style,because classical literary Chinese appears mostly in ancient literary works. Moreover,the underlined original sentence does not contain an extra meaning of “shengzhizhegua” 生之者寡 (only a few animals are born), as is improperly added in Kong’stranslation. It actually only means “shizhizhe zhong” 食之者眾 (having more mouths tofeed). This unnecessary addition might misguide readers to expect in the following linesthat a reason will be given to the insufficient numbers of animal births. The followingtranslation, as is seen in Gao and Zhang’s and my versions, will be reasonably enoughto fit the style.[Gao and Zhang’s translation: Chapter Nine]现在有更多的嘴要吃饭。这天 , 四头母猪差不多同时都下小崽 , 共有三十一头。19

[My translation: Chapter Nine]現在牠們有更多的牲口要養活。秋天時 , 那四隻母豬同時生產 , 總共產下三十一隻小豬。With vernacular Chinese, the translation already fits the plain language style. Notehow the word “mouth” is dealt with in the translation. Gao and Zhang choose “zui” 嘴 ,and I choose “shengkou” 牲口 to translate “mouth”. Both Gao and Zhang’s translationand mine have reflected the literal meaning of “mouth”. However, when we take acloser look, we may discover that “mouth” actually means “animals” in this context.This means a word or a phrase that can show both the literal meaning and figurativemeaning of “mouth” should be chosen. Traditionally, “shengkou” 牲口 is a commonphrase for the Chinese to refer to animals. This phrase, as is seen in my translation, notonly translates the literal meaning of “mouth”, but also further indicates that moreanimals need feeding.On the other hand, here is an example in which words are chosen appropriately tofit the plain language style. In Chapter Ten, when Orwell describes the ultimate scene inwhich all the pigs have finally learned to walk straight up with only two legs in the yard,the horrible atmosphere overtakes all the animals.[The original: Chapter Ten]She [Clover] neighed again, and all the animals broke into a gallop and rushed intothe yard…. It was a pig walking on his hind legs…. There was a deadly silence.Amazed, terrified, huddling together, the animals watched the long line of pigsmarch slowly round the yard.The pigs’ walking on their hind legs brings horror to the animals. Look at the words thatOrwell chooses to achieve the effect: “deadly silence”, “amazed”, “terrified”, and“huddling together”. Although these words are simple, they are clear, and they can20

indicate the exact horrible emotion that the animals feel. Therefore, the translators haveto be careful when processing these words. They must choose words that fit the plainlanguage style and best translate the scene to dramatize the fearful effect. Thetranslations are brought under examination.[Kong’s translation: Chapter Ten]又一聲狂叫 , 動物們開始舉起蹄子 , 衝向院子 …。一條豬竟能用兩隻後腿走路 …。死一般的沉寂。驚慌、恐懼 , 動物們縮成一團看著豬的行列在院子裡慢慢練習走路。In his translation, Kong uses “si yibande chenji” 死一般的沉寂 for “deadlysilence”, “jinghuan” 驚慌 for “amazed”, and “kongju” 恐懼 for “terrified”. TheseChinese words are simple, yet they convey the exact horror in the original text.Therefore, they are appropriate words to fit the plain language style.[Gao and Zhang’s translation: Chapter Ten]她又嘶叫起来。于是 , 所有的动物全都奔跑着冲进了大院 …。是一头猪在用后腿走路 …。一阵死一般的寂静。惊讶、恐惧的动物们挤在一堆 , 看着那一长溜猪慢慢地绕着院子行走。In Gao and Zhang’s case, they choose “yizhen si yibande jijing” 一阵死一般的寂静 for “deadly silence”, “jingya” 惊讶 for “amazed”, and “kongju” 恐惧 for “terrified”.Again, these Chinese words fit the plain language style and show the animals’ horror.However, one important phrase that the translators have neglected in theirtranslations is the phrase “huddling together”. The word “huddle” particularly means “tocome together because of cold or fear”. 18 In this case, the animals “huddle together”exactly because of the “horror” that they feel when they see the pigs walking straight on18 See Cambridge Advanced Learner’s Dictionary.21

their hind legs. Therefore, it is necessary to use a specific Chinese phrase that cantranslate the fear in “huddle together”. In this case, Kong chooses “suocheng yituan” 縮成一團 and Gao and Zhang choose “jizai yidui” 挤在一堆 to translate “huddletogether”. Although the two Chinese phrases which people use a lot in daily life fit theplain language style, they do not express the fear that the animals feel. What they meanonly indicates that the animal “stay close together”. In order to show the fear, anotherChinese phrase, “sesuo cheng yituan” 瑟縮成一團 , can be adopted, because “sesuo” 瑟縮 means exactly to stay together “with fear”.Ironic ToneSecond, one purpose of fable is to communicate a strong emotion. However, due tocertain practical considerations, the author cannot express it in a hasty manner. S/he hasto do it in an indirect and sometimes ironic way. This indirect and ironic tone is not onlyone of the important issues in creating, but also in translating a fable, since it endowsthe whole story with essence. If the translator is not conscious enough of this tone, s/heis likely to ignore this major element that constitutes a prominent quality of a fable. Ifthis tone is lost in the translated text, the intended effect will be greatly reduced. Whatcomes below is an example in which the ironic tone is missing in Kong’s translation.[The original: Chapter Eight]“What victory?” said Boxer. His knees were bleeding, he had lost a shoe and splithis hoof, and a dozen pellets had lodged themselves in his hind leg.“What victory, comrade? Have we not driven the enemy off our soil — the sacredsoil of Animal Farm?”“But they have destroyed the windmill. And we had worked on it for two years!”“What matter? We will build another windmill. We will build six windmills if wefeel like it. You do not appreciate, comrade, the mighty thing that we have done.22

The enemy was in occupation of this very ground that we stand upon. And now —thanks to the leadership of Comrade Napoleon — we have won every inch of itback again!”“Then we have won back what we had before,” said Boxer.“That is our victory,” said Squealer.These lines describe the argument between Boxer and Squealer after the animalshave successfully driven off the humans in their second invasion. Boxer feels sad to seethe effort that the animals have done to building the windmill suddenly vanishes.Squealer, on the other hand, calls this battle a victory and insists on Napoleon’sleadership that drives them to win back the land of the farm. Boxer disagrees withSquealer on his definition of victory and finally says they have just won back what theyare supposed to have. The irony climaxed in the last two lines. Therefore, in translation,the translator has to be careful and recreate the ironic tone in his/her translation. Kong’stranslation is quoted below for discussion:[Kong’s translation: Chapter Eight]「什麼勝利 ?」巴克斯又問。他的膝蓋流著血 , 由於失掉一隻腳上的蹄鐵 ,蹄子也裂開了。後腿中了幾顆子彈 , 彈頭仍藏在裡面。「什麼勝利 , 同志們 ? 我們不是把敵人從我們的土地上趕走了嗎 ?」「但是他們破壞了風車 , 我們用兩年時間建造的風車 !」「那有什麼關係 , 我們可以再建造一個。假如我們高興 , 我們可以再建造六個風車。同志們 , 你們總該為我們的偉大成就而驕傲。敵人曾佔領我們現在所立的土地 , 但是我們已經又奪回來了 !」「那麼我們贏回了從前所擁有的一切。」巴克斯說。「這是我們的勝利。」史奎爾說。Apparently, Kong was not aware of the irony in the original text and did not restore the23

ironic effect in his translation. What Kong did for the last two lines was merelyword-for-word translation. The irony of the argument between Squealer and Boxer liesin the context. Only through complete understanding of the context will a translator beable of showing the irony.Therefore, the solution is to add a few words to highlight the disagreement betweenSquealer and Boxer. In this case, a conjunction “keshi” 可是 (but), and two adverbs“zibuguo” 只不過 (just) and “rengran” 仍然 (still) can be added in Chinese to show theeffect. I have added these words in the following quotation, and I will briefly explainwhy these words can show the irony. Let us take a look at my translation first.[My translation: Chapter Eight]「什麼勝利 ?」巴克斯又問。牠的膝蓋在淌血 , 蹄子裂開不說 , 還掉了一只馬蹄鐵 , 而且其中一隻後腿還留有十二發子彈。「同志 , 什麼勝利 ? 我們不是把敵人從我們的土地 , 從「動物農莊」這塊神聖的土地上趕跑了嗎 ?」「可是他們也把風車毀了。那可是我們辛苦工作了兩年的成果啊 !」「那又怎樣 ? 我們會再建造一座風車。只要我們想要 , 造六座風車也沒問題。同志們 , 難道你們無法體會我們剛剛完成的神聖使命嗎 ? 我們的敵人曾經佔領過現在我們腳下這片土地。而現在 , 多虧拿破崙英明的領導 , 我們再次成功地奪回這每一寸土地了 !」「可是我們只不過贏回以前我們所擁有的東西而已啊 !」巴克斯說。「這樣仍然是我們的勝利啊 !」史奎爾說著。In this dialogue, Boxer holds a different opinion toward Squealer’s definition ofvictory. That is to say, they are in disagreement. To show the disagreement, “keshi” 可是(but) is a proper word to show that Boxer tries to confront Squealer. Second, Squealercalls the victory a “mighty thing” in which they have won every inch of the land fromthe humans. However, Boxer disagrees with Squealer because he thinks the land already24

elongs to the animals. In Boxer’s mind, he thinks this is a deservedly victory, not a“mighty thing” at all. Therefore, “zibuguo” 只不過 (just) can be added before “yinghui”贏回 (win back) to show the animals have “just” won back what they had before. Third,when Squealer has heard Boxer’s different opinion, he still continues his apparentsophistry by saying “That is our victory”. In Squealer’s mind, he thinks even though thevictory is deserved, it is still a victory, despite the fact that they have lost the windmilland achieved very little. Therefore, rengran” 仍然 (still) can be added in Squealer’sremark to show that he “still” views the battle a victory, even though they have lost a lotof comrades and the windmill. As we can see, the irony becomes explicit after the threeChinese phrases are added.Another example that contains irony is Old Major’s speech in Chapter One. In thisspeech, Orwell chooses precise and effective words for Major to stir up the crowd’semotion, creating an atmosphere for the animals to believe in the bright future thatcomes after Rebellion. Major deliberately points out the animals’ hardships by referringto their life with such words as “miserable”, “laborious”, and “short”. He laterexemplifies how animals are being badly treated and robbed of their production byreferring to humans’ incapability and cruelty. Later, before he concludes his speech,Major asks the animals not to act like man by saying that all humans’ behavior isvicious, and calls for animals’ unity by saying that all animals are equal. He alsoreminds them of their duty that after Rebellion, they should never come to resembleman. These final remarks, however, become the most ironic part of his speech. As thestory goes on, for instance in Chapter Seven, readers will find out the pigs and dogsactually betray Major’s teaching by killing their fellow animals, and in the end, not allthe animals are equal. Major’s final remarks are quoted below:[The original: Chapter One]“And remember also that in fighting against Man, we must not come to resemblehim. Even when you have conquered him, do not adopt his vices. No animal must25

ever live in a house, or sleep in a bed, or wear clothes, or drink alcohol, or smoketobacco, or touch money, or engage in trade. All the habits of Man are evil. And,above all, no animal must ever tyrannise over his own kind. Weak or strong, cleveror simple, we are all brothers. No animal must ever kill any other animal. Allanimals are equal.”In this final part, a rhetorical skill, namely repetition, is used to express Major’semotion. We can see the words being repeated in this case are negatives like “no” and“not”. Repetition is “a deliberate use of identical phrases or sentences in a languagesegment to project certain deep and strong emotions, leaving the readers and listenersunforgettable impressions.” 19 The repetitious use of strong negatives like “no” and“not” in this example shows Major’s strong request that animals should not behave likeman after the rebellion. Orwell is successful in his choice of this rhetorical skill, becausethe readers will feel impressed and they may also become aware of the incomingpossible irony as they keep on reading. Therefore, the translators have to be cautious inpresenting the irony in their translations. Kong’s and Gao and Zhang’s translations aregiven in the following:[Kong’s translation: Chapter One]「也要切記 , 在與人的鬥爭中 , 不要變得像他。甚至征服他以後 , 也不要染上他的惡習。動物不可住在屋裡 , 不可睡在床上 , 不可穿衣服 , 不可飲酒 , 不可抽煙 , 不可使用金錢 , 不可從事貿易。這些都是人的惡習。更重要的 , 是動物不可壓制同類。強者弱者 , 愚者智者 , 皆兄弟也。動物更不可殺害同類 ,大家一律半等。」All of the negatives like “no” and “not” have been translated in Kong’s translation.19 Chen Dingan 陳定安 , Yinghan xiuci yu fanyi 英漢修辭與翻譯 (English and Chinese Rhetoric andTranslation) (Taipei: Bookman, 1996) 75.26

Note that Major asks animals not to imitate humans by stressing “No animals mustever….” The auxiliary verb “no…must ever…” is stronger than “do not”, but Kongdoes not notice this difference in his translation, and he translates the auxiliary verb allthe same with “buke” 不可 , meaning “do not” only. The strong effect is slightly reducedin this way. Gao and Zhang’s translation is provided in the following for comparison.[Gao and Zhang’s translation: Chapter One]「还有记住 : 在同人类作斗争的过程中 , 我们就決不模仿他们。即使征服了他们 , 也不要沿用他们的恶习。是动物就决不住在房屋里 , 决不睡在床上 , 决不穿衣、喝酒、抽烟 , 决不接触钞票 , 从事交易。凡是人的习惯都是邪恶的。而且 , 千万要注意 , 任何动物決不能欺压自己的同类。不论是瘦弱的还是强壮的 ; 不论是聪明的还是迟钝的 , 我们都是兄弟。任何动物決不伤害其他动物。所有的动物一律平等。」Again, all the negatives like “no” and “not” have been translated, but with a slightdifference. The difference is the way of translating “no…must ever…” This auxiliaryverb is translated with “jueba” 決不 in this case. This Chinese phrase exactly translates“no…must ever…”, and it still maintains the strong effect.In a word, Major’s speech is persuasive, but its defect lies in his naivety. Heoverlooks the greed that animals have and simply believes in an ideal world withoutman. This naivety becomes a significant irony in this fable. Generally speaking, thetranslators concerned have noticed the subtlety that construct the ironic effect andtranslated it. Even though the original strong stone of “no animals must ever…” istranslated by Kong with a less effective negative “buke” 不可 , this does not hinder thereaders’ comprehension of the irony. More ironies can be found in the latter part of thefable, and they will also be examined in the following paragraphs.As the story develops, another example of irony shows up. In Chapter Five, thetwo leading pigs are constantly at odds, particularly with the issue of building a27

Kong chooses “meili yuanjing” 美麗遠景 , which means “a beautiful prospect”, totranslate “picture”. Indeed, what “picture” implies in this paragraph is “a beautifulfuture”, and it contains Snowball’s imagination. Therefore, “meili yuanjing” 美麗遠景is a proper phrase for “picture”, because it gives readers room for imagination, and tellsthem that Snowball is talking about the dreams of the future.[Gao and Zhang’s translation: Chapter Five]他用热烈的语言 , 描述着当动物们摆脱了沉重的劳动时动物庄园的景象。他的设想此时早已远远超出了铡草机和切萝卜机。他说 , 电能带动脱粒机、犁、耙、碾子、收割机和捆扎机 , 除此之外 , 还能给每一个窝棚里提供电灯、热水或凉水 , 以及电炉等等。Compared with Kong, Gao and Zhang choose “jingxiang” 景象 for “picture” intheir translation. It is true that “picture” literally means “jingxina” 景象 , but the phrasedoes not signify the “future prospect” implied in the original text. Therefore, a moreappropriate phrase, just like “meili yuanjing” 美麗遠景 in Kong’s translation, can beselected to show Snowball’s imagination and his dreams of future.Also in the two translated paragraphs, the machines are all translated. Themachines are important because they provide a sharp contrast between the pigs’cleverness and the other animals’ stupidity. The pigs are the most intelligent animals inthe farm, and they are able to come up with new ideas to facilitate farm work. The otheranimals, on the other hand, are ill educated. They are supposed to be unfamiliar withthese machines and unable to realize the convenience that will be brought by thesemachines. This is similar to what had happened before the Russian Revolution, whenthe Bolshevik Party tried to persuade uneducated farmers and workers into believing thebright prospect by proposing lots of beautiful plans. They wanted these workers andfarmers to believe in a Communist Utopia, which Marxism would bring to them.Orwell’s criticism is very clear through this depiction. And the above-mentioned29

translators have noticed this allegory and translated the irony well in their translations.As readers proceed, they will discover that contrasts and comparisons between animagined Utopia and a cruel world are always carefully made to create the ironic effect.This is what Orwell intends to do in writing Animal Farm. Therefore, the readers haveto be cautious to find out the irony, and the translators have to be cautious as well totranslate the ironic tone.Aesthetic ValueThird, the aesthetic issue shall also be taken heed of. As mentioned in the previoussection, the writing of fable is an art, and so is the translation. In the writing of a fable,narration and description are much relied on in order to depict what one sees or how onefeels. As Professor Liu puts it, the intention of narration and description is to “cater forpeople’s emotions”, and should “focus on its power of appealing to the readers”. 20When it comes to translating a fable, the translator should also bear in mind that thepurpose of translation is also to recreate this appeal and arouse the same emotions as isfelt in the original text. Also, Tytler, the major theorist of translation studies, maintainsthat a good, aesthetic translation is “that in which the merit of the original work iscompletely transfused into another language, as to be as distinctly apprehended, and asstrongly felt, by a native of the country to which that language belongs, as it is by thosewho speak the language of the original work.” 21 Therefore, the sheer faithfulness in thechoice of words and language structure is not enough. Instead, the translator has to havea clear picture of the artistic purpose that lies in the original text, and reestablish thepurpose in the target language so the readers of the target language will feel the samedistinct merit in the original work just as those who speak the original language do.With this principle in mind, let us first look at George Orwell’s dealing with aesthetic20 Op. cit. 12, 229.21 Op. cit. 6, 128.30

description in Animal Farm:[The original: Chapter Two]A little way down the pasture there was a knoll that commanded a view of most ofthe farm. The animals rushed to the top of it and gazed round them in the clearmorning light. Yes, it was theirs — everything that they could see was theirs! In theecstasy of that thought they gambolled round and round, they hurled themselvesinto the air in great leaps of excitement. They rolled in the dew, they croppedmouthfuls of the sweet summer grass, they kicked up clods of the black earth andsnuffed its rich scent.This paragraph is extracted from Chapter Two, when the animals accidentallydefeat the humans and bring the farm under their control. They are overwhelmed by thevictory, and cannot wait to examine the farm with excitement in the next morning.Readers can feel the animals’ joy on seeing words like “gambol round and round”, “ingreat leaps of excitement”, “roll in the dews”, “sweet summer grass”, and “sniff its [theearth’s] rich scent”. Indeed, it is these words that make this description come intoaesthetic being. And through the aesthetic arrangement of these words, Orwell wants toinvite readers to share the animals’ joyfulness. Therefore, in translating these lines, thetranslators have to realize this aesthetic purpose and find the most appropriate words inthe target language that can best recreate the atmosphere and maximize the effect.Kong’s and Gao and Zhang’s translations are as follows:[Kong’s translation: Chapter Two]牧場不遠處有一土丘 , 俯視整個農莊。動物們衝上土丘 , 在晨光熹微中 , 放眼遠眺。啊 , 這是他們的了 ! 他們所能看見的每一件事物 , 都是他們的了 !在這種思想的狂擊下 , 他們不禁手舞足蹈 , 在地下團團轉 , 對天空大叫。他們在早晨的露水中打滾 , 吃夏日的青草。他們踢田裡的泥塊 , 聞泥土的芳香。31

Basically, Kong has aesthetically translated the underlined expressions. Forexample, “tuantuanzhuan” 團團轉 is for “gambol round and round”, and “zaizaochende lushui zhong dagun” 在早晨的露水中打滾 is for “to roll in the morningdew”. However, there are a few mistakes. First, “in great leaps of excitement” ismistranslated into “dui tiankong dajiao” 對天空大叫 , which means “to shout at the sky”.A Chinese phrase, “queyue” 雀躍 , may be adopted for this expression. Because thisChinese phrase means “to jump with joy”, and is very similar to the original expression.Second, two important adjectives, “sweet” and “rich”, are missing in Kong’s Chinesetranslation. “Sweet” is in contrast with animals’ “bitter” life during Jones’ days, so theword has to be translated to reflect the contrast. “Rich” also implies that Jones’ controlof their life is over, and the animals should become “better off” in the future. Therefore,this word ought to be translated too. Words like “tianmide” 甜蜜的 can be used for“sweet”, and “nonghoude” 濃厚的 can be used for “rich”, signifying the animals’ lifewould become “sweet” and “rich” from this point on.[Gao and Zhang’s translation: Chapter Two]通向牧场的小路上 , 有一座小山包 , 在那里 , 可以一览整个庄园的大部分景色。动物们冲到小山包顶上 , 在清新的晨曦中四下注视。是的 , 这是他们的 ——他们目光所及的每一件东西都是他们的 ! 在这个念头带来的狂喜中 , 他们兜着圈子跳呀、蹦呀 , 在喷涌而来的极度激动中 , 他们猛地蹦到空中。他们在露水上打滚 , 咀嚼几口甜润的夏草 ; 他们踢开黑黝黝的田土 , 使劲吮吸那泥块中浓郁的香味。On the whole, Gao and Zhang also have translated the underlined words thatcontain aesthetic purposes. For example, “gambol round and round” is translated into“douzhe quanzi tiaoya bengya” 兜着圈子跳呀、蹦呀 , and “hurl themselves in the air”into “mengdi bengdao kongzong” 猛地蹦到空中 . The Chinese verbs of “tiao” 跳 and“beng” 蹦 (which are missing in Kong’s translation) show the animals’ excitement, so32

the aesthetic purpose is complete in the translation. Moreover, Gao and Zhang havechosen the correct adjectives that are missing in Kong’s translation. For example, theyhave incorporated the correct adjectives like “tianrunde” 甜润的 for “sweet”, and“nongyude” 浓郁的 for “rich”. The two adjectives contain aesthetic purposes as well asthe contrast between the animals’ bitter past and sweet future, and therefore, they cannotbe omitted.In spite of the mistakes and corrections, one important word, namely “mouthful”,is missing in the previous two translations. The word is important because this is thefirst time that the animals can decide how much food they want to eat. They no longerdepend on humans for rations. Therefore, it is necessary for the translators to take careof this word. I have made this correction in the following translation:[My translation: Chapter Two]離草原不遠處有個視野很好的小山丘 , 上面可以看到大半個農莊。動物們跑上山丘 , 在清晰的晨光中環視整農莊。沒錯 , 農莊已是牠們的了 , 眼前所有東西都是牠們的了 ! 一想到這樣 , 牠們全都欣喜若狂 , 牠們圍成圓圈轉啊轉 ,歡欣鼓舞地跳啊跳。牠們在露珠中打滾 , 大口吃著甜美的牧草 , 還把土壤挖開 , 猛力嗅著芳香的氣息。In my translation, I choose “dakou” 大口 (a big mouthful) to translate “mouthful”,because “kou” 口 in Chinese means exactly “mouth”. In this way, “mouthful” is welltranslated, and the image of “mouth” is also preserved.Another example that requires readers to read from an aesthetic perspective is inChapter Seven, when the animals creep away from the “Confession and Execution”, inwhich they witness their comrades being slaughtered by the dogs on Napoleon’s order.This time, the joy that they once possess after they have occupied the farm is gone.Horror overtakes them, and they dare not utter any protest because of the threat by thepiles of bodies placed in front of them. The animals’ sadness is revealed by Orwell’s33

precision in choosing effective words like “creep away”, “shaken”, “miserable”, and“huddle together”. When readers read these lines, they have to read them from anaesthetic point of view, so the mournful atmosphere can be felt. The text runs asfollows:[The original: Chapter Seven]When it [the Confession and Execution] was all over, the remaining animals,except for the pigs and dogs, crept away in a body. They were shaken andmiserable…. They had made their way on to the little knoll where the half-finishedwindmill stood, and with one accord they all lay down as though huddling togetherfor warmth…. The animals huddled about Clover, not speaking. The knoll wherethey were lying gave them a wide prospect across the countryside. Most of AnimalFarm was within their view.The animals’ sorrow is made felt through “creep away”, “shaken”, “miserable”,and “huddle together”. In addition, this paragraph also serves as a contrast to theprevious example from Chapter Two, when the animals rush to the knoll in ecstasy, andthe clear view in the sunlight seems to signify a bright future prospect. However, whenthe animals make their way to the knoll this time, they are shaken and miserable. Theyhuddle together for warmth, and the prospect on the knoll over the entire farm seems tobe darkened. The key point of translating this paragraph is to show the sadness as wellas the contrast. Kong’s and Gao and Zhang’s translations are provided below. We cansee whether they recreate the sorrowful atmosphere and show the contrast between theirpast joy and present sadness in their translations or not.[Kong’s translation: Chapter Seven]坦白會結束後 , 除狗以外 , 動物們一起走開。他們戰慄 , 他們憂傷 …。動物們一起走到那座土丘 , 半完成的風車豎立在那裡。他們卧成一團取暖 …。動34

物們圍繞在克拉薇的周圍 , 蜷縮成一團 , 也不講話。他們躺卧的那個山丘 ,視界遼闊 , 可俯瞰整個動物農莊。Basically, Kong has translated most of the original text, and the animals’ fear andsorrow are felt in his translation. We can see words that indicate their fear like “shaken”and “miserable” are well translated respectively into “zhanli” 戰慄 (to shiver because offear) and “youshang” 憂傷 (miserable or sorrowful). However, the entire mournfulatmosphere will be stronger if “creep away” and “huddle together” are replaced withmore accurate Chinese phrases. In Kong’s case, “creep away” is translated into “zoukai”走開 , which only means “to go away”. “Creep away” implies a feeling of sadness sothat the meaning is absolutely different from “zoukai” 走開 (go away). Also, “huddletogether” is translated into “wochen yituan” 卧成一團 , which only means “to lie downtogether”. “Huddle” particularly means “to come together because of cold or fear”. 22 So,the phrase shall be replaced with a more accurate Chinese phrase that can indicate thefear. Kong’s translation of the second “huddle” may serve as a good solution. That is tosay, “quansuo” 蜷縮 (to cower because of fear) is a better phrase that can fully translate“huddle”. We will see how Gao and Zhang translate this paragraph in the followingtranslation:[Gao and Zhang’s translation: Chapter Seven]等这一切都过去了 , 剩下的动物 , 除了猪和狗以外 , 便都挤成一堆溜走了。他们感到震惊 , 感到害怕 …。这时 , 他们已经走到小山包上 , 干了一半的风车就矗立在那里 , 大伙不约而同地躺下来 , 并挤在一起取暖 …。动物们挤在克拉弗周围默默不语。从他们躺着的地方 , 可以俯视整个村庄 , 在那里 , 动物庄园的绝大部分都尽收眼底。In Gao and Zhang’s case, the similar mistake also happens. In their translation, Gao22 Op. cit. 18.35

and Zhang choose “liuzou” 溜走 to translate “creep away”. This Chinese phrase means“to move secretly away”, which is of course not an appropriate phrase to fully conveythe sadness implied in the action of “creep away”. Also, “huddle” is translated with“jizai yiqi” 挤在一起 , which only means “to stay very closely together” and does notshow the fear. These words are not sufficiently translated, so the sorrowful emotion thatOrwell wants readers to read from an aesthetic viewpoint is somehow reduced.To better reflect the sorrowful atmosphere and show the aesthetic value, these twounderlined phrases shall be replaced with other Chinese phrases. My translation isoffered below for readers’ reference.[My translation: Chapter Seven]整個事件結束後 , 除了豬和狗以外 , 其他動物都集體黯然神傷地離開。牠們感到既悲傷又震驚 …。動物們走到山丘上 , 在完成一半的風車旁躺了下來 ,那場景就好像他們全都瑟縮成一團取暖一樣 …。其他動物則圍著克洛薇瑟縮在一起 , 一句話也不說。牠們躺下的那個山丘上視野良好 , 牠們可以很清楚看見廣大的鄉下地方。I choose “anran shenshangdi likai” 黯然神傷地離開 to translate “creep away”.This Chinese expression better reflects the sadness when the animals leave the scenebecause “anran shenshang” 黯然神傷 means “to be lost in sadness” or “to feeldejected”. Also, “sesuo” 瑟縮 , which is similar to “quansuo” 蜷縮 , is a more appropriatephrase to translate “huddle”, because “se” 瑟 contains the feeling of “cold”, whichreflects the animals’ “fear”. The aesthetic value of this narration is thus preserved in thisway.The examples above are two major ones that require readers to read from anaesthetic point of view. In addition, they also create a sharp contrast between theanimals’ past happiness and present sadness. Therefore, they can serve as goodexamples for aesthetic analysis. In short, to achieve the goal of preserving aesthetic36

qualities in the translation, the translators should always be aware of choosing words inthe light of aesthetics.Political Purposes and MoralityFourth, politics and morality are also key points that should be taken heed of intranslating a fable, if the fable has political or moral implications. For the political part,in order to cushion the political impact, as mentioned previously, a book containingpolitical thoughts might take the form of fable. To translate a fable of this kind, thetranslator should ask himself/herself whether s/he is sensitive enough to detect thepolitical allegory. This is especially true in translating Animal Farm, because Orwellattempts to reduce the possible political impact by making this novel a fable, andpolitical allegory is easily found in this book. An example that is worthy of discussionin Animal Farm from the political perspective is Squealer’s manipulation of the animals.As Napoleon’s mouthpiece, Squealer, the propaganda pig, is always defendingNapoleon’s policies and justifying the pigs’ leadership. As the other animals say,Squealer “could turn black into white”.In his writing, Orwell believes that no literary work can ever be free from politicalbias. This holds particularly true for Animal Farm, because this book is his first attemptto “fuse political purpose and artistic purpose into one whole”. 23 Animal Farm is a fablemeant to criticize Stalin’s totalitarian regime, and therefore, most of the characters andevents are politically allegorized. Corresponding characters and events can be found inhistory. For example, characters like Jones, the farmer, represents Czar, Old Major, theelderly pig, symbolizes Karl Marx, and Boxer, the cart-horse, is compared to thedowntrodden, hard-working farmers in the Russian society. Events like Jones’ expulsionrepresents the Communist Revolution and Snowball’s various committees meant toeducate the animals equal to the Communist Party’s projects to reform. So, as one might23 Op. cit. 16.37

infer from these examples, Squealer’s role is similar to the Communist Party’spropaganda department.With his rhetoric skill to “turn black into white” and his mannerism to “skip fromside to side” when arguing difficult points, Squealer is always manipulating the animals.He is indeed quite an active and vivacious pig in the beginning. His unanswerablequestion at the end of his speech “Surely you don’t want Jones to come back?” alwaysthrows the animals into a speechless situation, and they have no choice but to believehim. Here is an example of how Squealer “pleasantly” persuades the animals:[The original: Chapter Five]He [Squealer] repeated a number of times, “Tactics, comrades, tactics!” skippinground and whisking his tail with a merry laugh. The animals were not certain whatthe word meant, but Squealer spoke so persuasively, and the three dogs whohappened to be with him growled so threateningly, that they accepted hisexplanation without further questions.Squealer’s merry laugh along with the dogs’ threat successfully mutes the animals inthis example. This is the typical way of how Squealer manipulates the animals.However, in the final chapters, Squealer’s voice and mannerism have changed. Heno longer speaks in a cheerful manner; instead, he always turns a stern face whenannouncing a policy or explaining a decision. The climax comes after Boxer’s beingcarted away to a slaughter house in Chapter Nine, when Squealer invents the ridiculousexplanation that Boxer has actually been transferred to a hospital and receivedmedication. His suspicious look at the animals forces them to believe him, even thoughthey are doubtful of his explanation initially. Here is the example:[The original: Chapter Nine]Here Squealer's demeanour suddenly changed. He fell silent for a moment, and his38

little eyes darted suspicious glances from side to side before he proceeded.Squealer falls silent, and his little eyes dart suspicious glances at the animals. We cansee from this example that Squealer’s dark side has finally been revealed.In addition to its political purpose, Squealer’s manipulation is also one major ironyof the story. Through Squealer, Orwell shows how absurdly the Soviet Union hadasserted its objective to protect the people’s welfare but ended up in pure consolidationof its power. All the ideals of Marxism and Leninism have been betrayed in the end.When the story is being read, the readers have to consider the political purposes andthink about the manipulative skills in Squealer’s remarks to find out the irony. Here aresome examples of Squealer’s drastic change in his rhetoric and mannerism. Through theexamination of the translation, we can also see whether the irony is shown or not.[The original: Chapter Three]“Comrades!” he cried. “You do not imagine, I hope, that we pigs are doing this in aspirit of selfishness and privilege? …Day and night we are watching over yourwelfare. It is for your sake that we drink that milk and eat those apples. Do youknow what would happen if we pigs failed in our duty? Jones would come back!Yes, Jones would come back! Surely, comrades,” cried Squealer almost pleadingly,skipping from side to side and whisking his tail, “surely there is no one among youwho wants to see Jones come back?”This paragraph shows how Squealer justifies the pigs’ action in a joyful manner.Note those underlined verbs and adverbs such as “skipping”, “whisking”, and“pleadingly” that vividly describes his joyful way of talking. Also note such words as“selfishness”, “privilege”, and such phrases as “watching over your welfare” and “foryour sake” that make the irony, because the pigs have actually done so out of selfishnessand privilege, and they have never intended to watch over the other animals’ welfare.39

Kong’s and Gao and Zhang’s translations are brought for analysis:[Kong’s translation: Chapter Three]「同志們 !」史奎爾叫著 ,「我希望你們不要以為豬這樣做是出於自私和特權。… 我們日夜看護你們的權益 , 完全是為了你們的緣故 , 我們才飲牛奶吃蘋果。假使我們不能執行任務 , 你們知道會產生什麼後果嗎 ? 仲斯會立刻回來 !真的 , 同志們 , 仲斯會立刻回來 !」史奎爾近乎哀求的呼叫著 , 同時搖擺著尾巴 , 從這端跳到那端 ,「當然 , 你們中間沒有一個願意仲斯回來的吧 ?」Kong has translated those words that describe Squealer’s merry mannerism. Forexample, “skipping from side to side” is translated into “cong zheduan tiaodaonaduan” 從這端跳到那端 , which means exactly what the original expression means.However, “whisk” is translated with “yaobai” 搖擺 , which only means to “wave”.“Whisk” actually means “to move nimbly and quickly”. 24 Apparently, “yaobai” 搖擺(wave) does not indicate this “quick movement”. Therefore, the Chinese adverb,“kuaisu” 快速地 (quickly or swiftly), can be added before “yaobai” 搖擺 (wave), toindicate the quick and nimble movement of Squealer’s tail. Apart from this smalldefect, other words that show the irony, like “selfishness”, “privilege”, “watching overyour welfare”, and “for your sake” are well translated into the exact Chineseequivalents in Kong’s translation. Let us look at Gao and Zhang’s translation.[Gao and Zhang’s translation: Chapter Three]「同志们」, 他大声嚷道 ,「你们不会把我们猪这样做看成是出于自私和特权吧 ? 我希望你们不。… 我们夜以继日地为大家的幸福费尽心机。因此 , 这是为了你们 , 我们才喝牛奶 , 才吃苹果的。你们知道吧 , 万一我们猪失职了 , 那会发生什么事情呢 ? 琼斯会卷土重来 ! 是的 , 琼斯会卷土重来 ! 真的 , 同志们 !」斯奎拉一边左右蹦跳着 , 一边甩动着尾巴 , 几乎恳求地大喊道 :「真的 ,24 See The Merriam-Webster Dictionary.40

你没有谁想看到琼斯卷土重来吧 ?」Words that show Squealer’s joy like “skipping from side to side” is well translatedinto “zouyou bengtiao” 左右蹦跳 , meaning exactly what the original words mean. Otherwords that show the irony like “selfishness” and “privilege” are well translated into theexact Chinese equivalents. However, the same mistake happens in Gao and Zhang’stranslation. That is to say, “whisk” is not translated with a Chinese phrase that indicatesthe “nimble and quick movement”. In this case, Gao and Zhang choose “shuaidong” 甩动 for “whisk”. “Shuaidong” 甩动 only means “to fling” or “to wave”, and does notcontain any implication of “nimble and quick movement”. Therefore, as in thecorrection that I made to Kong’s translation in the previous case, the Chinese adverb,“kuaisu” 快速地 (quickly or swiftly), can be added before “yaobai” 搖擺 (wave), toindicate the quick and nimble movement of Squealer’s tail.The example above displays Squealer’s intention to manipulate the animals in agleeful manner. However, in later chapters, Squealer’s attitude has changed and his evilside has finally been revealed. Here is an example from Chapter Seven:[The original: Chapter Seven]“Our Leader, Comrade Napoleon,” announced Squealer, speaking very slowly andfirmly, “has stated categorically — categorically, comrade — that Snowball wasJones's agent from the very beginning….”“That is the true spirit, comrade!” criedSquealer, but it was noticed he cast a very ugly look at Boxer with his littletwinkling eyes. He turned to go, then paused and added impressively: “I warnevery animal on this farm to keep his eyes very wide open....”In this paragraph, Squealer no longer asks the animals for their understanding witha merry laugh or even in a pleading way. He starts to speak very “slowly” and “firmly”;he falls silent, casts suspicious and “ugly” glances, and “warns” the other animals to41

地 —— 明确了 , 同志们 —— 声明斯诺鲍一开始就是琼斯的奸细 …。」「这是事实的真相 , 同志们 !」斯奎拉大叫着。但动物们注意到他那闪亮的小眼睛向鲍克瑟怪模怪样地瞥了一眼。在他转身要走时 , 停下来又强调了一句 :「我提醒庄园的每个动物要睁大眼睛 …。」Also, in Gao and Zhang’s case, “firmly”, “slowly”, and “ugly” are translated withequivalent Chinese words. However, the word “warn” is not well translated, either. Gaoand Zhang choose “tixing” 提醒 for “warn”. However, “tixing” 提醒 only means “toremind”, and does not show the threat that Squealer tries to impose on the animals.Therefore, “jinggao” 警告 can be added, just like what I did to Kong’s translation in theprevious case.Generally speaking, Kong, Gao, and Zhang have shown the contrast betweenSquealer’s previous and present attitudes in their translations. From these examples,even though a few words (like “whisk” and “warn”) are not properly translated, we canstill see the translators concerned have been careful in their choice of words as well asin considering the political purpose in Squealer’s manipulation, so the ironic effect iskept in their translations respectively. However, examples that contain political purposesin Animal Farm far more exceed these. The above-mentioned examples are just a fewmajor ones. More minor examples that are related to politics can be found in otherchapters. Readers have to read attentively in order to find out these examples and feelthe ironic effect on politics that Orwell wants to present.Finally, for the moral part, it is agreed that the moral in Animal Farm is theunavoidable corruption of an unmonitored authority, no matter how idealistic its aimsfirst appear. In this story, Orwell does signify this unavoidable corruption with carefullyarranged events. For instance, the pigs’ greed to confiscate the milk in Chapter Tworeveals the first sign of their corruption. Step by step, we will notice the change of thepigs’ behavior and eventually find out in Chapter Ten, when they finally betray the otheranimals, and march to the ultimate corruption by acting like man. The first sign of43

The underlined sentences are translated, and the contrast between Napoleon’sattitude to the milk and the animals’ interest in the milk is shown. We can see theanimals’ attitude – “feichang ganxingqu” 非常感興趣 (with considerable interest) is incontrast with Napoleon’s attitude – “buyao danxin naxie nai” 不要擔心這些奶 (nevermind the milk), and “you tongzhi hui zhaogu ta” 有同志會照顧它 (that will be attendedto).However, there is room for improvement. In Kong’s case, after the adjective clause“at which many of the animals looked with considerable interest” is translated, itbecomes a bit long to fit in the Chinese language structure. Actually, this long clausedoes function as an adjective, but due to different language structures between Englishand Chinese, it does not mean this clause has to be translated into a Chinese adjective,while still maintaining its original length. As a rule of thumb, it is common to keepadjectives as short as possible before nouns in Chinese. We can see in this example,Kong chooses “dongwumen feichang ganxingqude wutong” 動物們非常感興趣的五桶(five buckets that the animals are very much interested) to modify “xiannai” 鮮奶(milk). This Chinese adjective before “xiannai” 鮮奶 is a bit long, and therefore doesnot seem to comply with the common way the Chinese use adjectives. One solution is tobreak the long adjective up, as in Gao and Zhang’s case. Now, let us take a look at theirtranslation:[Gao and Zhang’s translation: Chapter Two]很快 , 就挤满了五桶冒着沫的乳白色牛奶 , 许多动物津津有味地瞧着奶桶中的奶。「这些牛奶可怎么办呢 ?」有一个动物问答。「琼斯先生过去常常给我们的谷糠饲料中掺一些牛奶」, 有只母鸡说道。「别理会牛奶了 , 同志们 !」站在奶桶前的拿破仑大声喊道 ,「牛奶会给照看好的 , 收割牧草才更重了 …。」于是 , 动物们成群结队地走向大牧场 , 开始了收割。当他们晚上收工回来的45

时候 , 大家注意的 : 牛奶已经不见了。In this example, Gao and Zhang first translate “milk”. They choose “niunai” 牛奶for “milk”, which is a correct phrase. After translating the object, they start a newsentence “xuduo dongwu jinjinyouwei di caozhe naitong zhong de nai” 许多动物津津有味地瞧着奶桶中的奶 (at which many of the animals looked with considerableinterest) for the adjective clause “at which many of the animals looked withconsiderable interest”. This method of translating the object in the first place and thenstart a new sentence to translate the adjective clause is a common way to translate a longadjective clause into Chinese. Because of this method, Gao and Zhang’s Chinesetranslation becomes more natural. Also, note especially that Gao and Zhang choose“jinjinyouwei” 津津有味 , meaning “with great interest”, to translate “with considerableinterest”. This Chinese idiom can further indicate the animals’ curiosity.As for Napoleon’s remarks of “Never mind the milk” and “That will be attendedto”, they are well translated respectively into “bie lihui niunai le” 别理会牛奶了 (nevermind the milk) and “niunai hui gei zhaokanhao de” 牛奶会给照看好的 (the milk willbe attended to) in this case. Compared with the animals’ considerable interest –“jinjinyouwei” 津津有味 , we can see the contrast between the animals’ curiosity andNapoleon’s greed is thus made explicit.Other events that signify the pigs’ corruption continue to happen, until finally inChapter Ten, the Seven Commandments are absurdly rewritten into only onestatement – “ALL ANIMALS ARE EQUAL, BUT SOME ANIMALS ARE MOREEQUAL THAN OTHERS.” After this, the pigs openly enjoy every privilege withoutfeeling any sense of guilt. The narration goes like this:[The original: Chapter Ten]After that it did not seem strange when next day the pigs who were supervising thework of the farm all carried whips in their trotters. It did not seem strange to learn46

that the pigs had bought themselves a wireless set, were arranging to install atelephone, and had taken out subscriptions to John Bull, TitBits, and the DailyMirror. It did not seem strange when Napoleon was seen strolling in the farmhousegarden with a pipe in his mouth — no, not even when the pigs took Mr. Jones'sclothes out of the wardrobes and put them on, Napoleon himself appearing in ablack coat, ratcatcher breeches, and leather leggings, while his favourite sowappeared in the watered silk dress which Mrs. Jones had been used to wear onSundays.This paragraph demonstrates the complete corruption of the pigs. The otheranimals have been brainwashed, and they do not even bother to learn about what thepigs are doing. Notice that this paragraph contains three consecutive uses of “did not”and one “not even”. The consecutive uses of these negatives not only impress thereaders, but also mark the animals’ indifference to the pigs’ ultimate corruption. To theanimals, the pigs’ behavior is no longer strange to them. The key point of translating inthis case is to translate these negatives with proper choice of words so that the strongironic tone will be clear. Kong’s and Gao and Zhang’s translations are listed below:[Kong’s translation: Chapter Ten]原來如此 , 無怪乎第二天豬監工時都拿著皮鞭 , 無怪乎豬買無線電接收機準備安裝電話 , 無怪乎豬訂閱《約翰牛》、《東鱗西爪》、《每日鏡報》。也無怪乎拿破崙口裡啣著煙斗 , 在農舍後花園裡散步 —— 是的 , 也無怪乎豬拿出仲斯衣櫥裡的衣服 , 自己穿載 : 拿破崙穿黑色大衣、長褲、皮製護脛襪 , 他所喜愛的一個兒子 , 穿仲斯先生星期天穿著的波紋絲製衣服。The negatives “it did not seem strange” and “not even” are translated. In this case,Kong chooses “wuguaihu” 無怪乎 (no wonder) to translate them. The translation isbasically correct, and the consecutive uses of these negatives also bring out the animals’47

indifferent attitudes. Let us look at Gao and Zhang’s translation for comparison.[Kong’s translation: Chapter Ten]从此以后 , 似乎不再有什么可稀奇的了 : 第二天所有的猪在庄园监督干活时蹄子上都捏着一根鞭子 , 算不得稀奇 ; 猪给他们自己买一台无线电收音机 ,并正在准备安装一部电话 , 算不得稀奇 ; 得知他们已经订阅了《约翰 · 牛报》、《珍闻报》及《每日镜报》, 算不得稀奇 ; 看到拿破仑在庄主院花园里散步时 ,嘴里含着一根烟斗 , 也算不得稀奇。是的 , 不必再大惊小怪了。哪怕猪把琼斯先生的衣服从衣柜里拿出来穿在身上也没有什么。如今 , 拿破仑已经亲自穿上了一件黑外套和一条特制的马裤 , 还绑上了皮绑腿 , 同时 , 他心爱的母猪则穿上一件波纹绸裙子 , 那裙子是琼斯夫人过去常在星期天穿的。Gao and Zhang also translate these negatives. They use “suanbude xiqi” 算不得稀奇 (… is not strange) for “it did not seem strange”. This Chinese translation is correct,and “strange” is especially equivalent to “xiqi” 稀奇 in Chinese. Moreover, they use “yemeiyou sheme” 也没有什么 (nothing special) for “not even”. This Chinese translationis also correct in this context, and it can further reflect the sarcastic tone to indicate theanimals’ complete indifference to the pigs’ behavior. Therefore, Orwell’s purpose toexpose the pigs’ corruption is clearly seen in their translation.These two examples are just two major ones that show the pigs’ corruption. Moreexamples can be found in other minor events. When translators translate the story, theyhave to follow these events closely and find out the subtle changes in the pigs’ behaviorso that they can perceive the moral lesson, and translate it properly.To briefly summarize this chapter of my thesis, the first part of it discusses fivemajor features of fable – plain language, ironic tone, aesthetic value, political purposes,and moral lessons. By discussing these five features, I intend to give readers the basicknowledge of a fable. After realizing these features, the readers shall be able toappreciate Animal Farm based on them. In the second part of this chapter, the two48

selected translated versions of Animal Farm are brought under examination. Theguidelines that I adopt to examine the translations are based on the five features in 2-1(see p. 9). As a whole, Kong, Gao, and Zhang are able to present the ironic, aesthetic,political effects as well as the moral in their translations. Especially on the point ofpolitical purposes and morality, Gao and Zhang’s translation reflects what is impliedand is therefore quite faithful to the original text. That is to say, there seems nodifferences between the ways the translators from the two sides of Taiwan Strait carryout the messages in Animal Farm. However, Kong’s translation sometimes seems to bemuch on the side of the word-for-word translation. For instance, the way he translatesthe last two lines of the argument between Squealer and Boxer in the first example of“Ironic Tone” is word-for-word. In this case, this word-for-word translation cannotshow the irony clearly. And the language that Kong adopts sometimes does not complywith the feature of plain language, so the Chinese sometimes sounds awkward. Forinstance, the way he adopts “wen yan wen” (classical literary Chinese) to translate thefirst line in the first example of “Plain Language” does not fit Orwell’s plain languagestyle, because Animal Farm is a novel of modern times. I have pointed out theseshortcomings, and revised them in my translation. But apart from this linguistic problem,Kong’s Chinese translation is excellent. That is why his translation of Animal Farm stillhas remained one of the best in Taiwan even after two decades since it was firstpublished.49

Chapter Three: Solutions to Some Technical Problems inTranslating Animal Farm: A Comparative StudyIn my process of translating Animal Farm and after reading Kong, Gao, andZhang’s Chinese translations, I have found some technical issues which must beattended to in order to make the Chinese reading sound natural. These issues include:1. The addition of words in the translated text.2. The use of Chinese idioms in the translation.3. The application of Nida’s idea of “kernels” to translating long sentences.I will briefly explain why these issues are important in translating Animal Farm in thefollowing paragraphs.First, it is noted that Orwell’s writing is concise, and therefore, some of hiscondensed sentences might present difficulties in translation, even though the meaningsof these sentences in the original text are clear. In translating these concise sentences, itis important to add words so that the sentence meanings in Chinese will be clear. Forexample, by adding a specific conjunction, like “han” 和 (and) or “danshi” 但是 (but),the translator can make the cause/effect or comparison/contrast between two sentencesexplicit. By adding a clarifier, the translator can further explain a situation. I will discussthese types of addition later in 3-1 in the next section.Second, the use of Chinese idioms in the translation is also important. As we cansee in Animal Farm, Orwell is quite successful in describing scenes containing action.For instance, the description of “Battle of Cowshed” in Chapter Two involves muchexciting and fast-paced action. Also, Snowball’s expulsion by the dogs in Chapter Fivecontains chasing. Because of the fact that most of the Chinese idioms can describe asituation that includes a lot of information with just a few words, they can create a terse50

yet impressive impact on the readers. For instance, “ba tui jiu pao” 拔腿就跑 is atypical Chinese idiom that means “to take to one’s heels and escape”. This idiom is terse,yet it is powerful. Readers must be able to feel the fear and swiftness that someone hasthrough this Chinese idiom. Therefore, similar idioms of this kind can be used in theChinese translation of Animal Farm to describe the aforementioned scenes.Third, even though the general writing style of Animal Farm is short, there stillexist some long sentences. For example, many of the sentences that Orwell uses todescribe Pilkington’s and Napoleon’s addresses to the guests in Chapter Ten are long.Here is one example:[The original: Chapter Ten]He [Pilkington] could not of course know — for he, Napoleon, was only now forthe first time announcing it — that the name “Animal Farm” had been abolished.Henceforward the farm was to be known as “The Manor Farm” — which, hebelieved, was its correct and original name.The two sentences are complicated in grammatical structure because they contain a fewinserted clauses. This first sentence contains a short inserted sentence beginning with“for he”. The second sentence contains a relative clause modifying the “Manor Farm”.Such grammatical structures are not common in Chinese, and therefore cannot betranslated into Chinese without any structural changes. If they are translated without anychanges in the grammatical structure, the translated sentences may tend to beunreadable in Chinese.Therefore in this section, methods of translating long sentences will be accountedfor. The methods are based on Eugene Nida’s idea of “kernels”, of which a longsentence is made up. It is noted that long sentences are not always well dealt with in thetwo selected Chinese translations of Animal Farm. Some of the long sentences arewell-translated while others are not. In other words, they are not translated51

systematically by the translators. Defects of translating long sentences exist in most ofKong’s translation. Hence, I will point out these defects, and try to provide my solutionsto these long sentences by applying Nida’s idea of kernels.The above brief explanation indicates the importance of these three technical issuesin translating Animal Farm. After reading Kong, Gao, and Zhang’s translations, I dohave found these issues are generally not carefully dealt with, so some of their Chinesereading sometimes sounds awkward. In my process of translation, I have found someways to cope with these issues effectively. Therefore, in the following sections, I willdemonstrate how I tackle these issues. Shortcomings of Kong, Gao, and Zhang’s waysof dealing these issues will be pointed out, and my translation will be offered andexplained, in order to serve as the readers’ reference. Now let us take a look at the firsttechnical problem – addition.52

3-1 Addition“Addition” is one of the strategies commonly used in the practice of translation.The added elements may include words or sentences. The need to add these necessaryelements is due to the different ways of expression and different language structuresinherent in between the source language and the target language. These linguistic andsyntactical differences may often cause difficulties in understanding the original text.The renowned Chinese translator Yan Fu says in his Yiliyan 譯例言 (Words on Cases inTranslation) that “If it is too hard to find equivalents for the meanings of the words thatexist in the original text, the translator has to add necessary elements before or after thewords in order to complete the meaning”. 25 Therefore, to avoid difficulties inunderstanding as Yan Fu suggests, one can infer that addition is technically essential forgood translation, and this strategy shall be taken into consideration in the process oftranslation.Basically, in my process of translating Animal Farm and after having read the othertwo translations, I have found two types of addition, namely, “addition of transitions”and “explanatory addition”, that could be applied in order to make the translation morenatural for the Chinese readers. The first type of addition – addition of transitions – willbe discussed below.Addition of TransitionsIn translating Animal Farm, I have found that adding transitional words is useful inmaking the Chinese natural for Chinese readers. Because of the different languagestructures between English and Chinese, a Chinese sentence, when translated fromEnglish, should undergo modification by adding transitional words so the Chinese willbecome natural. This issue is particularly apparent in Kong’s and Gao and Zhang’s25 Yan Fu 嚴復 , Tianyanlun 天演論 (Evolution and Ethics) (Taipei: The Commercial Press, 1987) 1.53

translations. Because when I read their translations, I found they tend to neglecttransitional words, so their translations are incomplete in meanings. These missingtransitional words can be categorized into adverbs, clarifiers, and conjunctions. In thissection, I will talk about these transitional words respectively. I will also quote Kong,Gao, and Zhang’s translations for analysis. From the analysis, I will point out theirshortcomings, and demonstrate how I polish the translated texts by adding transitionalwords. Let us look at the first example – addition of adverbs.Ex. 1 –- Addition of an adverbThe first example of adding transitional words is to add adverbs. Below is anexample in which the insertion of a Chinese adverb in the translated text makes thecontrast between two sentences clear. I have put a blank between the two sentences toindicate that an adverb can be added. Here is the example.[The original: Chapter Four]However, these stories [humans’ lies] were never fully believed. ________Rumours of a wonderful farm, where the human beings had been turned out andthe animals managed their own affairs, continued to circulate in vague anddistorted forms.As we can see, the relation between the two sentences shall be contrastive. Thecontrast lies in the difference between the desperate situations imagined by humans andthe prosperous situations in which the animals run their farm. In translation, the Chinesetransitional words, “fanzhi” 反之 , meaning “instead”, can be added at the beginning ofthe second sentence to show the contrast. We shall take a look at Kong’s and Gao andZhang’s translations in the following paragraph.54

[Kong’s translation: Chapter Four]可是 , 誰也不完全相信這些。________ 關於一個奇異農莊的風聞 , 仍然模糊地流傳開來 , 說是那個農莊上人類已被驅逐 , 動物們管理著自己的事。Kong’s translation lacks the necessary transitional words at the beginning of thesecond sentence, so the contrast in-between is not shown. If the Chinese words “fanzhi”反之 (instead) is added, the contrast will be clear.[Gao and Zhang’s translation: Chapter Four]然而 , 谁也没有完全听信这些说法。________ 有这样一座奇妙的庄园 , 在那儿人被撵走 , 动物们掌管自己的事务 , 这个小道消息继续以各种形式流传着。Similarly, Gao and Zhang’s translation also lacks specific transitional words, so thecontrast between the humans’ lies and the animals’ success in managing their farm is notclear. The solution is, again, to add “fanzhi” 反之 (instead), like I do in the followinglines, at the beginning of the second sentence in the translation.[My translation: Chapter Four]然而這些事情從來都沒動物相信過。反之 , 傳聞還不斷以模糊不完整的方式流傳開來 , 說是有個很棒的農莊 , 裡面的人類遭到驅逐 , 動物自行管理一切事物。I have added “fanzhi” 反之 (instead) at the beginning of the sentence so thecontrast between humans’ lies and animals’ prosperity should be clear now.Ex. 2 –- Addition of a co-ordinate conjunction that shows the cause and effectThe second example of adding transitional words is to add conjunctions. The use of55

conjunctions is to make the connection and logic between sentences in the Chinesetranslation better. Kong, Gao, and Zhang sometimes neglect the importance of theseconjunctions, so the sentence connection and logic in their Chinese translations maysometimes seem to be vague. Here is one example of adding a co-ordinate conjunctionin the Chinese translation.[The original: Chapter Six]The hens, said Napoleon, should welcome this sacrifice [of surrendering their eggsto humans] as their own special contribution towards the building of the windmill.Here, Napoleon wants the hens’ sacrifice “because” he wants those eggs to beexchanged for necessary materials to build the windmill. Therefore, the cause/effectwould be clear in Chinese if the co-ordinate conjunction “yingwei” 因為 (because) isadded. Kong’s translation is listed below. The blank indicates where the conjunctioncould be added.[Kong’s translation: Chapter Six]拿破崙說 , 母雞們應該滿意於自己的犧牲 ,________ 作為對建造風車的一種貢獻。Kong’s translation is nearly word-for-word, and he did not translate these lineswithout changing the syntactical structure in Chinese. Therefore, this kind of translationmakes the Chinese ungrammatical. The Chinese words of “ 母雞們應該滿意於自己的犧牲 , 作為對建造風車的一種貢獻 ” sounds awkward because there should be at least asubject “zheyi xisheng” 這一犧牲 (this sacrifice) in the second sentence. Also, atranslational word, “yinwei” 因為 (because) should be inserted to at the beginning ofthe second sentence to indicate the cause/effect that implied in the original text. Ifcorrected, Kong’s translation would be:56

拿破崙說 , 母雞們應該滿意於自己的犧牲 , 因為這一犧牲是作為對建造風車的一種貢獻。The corrected translation should be more appropriate in grammar and more natural forthe Chinese readers. Now let us look at Gao and Zhang’s translation:[Gao and Zhang’s translation: Chapter Six]拿破仑还说 , 鸡应该高兴地看到 ,________ 这一牺牲就是他们对建造风车的特殊贡献。Comparatively, Gao and Zhang’s translation has broken the original syntacticalstructure, making their translation closer to the Chinese syntactical structure thanKong’s. Gao and Zhang move “xisheng” 牺牲 (sacrifice) to the beginning of the thirdsentence, making that sentence “zheyi xisheng jiushi tamen dui jianzao fengche de teshugongxian” 这一牺牲就是他们对建造风车的特殊贡献 (This sacrifice is theircontribution to the building of the windmill) a complete meaningful unit in Chinese.However, the translation will be even better if “yinwei” 因為 (because) is insertedbefore “zheyi xisheng” 这一牺牲 (this sacrifice) to show the cause/effect implied in theoriginal text. For readers’ reference, I will show how I translate this example in thefollowing lines.[My translation: Chapter Six]牠說 , 母雞們應該對自己的犧牲感到光榮 , 因為這是牠們為興建風車所做的特殊貢獻。As readers can see, I have added “yinwei” 因為 (because) in my translation, so thecause/effect relation in the original text is made explicit in my translation.57

Ex. 3 –- Addition of a co-ordinate conjunction that shows the contrastAnother example of adding conjunctions in Chinese is also a co-ordinateconjunction “danshi” 但是 (but) to show the contrast between two different kinds ofactions. Here is the example from the original text. The blank indicates where theco-ordinate conjunction could be inserted.[The original: Chapter Seven]Their [The hens’] method was to fly up to the rafters and there lay their eggs,which smashed to pieces on the floor. ________ Napoleon acted swiftly andruthlessly. He ordered the hens’ rations to be stopped, and decreed that any animalgiving so much as a grain of corn to a hen should be punished by death.We know from the text that Napoleon intends to take a hard stance toward thehens’ rebellious acts, so the there should be contrast in the two kinds of actions.However, there is not a conjunction to show the contrast. If we can add a “but” in theblank, the contrast between the hens’ rebellious acts and Napoleon’s ruthlesspunishment will be immediately shown. Kong’s translation goes like this:[Kong’s translation: Chapter Seven]她們的方法是飛到屋樑上 , 在那裡下蛋 , 蛋就落到地下摔碎。________ 拿破崙的懲罰也是迅速而無情的。他命令停止母雞的食物配額 , 如果別的動物給他們一顆穀粒 , 立刻處死。Kong’s translation is basically correct. However, he does not notice the lack of aconjunction in the original text, and therefore does not add the necessary conjunction inhis translation. So the contrast between the hens’ subversive acts and Napoleon’s quickpunishment is not obvious. To show the contrast, “danshi” 但是 (but) can be added in58

the blank. The contrast will be clearly demonstrated in this way. I have made theaddition of this co-ordinate conjunction in my translation.[My translation: Chapter Seven]牠們的做法是飛到樑上生蛋 , 這樣一來蛋全都掉到地上摔碎了。但是拿破崙也即刻採取了鐵腕措施。牠下令立刻停止供給母雞配糧 , 並宣布只要有動物膽敢給母雞一點食物吃的話 , 立即處以死刑。I have added “danshi” 但是 (but) in the blank. The contrast between the two kindsof drastic actions is clear.Ex. 4 – Addition of a subordinate conjunction to conform to Chinese grammarThe fourth example is to add a subordinate conjunction that makes the syntacticalstructure comply with the Chinese grammar. The example goes like this:[The original: Chapter Six]And in his spare moments, of which there were not many nowadays, he would goalone to the quarry, collect a load of broken stone, and drag it down to the site ofthe windmill unassisted.This example contains a relative clause “of which there were not many nowadays”.The purpose of this relative clause is to modify “spare moments”. This kind ofsyntactical structure of using a long relative clause to modify a noun is common inEnglish, but rare in Chinese. Because of this rare existence of this grammatical structurein Chinese, if the relative clause “of which there were not many nowadays” is translateddirectly without any rearrangement, the Chinese grammatical structure will becomeawkward. Therefore, to make it comply with the Chinese grammatical structure, the59

sentences shall be reorganized, and a subordinate conjunction, “jingguan” 儘管 (eventhough), shall be added to indicate the relation of these sentences. Now, let us see howKong deals with this example.[Kong’s translation: Chapter Six]在休閒時刻裡 , 現在已經沒有很多休閒時間了 , 他會自己跑到礦場 , 撿拾一車碎石塊 , 獨自拖到風車建地去。Kong copied the original grammatical structure in his translation. He did notrearrange the sentences and put the relative clause “of which there were not manynowadays” in an order that complies with Chinese grammar. Instead, he translated itdirectly into “xianzai yijing meiyou henduo xiuxian shijian le” 現在已經沒有很多休閒時間了 and put it according to its sentence order in the original text. This sentence orderdoes not comply with the Chinese syntactical structure, thereby making Kong’stranslation sound awkward. To avoid this awkwardness, a solution like mine is needed.[My translation: Chapter Six]儘管現在已沒有太多空閒時間 , 可是只要一有機會 , 牠還是會獨自跑到礦場 ,收集滿整車的石頭 , 獨力拖到風車的建地去。The solution is to move the English relative clause “of which there were not manynowadays” to the beginning, translate it into “xianzai yi meiyou daiduo kongxianshijian” 現在已沒有太多空閒時間 , and add a Chinese subordinate conjunction“jingguan” 儘管 (even though) to show when Boxer, the cart-horse, wants to shoulderthe responsibility of collecting more stones.Ex. 5 – Addition of a clarifier60

In Kong’s and Gao and Zhang’s translations, clarifiers are sometimes absent so theclose sentence connection in the original seems to be broken in their translations. Theabsent of these clarifiers is mainly due to Orwell’s concise writing style. In his writing,Orwell tends to omit unnecessary words because readers can still know what he intendsto say by referring to the context. However, when it comes to translating, omission ofthese clarifiers might result in meaning vagueness because of the different languagestructures between English and Chinese. Therefore, the translators must always thinkfor the readers, and decide in what way they will facilitate their readers to understandthe translation. Under this circumstance, it is important to supplement the translated textwith these supposedly missing clarifiers. Let us take a look at one example that requiresa clarifier in the translation. The blank indicates where the clarifier could be added.[The original: Chapter Five]Without saying anything to the others, she [Clover] went to Mollie's stall andturned over the straw with her hoof. ________ Hidden under the straw was a littlepile of lump sugar and several bunches of ribbon of different colours.As we can see, transitional words that can clarify the relation between Cloveraction and her discovery can still be added before the second sentence, even though themeaning of these lines is clear in this context. In this case, we can try insert “Just as shehad expected” to clarify the relation. Let us look at the Chinese translations.[Kong’s translation: Chapter Five]一言不發 , 走到穆力的欄舍裡 , 用蹄子翻那裡的草堆。________ 埋在草下的是一堆蔗糖和好幾束色彩不同的緞帶。Kong’s translation is basically correct. He has translated all the lines. However,clarifying words such as “guobuqiran” 果不期然 (just as someone has expected) can be61

inserted in the blank to indicate the relation between Clover’s action and her discovery.Gao and Zhang’s translation is also provided:[Gao and Zhang’s translation: Chapter Five]谁也没有打招呼 , 她就跑到莫丽的厩棚里 , 用蹄子翻开一堆草。________ 草下竟藏着一堆方糖和几条不同颜色的饰带。Gao and Zhang’s translation is similar to Kong’s. The same clarifier can be addedin the blank to indicate the relation between Clover’s action and her discovery. I haveadded the clarifier in my translation. Below is my translation:[My translation: Chapter Five]牠不發一語 , 立刻跑到茉莉的馬廄 , 用蹄子翻開裡頭的草堆。果不其然 , 草堆底下藏了一堆糖和數捆五顏六色的絲帶。As a result, by adding “guobuqiran” 果不期然 (just as someone has expected), therelation between Clover’s action and her discover is clear, and readers should be able toknow that Clover actually knows something is bound to happen.The above are only a few examples of adding words that can connect sentences andmake them close to the Chinese way of describing things. As we can see, it is importantfor a translator to notice the connection between each sentence. If connecting words arenot added, not only the sentence relation, but also the cause/effect orcontrast/comparison will not be shown.Explanatory AdditionBesides the addition of transitional words, another type of addition can also beincorporated to further explain a situation, give readers more details, and complete the62

meaning. This is what is usually referred to as “explanatory addition”.In translating Animal Farm, this technique is important. As mentioned before,Orwell’s writing style is terse, readers can always judge from the context to decide whathe means, even though his sentences are concise. However, when met with thesecircumstances, a translator has to think twice before s/he translates. S/he has to thinkwhether the meaning in the target language is clear or not if such an original text istranslated into Chinese due to different language structures. If the meaning may not becomplete in the translation, s/he has to consider the addition of words that can furtherexplain this situation, so the meaning will be complete. Here are a few examples fromAnimal Farm that require “explanatory addition”.Ex. 1The first example is to add a few words in the end to explain why the animals usethe gravity. The example goes like this:[The original: Chapter Six]There seemed no way of doing this except with picks and crowbars, which noanimal could use, because no animal could stand on his hind legs. Only after weeksof vain effort did the right idea occur to somebody — namely, to utilise the force ofgravity.The use of gravity is “to smash the stones”. Although readers can infer from thecontext to decide the purpose of using gravity, it will be even better if the translator canadd words that further explain the use of gravity is “to smash the stones”. In this case,“ba shitou shuaisui” 把石頭摔碎 (to smash the stones) can be added in the end. Let ussee how Kong, Gao, and Zhang cope with this example.63

[Kong’s translation: Chapter Six]除去利用十字鎬和鐵鍬外 , 似乎沒有別的辦法。然而沒有一個動物能操作這些工具 , 因為沒有一個動物能用後腿站立。經過幾個星期的苦思焦慮 , 一個動物終於想出一個方法 —— 利用地心引力。Kong has translated “to use the force of gravity” correctly into “liyong dixinyinli”利用地心引力 in his translation. But the translation will become clearer if “ba shitoushuaisui” 把石頭摔碎 (to smash the stones) is added after “liyong dixinyinli” 利用地心引力 . Gao and Zhang’s translation goes like this:[Gao and Zhang’s translation: Chapter Six]似乎除了动用十字镐和撬棍外 , 没有别的办法。可是 , 动物们都不能用后腿站立 , 也就无法使用镐和撬棍。在他们徒劳几个星期之后 , 才有动物想出了一个好主意 , 就是利用重力的作用。Gao and Zhang’s translation is similar to Kong’s. They have translated “the forceof gravity” correctly into “liyoung zhongli de zuoyong” 利用重力的作用 . However,like I have point out previously, “ba shitou shuaisui” 把石頭摔碎 (to smash the stones)can be inserted after “liyoung zhongli de zuoyong” 利用重力的作用 to further explainthe purpose of using gravity. I have added these words in my translation. Here is it:[My translation: Chapter Six]除了用十字鎬和鐵鍬以外 , 好像沒有其他辦法可以把石頭弄碎。可是這些工具動物們都沒辦法使用 , 因為牠們無法靠兩條腿站立。牠們試了好幾個星期依然徒勞無功 , 最後終於有動物想到一個好方法 —— 也就是說 , 利用地心引力把石頭摔碎。I have added the essential explanatory words “ba shitou shuaisui” 把石頭摔碎 (to64

smash the stones) after “liyong dixin yinli” 利用地心引力 (to use the force of gravity),so the translation becomes “liyong dixinyili ba shitou shuaisui” 利用地心引力把石頭摔碎 (to use the force of gravity to smash stones). The translation would be clearer forreaders in this way.Ex. 2The second example is to add a few explanatory words to further explain whatNapoleon’s black cockerel does for him. Here are the quoted lines:[The original: Chapter Eight]When he [Napoleon] did appear, he was attended not only by his retinue of dogsbut by a black cockerel who marched in front of him and acted as a kind oftrumpeter, letting out a loud “cock-a-doodle-doo” before Napoleon spoke.The cockerel’s cry of “cock-a-doodle-do” is to draw the other animals’ attentionbefore Napoleon speaks. So, we can add “yao dajia zhuyiting” 要大家注意聽 (to askfor everyone’s attention) in the translation to explain the cockerel’s function. Let us lookat Kong’s first. The blank marks where these explanatory words can be added.[Kong’s translation: Chapter Eight]當他露面的時候 , 不僅有狗陪同 , 還有一隻黑色的小公雞在前面開路。小公雞在拿破崙開始說話前 , 先咯咯地叫著 ,________, 像是個喇叭手。Kong’s translation is correct. But the cockerel’s job will be more clearly shown if“yao dajia zhuyiting” 要大家注意聽 (to ask for the animals’ attention) is inserted in histranslation. Gao and Zhang’s translation is also listed. The blank also indicates wherethe explanatory words can be added.65

[Gao and Zhang’s translation: Chapter Eight]一旦他要出来了 , 他就不仅要带着狗侍卫 , 而且还要有一只黑色小公鸡 , 象号手一样在前面开道。在拿破仑讲话之前 , 公鸡先要响亮地啼叫一下「喔 ——喔 —— 喔 !」________。Gao and Zhang’s problem is similar to Kong’s. Explanatory words like “yao dajiazhuyiting” 要大家注意聽 (to ask for the animals’ attention) can be inserted to indicatethe cockerel’s job. I have added these words in my translation in the following quotes.[My translation: Chapter Eight]不過如果牠真的出現的話 , 跟在牠身邊的不再只有那些狗隨扈而已 , 現在又多了一隻在前面開路的黑色小公雞 , 牠有點像樂隊的號手 , 每次拿破崙要說話之前 , 牠都會「喔喔喔」大叫 , 要大家注意聽。I have added “yao dajia zhuyiting” 要大家注意聽 (to ask for the animals’ attention)after “o o dajiao” 喔喔大叫 (letting out a loud cock-a-doodle-doo), so the cockerel’s jobis more clearly shown in my translation.Ex. 3The third example is the addition of a few explanatory words — for the animals towalk in to pay Napoleon a visit— to further explain why straw is laid in front of thefarmhouse. The blank shows where these words can be inserted. Here is the example:[The original: Chapter Eight]A cry of lamentation went up. Straw was laid down outside the doors of thefarmhouse ________, and the animals walked on tiptoe.66

As we can see, the connection between the laying of straw and Napoleon’s sicknessis not clear in the two lines. Generally speaking, straw can be used as a means to protectthe floor and to reduce noise. Based on this notion and judging from the context, readerscan make a reasonable deduction that the straw is laid down for the other animals to getin the farmhouse to visit Napoleon while not making too much noise and not leavingmud stains. Therefore, addition might be needed in order to explain to the readers thatthe other animals have entered the farmhouse to pay Napoleon a visit. What follow areKong’s and Gao and Zhang’s translations. The blank indicates where the explanatorywords can be added.[Kong’s translation: Chapter Eight]一片哀悼聲。農舍門前舖上稻草 , 動物們以趾尖輕輕走路 ________。As readers can see, Kong just translated words that are contained in the originaltext. His translation is basically correct, but he did not explain the reason of laying thestraw in his translation. “Jinqu tanshi napolun” 進去探視拿破崙 (enter to payNapoleon a visit) can be added in the blank to clarify the use of laying the straw.[Gao and Zhang’s translation: Chapter Eight]一阵哀嚎油然而起。庄主院门外铺着草甸 , 于是 , 动物们踮着蹄尖从那儿走过 ________。Gao and Zhang chose “cong naer zouguo” 从那儿走过 (went by) for “walk ontiptoe”, which was still not clear enough to explain the reason of laying straw. In thisway, the readers might feel confused because they do not know why straw is laid andwhy the animals walk on tiptoe. Again, “jinqu tanshi napolun” 進去探視拿破崙 (enterto pay Napoleon a visit) can be filled in the blank to clarify this case.In my case, I have made the meaning complete by adding “jinqu tanshi napolun” 進67

去探視拿破崙 (enter to visit Napoleon). My translation is offered for readers’reference.[My translation: Chapter Eight]動物們無不悲從中來 , 哀聲此起彼落。主人房門口鋪著乾草 , 動物們踮著腳指頭走進去探視拿破崙。The reason of laying straw is for the animals to enter the farmhouse to visitNapoleon. This is not explained either in the original text or Kong and Gao and Zhang’stranslations. By adding “jinqu tanshi napolun” 進去探視拿破崙 (to visit Napoleon), Ihave completed the explanation.Ex. 4The fourth example is a sentence that is simplified in its grammatical structure. Aswhat is previously mentioned, Orwell’s writing style is to keep his sentences as conciseas possible. This conciseness is also reflected in the grammatical structure. Thefollowing is one explicit example of the conciseness in grammatical forms. In this case,addition is also needed in order to complete the meaning as well as the grammaticalstructure in the translated text. Here is the example:[The original: Chapter Ten]It was not that these creatures [pigs and dogs] did not work, after their fashion.This short sentence is a typical example of literary terseness in Orwell’s writing.Readers with good command of English will know the sentence structure andunderstand what Orwell wants to say. However, if this sentence is translated intoChinese without modifying its grammatical structure and adding necessary words, the68

meaning might become incomplete. The following translated lines show how Kong,Gao, and Zhang deal with this sentence:[Kong’s translation: Chapter Ten]豬和狗並不是沒有自己的工作。Kong has omitted “after their fashion” and only translated “It was not that pigs anddogs did not work”. The meaning is incomplete.[Gao and Zhang’s translation: Chapter Ten]处在他们这一等级的动物 , 都是用他们自己的方式从事劳动。Similarly, Gao and Zhang have omitted part of this sentence. They omitted “did notwork”, even though they have translated “after their own fashion”. Although theChinese is still understandable, the meaning is not complete.To translate this sentence more appropriately, the addition of “zhibuquo… eryi” 只不過 … 而已 (only…) is needed, as is done in my translation, to complete the meaningas well as fit the terse style.[My translation: Chapter Ten]牠們並不是不工作 , 牠們只不過是用自己的方式在工作而已。The added words of “zhibuquo… eryi” 只不過 … 而已 (only…) make thesentence mean “It was not that these creatures did not work, but they only worked aftertheir fashion.” The meaning is thus complete, and the grammatical terseness is alsoshown.These are a few examples of “explanatory addition” that can further explain asituation. Of course more examples of addition can be found in the three translations.69

When there is a possibility that the meaning might be obscured in the translated text,translators must consider the addition of explanatory words to make the meaning clearin order to help readers understand the translation.In this section, two types of addition, namely “addition of transitions” and“explanatory addition” are discussed. The purpose of adding transitional words in thetranslated text is to show the cause/effect, contrast/comparison, and clarify the logic.Although Kong’s and Gao and Zhang’s translations are correct on the whole, the lack oftransitions sometimes reduces the effects brought by the original texts or causes thetranslations ungrammatical in Chinese. For example, by adding co-ordinateconjunctions like “yingwei” 因為 (because) and “danshi” 但是 (but), just asexemplified in Example 2 and 3 on page 55 and 58, we are able to clearly demonstratethe logic as well as the cause/effect relation. By adding a subordinate conjunction“jingguang” 儘管 (even though), just as in Example 4 on page 59, we are able to makethe translation conform to the grammatical structure in Chinese.The purpose of adding explanatory words in the translation is to give more details,further explain a situation, and complete the meaning. Sometimes the original textcontains the necessary explanation, but readers have to refer to the context once in awhile to have a thorough understanding. When translators translate lines of this kind,they have the duty to supply their readers with explanatory words so the readers canquickly understand the translation without resorting to the context. Example 1, 2, and 3on page 63, 65, and 66 are all example of adding explanatory words that further explaina situation. Also, by adding explanatory, we can make the translated text comply withthe grammatical structure in the target language. Example 4 on page 68 is an example ofadding explanatory words because of grammatical reasons. It is known that Kong, Gao,and Zhang have translated the original texts accordingly without any loss of words, butthe readers sometimes have to go back to the previous paragraphs in order to retrievedetailed information. If the translators can provide them with explanatory words at theexact point, like I have demonstrated in the discussion, the description will be clearer,70

and readers will not spend extra time referring to the context for detailed information.71

3-2 Using Chinese Idiomatic Expressions in the TranslationIn this section, the use of Chinese idiomatic expressions in the translation ofAnimal Farm will be discussed. The use of such expressions is to make scenescontaining much action vivid. As we know, one of Orwell’s writing styles is to useprecise words for his description. When it comes to describe a scene that contains muchaction, this precision in his description also holds true. Orwell always chooses wordsthat can vividly describe such a scene. In translating, it is important to reflect this meritin the Chinese translation. In Chinese, it happens that there are a lot of four-wordidiomatic expressions, and these expressions can serve as a good way to translate thosescenes that contain much action, for such expressions can usually keep the essence of along line in just a few words. For example, “hua er bushi” 華而不實 is a Chineseidiomatic expression that means “someone or something that is flashy withoutsubstance”. By using this Chinese idiom in translation, the essence of this long line ofwords in English is thus well-kept in this short and precise Chinese idiom. As wecontinue, we will find more examples from Animal Farm.Note, however, that not all the English idiomatic expressions discussed in thissection have their Chinese counterparts. Some English idiomatic expressions do haveexact Chinese equivalents, but some do not. Those English expressions that do not haveexact Chinese equivalents are rendered into Chinese idiomatic expressions becausethose English narrations mean similarly to what those Chinese idiomatic expressionsactually mean.By definition, idiomatic expressions, or idioms, are “a group of words with ameaning of its own that is different from the meanings of each separate word puttogether”. 26 For instance, “Every dog has its day” is an accepted idiom which meanseveryone will be successful during some period in their lifetime; its meaning is explicitonly when these words are thus grouped and used by the people. Generally speaking,26 Longman Dictionary of Contemporary English, 2001 ed., p.706.72

idiomatic expressions, whether English or Chinese, share the following commoncharacteristics of being terse, amusing, comprehensive in meaning, and vivid inimagery. 27 For instance, “to frighten someone out of their wits”, as is used in ChapterTwo in Animal Farm, is an English idiom which means “to make someone veryfrightened”. This idiom is vivid in imagery, for we can imagine that someone is totallyfrightened as if s/he has lost his/her sense. Or in Chapter Eight in that same novel, whenFrederick, the leader of the human invaders, asks his men to get out “while the going isgood”, is another example of idioms. “While the going is good” means “whensomething is still easy to do”. This English idiom is terse and clear enough to tellreaders that the humans are facing dreadful situations, and they have to get out while itis still easy to do so.Owing to these characteristics, idiomatic expressions can be widely used intranslation to make the reading appealing. 28 Based on this principle, idiomaticexpressions can be used in paragraphs that depict much action, making the descriptiondramatic. Here are some examples from Animal Farm that contain much action. Byusing idioms in the Chinese translation, we can see how the description is made moreappealing to the readers.Ex. 1The first example describes how the animals take control of the farm. Thedescription contains much action, making it a good opportunity to use Chinese idiomsin order to vividly present the tension of the action. The words that are underlinedindicate they can be translated with Chinese idioms. The description goes like this:27 Chen Dingan 陳定安 , Yinghan bijiao yu fanyi 英漢比較與翻譯 (English and Chinese Translation – AComparative Study) (Taipei: Bookman, 1997) 288.28 Xi Mingyuan 奚明袁 , Fanyi de yishu 翻譯的藝術 (The Art of Translation) (Taipei: Liming Wenhua,1989) 25.73

[The original: Chapter Two]This [humans’ beating] was more than the hungry animals could bear. With oneaccord, though nothing of the kind had been planned beforehand, they flungthemselves upon their tormentors. Jones and his men suddenly found themselvesbeing butted and kicked from all sides. The situation was quite out of their control.They had never seen animals behave like this before, and this sudden uprising ofcreatures whom they were used to thrashing and maltreating just as they chose,frightened them almost out of their wits. After only a moment or two they gave uptrying to defend themselves and took to their heels. A minute later all five of themwere in full flight down the cart-track that led to the main road, with the animalspursuing them in triumph.This paragraph describes how the animal accidentally launched an attack againsttheir masters and gained control of Animal Farm. Orwell puts quite a few expressions inhis description. Some expressions are English idioms themselves, such as “with oneaccord”, “out of control”, and “out of wits”. These idioms happen to have their Chineseequivalents, like “buyue er tong” 不約而同 , “shiqu kongzhi” 失去控制 , and “hunfeiposan” 魂飛魄散 respectively. Thus, these equivalents shall be adopted in translation.On the other hand, some expressions are not exactly English idioms. “Just as theychoose” and “pursue them in triumph” are not typically defined as idioms. However,this does not mean no similar Chinese idiomatic expressions can be adopted to replacethem. Instead, they can be translated with exact Chinese idioms that can better reflectthe dramatic effect. What comes below is Kong’s translation:[Kong’s translation: Chapter Two]這一來 , 動物們更忍受不了。雖然事先毫無安排 , 大家不約而同的向迫害者撞去。仲斯和工人受到來自四面八方的猛衝猛踢 , 情勢完全失去控制。他們從來沒見動物這樣行動過。這些曾被他們任意鞭笞、任意虐待的動物 , 是這74

樣的瘋狂 , 直把仲斯和工人嚇得魂飛天外。一分鐘後 , 他們不敢再事抵抗 , 掉頭就逃。但見五個人沿著大路的馬車轍沒命的飛奔 , 而動物們卻勝利地在後面窮追不捨。Kong has translated all the underlined expressions except “after only a moment ortwo”. The three aforementioned English idioms are replaced with their exact Chinesecounterparts – “bu yue er tong” 不約而同 for “with one accord”, “shiqu kongzhi” 失去控制 for “out of control”, and “hun fei tianwai” 魂飛天外 for “out of wits”. The twoexpressions, “just as they choose” and “pursue them in triumph”, however, are notreplaced with Chinese idioms. “Just as they choose” is only translated with “renyi” 任意 .“Pursue them in triumph” is translated word-for-word into “shenglidi zai houmianqiongzhuibushe” 勝利地在後面窮追不捨 , which does not sound natural in Chinese.Such idioms as “sui xin suo yu” 隨心所欲 and “chensheng zhuiji” 趁勝追擊 , can beidiomatic in Chinese for the two expressions “just as they choose” and “pursue them intriumph”. What comes next is Gao and Zhang’s translation:[Gao and Zhang’s translation: Chapter Two]饥饿的动物哪里还受到了这个 , 尽管毫无任何预谋 , 但都不约而同地 , 猛地扑向这些折磨他们的主人。琼斯先生一伙忽然发现他们自己正处在四面被围之中。被犄角抵 , 被蹄子踢 , 形势完全失去了控制。他们从前还没有见到动物这样的举动 , 他们曾经是怎样随心所欲的鞭笞和虐待这一群畜牲 ! 而这群畜牲们的突然暴动吓得他们几乎不知所措。转眼工夫 , 他们放弃自卫 , 拔腿便逃。又过了个把分钟 , 在动物们势如破竹的追赶下 , 他们五个人沿着通往大路的车道仓皇败逃。Comparatively, Gao and Zhang have used more Chinese idioms than Kong. Forinstance, the use of “sui xin suo yu” 随心所欲 for “just as they choose” and “shi ru pozhu” 势如破竹 for “in triumph” makes the Chinese translation sound more natural and75

dramatic. However, to take a closer look at Gao and Zhang’s translation, there are twominor defects. The first one is “from all sides”, for which Gao and Zhang choose“simian” 四面 . Although this is correct, if only a four-word idiom, such as “simianbafang” 四面八方 , could be adopted to make it more structural for Chinese idioms.Second, “out of their wits” is translated with “buzhi suo cuo” 不知所措 (not knowingwhat to do), which does not translate the exact meaning, and does not restore theoriginal dramatic effect. A new expression, such as “hun fei tianwai” 魂飛天外 or “hunbu futi” 魂不附體 , would be more appropriate. In my translation, I manage to correct theshortcomings found in both Kong’s and Gao and Zhang’s translations. Let us take a lookat my translation.[My translation: Chapter Two]這群餓壞了的動物可說是忍無可忍了。儘管動物們事先並沒有計畫 , 牠們仍不約而同 , 向那群曾經虐待過牠們的人撲了過去。瓊斯和那幾個工人突然發現動物們從四面八方朝他們攻擊 , 情況於是完全失控。他們從沒看過動物這樣 ,這群他們曾隨心所欲鞭打虐待的動物突然群起反抗 , 嚇得他們魂不附體。才一會兒工夫 , 他們便放棄保護自己 , 開始拔腿就跑。不久 , 他們飛也似地跑到通往大路的馬車道上 , 這時動物們還在後頭趁勝追擊呢。I choose “ren wuke ren” 忍無可忍 for “more than… can bear”, “sui xin suo yu” 隨心所欲 for “just as they choose”, and “chen sheng zhuiji” 趁勝追擊 for “pursuingthem in triumph” in my translation. The three Chinese idioms are meant to correctKong’s mistakes and make the Chinese more natural. Also, to correct Gao and Zhang’smistakes, I replace “simian” 四面 for “simian bafang” 四面八方 (from all sides), and“buzhi suo cuo” 不知所措 for “hun bu futi” 魂不附體 (out of wits) in my translation.The two Chinese idioms are more appropriate because they exactly show the meaningof the original expressions. Therefore, as readers can tell, there are improvement in mytranslation, and the Chinese sounds more natural in this way.76

Ex. 2The second example is also a scene that contains much quick action. It describeshow Snowball is expelled from the farm. The dogs’ fierceness and Snowball’s quickreaction make the description dramatic. To dramatize Snowball’s horror, present thetension of the chasing, and maximize the whole intense effect in the Chinese translation,Chinese idioms shall be considered in order to achieve this goal. The underlined wordsindicate that they can be translated with Chinese idioms. Here is the original text:[The original: Chapter Five]They [the dogs] dashed straight for Snowball, who only sprang from his place justin time to escape their snapping jaws. In a moment he was out of the door and theywere after him. Too amazed and frightened to speak, all the animals crowdedthrough the door to watch the chase. Snowball was racing across the long pasturethat led to the road. He was running as only a pig can run, but the dogs were closeon his heels. Suddenly he slipped and it seemed certain that they had him. Then hewas up again, running faster than ever, then the dogs were gaining on him again.One of them all but closed his jaws on Snowball's tail, but Snowball whisked itfree just in time. Then he put on an extra spurt and, with a few inches to spare,slipped through a hole in the hedge and was seen no more.As we can see, in only one short paragraph, Orwell successfully finishes describingSnowball’s expulsion. Even though the description is short, the scene is still dramaticenough to create powerful impact on the readers. Notice the underlined phrases, such as“run as only a pig can run”, and “close on his heels” that dramatically depictsSnowball’s quick action. Without these phrases, the tension of the chasing will bereduced. Therefore, to translate this paragraph and restore the tension, the translatorshave to pay attention to these phrases, and try to translate them with similar Chinese77

idiomatic expressions if possible. What follows is Kong’s translation:[Kong’s translation: Chapter Five]他們直撲雪球 , 雪球及時站起 , 逃脫了那狠毒的狗爪 , 剎那間跑出穀倉的大門 , 狗在後面緊追不捨。動物們個個目瞪口呆 , 也擠出穀倉 , 看那一幕追逐。雪球穿過那伸延到大路的牧場。他拼命地跑 , 狗在後面緊緊地追。他突然滑倒了 , 狗快要捉到他了。他又站起來 , 更拼命的跑 , 狗也更加快步子追 , 一條狗的前爪幾乎抓住雪球的尾巴 , 但他及時閃躲開了。於是他更加快地跑 , 在與狗相距幾寸的前方 , 雪球幸運地從籬笆洞裡鑽出跑走了 , 從此不見踪影。As we can see in Kong’s translation, some of the underlined phrases are translatedwith Chinese idiomatic expressions, but some are not. For example, “snapping jaws”and “with a few inches to spare” could be translated with “xiepen dakou” 血盆大口 and“jiu si yi sheng” 九死一生 to dramatize the effect, but they are not. Also, “jaws” ismistakenly translated into “zhua” 爪 , meaning “paws”. Moreover, “with a few inches tospare” is almost translated word-for-word into “zai yu gou xiangju jicun de difang” 在與狗相距幾寸的前方 . Although this translation is correct, it might contain too manywords for a chasing scene, which ought to be translated tightly with as few words aspossible to show the tension. An Chinese idiom, “jiu si yi sheng” 九死一生 (to escapenarrowly), as mentioned above, may serve as a good choice in this case. After Kong’stranslation, Gao and Zhang’s translation is also provided below for examination:[Gao and Zhang’s translation: Chapter Five]他们径直扑向斯诺鲍。就在斯诺鲍要被咬上的最后一刻 , 他才跳起来 , 一下跑到门外 , 于是狗就在后面追。动物们都吓呆了 , 个个张口结舌。他们挤到门外注视着这场追逐。斯诺鲍飞奔着穿过通向大路的牧场 , 他使出浑身解数拼命地跑着。而狗已经接近他的后蹄子。突然间 , 他滑倒了 , 眼看着就要被他们逮住。可他又重新起来 , 跑得更快了。狗又一次赶上去 , 其中一条狗几乎78

就要咬住斯诺鲍的尾巴了 , 幸而斯诺鲍及时甩开了尾巴。接着他又一个冲刺 ,和狗不过一步之差 , 从树篱中的一个缺口窜了出去 , 再也看不到了。In Gao and Zhang’s translation, just like Kong’s, some of the underlinedexpressions are translated with Chinese idioms, and some are not. For example, “wasrunning as only a pig can run” is well translated into “shichu hunshen jieshu pingmingdipaozhe” 使出浑身解数拼命地跑着 . “Hunshen jieshu” 浑身解数 is a Chinese idiomthat means “all the skills that one has”. This idiom typically refers to a person who triesas much as he can to find a solution, or to get out of trouble. This idiom dramaticallydisplays how Snowball attempts to escape. However, the translation of “out of the door”and “close on his heels” seems a little plain. They are translated respectively into “paodao men wai” 跑到门外 and “jiejin tade houtizi” 接近他的后蹄子 . Exact idiomaticexpressions, like “duo men er chu” 奪門而出 for “out of the door” and “jinzhui bushe”緊追不捨 for “close on his heels” can be chosen to restore the dramatic effect. Whatfollows is my translation. Note how I manage to restore the tension of the chasing byusing proper idiomatic expressions.[My translation: Chapter Five]牠們朝雪球直奔而去。雪球即時跳了起來 , 逃過牠們的血盆大口。才一會兒功夫 , 雪球已奪門而出 , 可是那些狗還在後面追趕。動物們看到這景象無不嚇得目瞪口呆 , 牠們全部擠到門口看這場追逐戰。雪球狂奔過通往大路的草原。牠沒命地奔跑 , 可是那群狗還是緊追不捨。突然牠滑了一跤 , 眼看就要成為狗的囊中物了。然而牠又站起來 , 死命狂奔 , 但速度還是敵不過那些狗。其中一條狗朝雪球的尾巴咬了一口 , 可是牠及時縮起尾巴逃過一劫。然後牠使勁衝刺 , 九死一生地從籬笆旁的小洞鑽了出去。從此以後再也沒有動物看過牠了。I have managed to correct the shortcomings in Kong’s and Gao and Zhang’s79

translations by choosing more appropriate idiomatic expressions. As we can see,“snapping jaws”, “out of the door”, “run as fast as a pig can”, “close on his heels”, and“with a few inches to spare” are all translated respectively into “xiepen dakou” 血盆大口 , “duo men er chu” 奪門而出 , “meimingdi benpao” 沒命地奔跑 , “jinzhui bushe” 緊追不捨 , and “jiu si yi sheng” 九死一生 . These expressions are idiomatic in Chinese, andthey can as well reflect the Snowball’s swiftness and the tension of the chasing.The above are just two examples that describe much action. More similar examplescan be found in other chapters of Animal Farm. When it comes to translate similarscenes, Chinese idioms can be considered because Chinese idioms generally have thefeature of compressing much information in just a few words. Although the words maybe short, they still can smoothly and effectively express a situation. With this distinctcharacteristic, Chinese idioms are suitable to translate scenes that involve much actionbecause long lines of description of intense action can be displayed in only a few yetpowerful words. In this section, I have examined Kong’s and Gao and Zhang’stranslations to see if they have incorporated Chinese idioms in their translations in orderto fit the above-mentioned purpose. It is found that Kong, Gao, and Zhang have usedonly a few Chinese idioms in their translations of scenes that involve much action.Some lines in their translations of quick action that could be replaced with Chineseidioms are not done so. The impact of the original description is reduced to a certainextent in their translations. The original impact can be restored and felt if some of thedescription could be translated with Chinese idioms in their translations. I have pointedout their defects in my discussion. Also, I have demonstrated to the readers that thetension of fighting and chasing in the two selected sample paragraphs can be achievedby the adoption of Chinese idioms.80

3-3 The Application of Nida’s Idea of “Kernels” to Translating LongSentencesDue to different grammatical structures in English and Chinese, long Englishsentences are likely to present difficulties in English-Chinese translation. This problemof translating long sentences is not new in the history of translation practice. In China,Yan Fu, the forerunner of English-Chinese translation practice in the late 19 th century,already noticed this problem and briefly explained it in his Yiliyan 譯例言 (Words onCases in Translation). The following quote shows how he views the problem:“Because of the use of attributive clauses to modify nouns in English, the words inan English sentence may range from only a few to even hundreds. If suchsentences are translated without changing their structures, the Chinese translationmay tend to be unreadable.” 29Yan Fu points out this problem of literally translating a long sentence because literaltranslation might result in unreadable Chinese. This is precisely the challenge thattranslators face when translating long English sentences into Chinese.Indeed, it is noted the similar structures of long sentences actually exist in AnimalFarm, and the selected translations sometimes reflect the type of literal translationmentioned by Yan Fu. The result is awkward Chinese. Let us look at one example ofliteral translation of a long English sentence with a few adjectives modifying a noun.[The original: Chapter One]At the last moment Mollie, the foolish, pretty white mare who drew Mr. Jones'strap, came mincing daintily in, chewing at a lump of sugar.29 Liu Jingzhi 劉靖之 ed., Fanyi lunji 翻譯論集 (Essays on Translation) (Taipei: Bookman, 1993) 1.81

As we can see in this example, Orwell uses three adjectives, “foolish”, “pretty”, “white”,and one adjectival clause, “who drew Mr. Jones’s trap”, to modify Mollie, the whitemare. If we translate them literally without changing the language structure, as Yan Fusuggests, the translation will be like this:[Kong’s translation: Chapter One]為仲斯先生拉車的那頭名叫穆力的愚笨的白母馬 , 嘴裡咀嚼著蔗糖裝腔作勢的走進來。This is exactly how Kong copes with this long sentence. We can see Kong puts all theabove-mentioned three adjectives and one adjectival clause in front of “mare” withoutchanging the original word order. The literal translation results in a noun with manyattributives “wei Zhongsi xiansheng lache de natou mingjiao Muli de yubende baimuma” 為仲斯先生拉車的那頭名叫穆力的愚笨的白母馬 (Mollie, the foolish, prettywhite mare who drew Mr. Jones's trap…) in Kong’s translation. However, this nouncomes with too many attributives and is too long in Chinese, so the translation soundsawkward and almost unreadable. Therefore, literal translation in this case has proved tobe a bad solution.Even though translating long sentences presents difficulties for translators, it doesnot mean no strategies can be taken to deal with this problem. Indeed, in Yiliyan 譯例言(Words on Cases in Translation), Yan Fu also pointed out his suggestions by stating that“when translating long sentences, the translators have to understand the main ideas of atext thoroughly so their translations will reach perfection”. 30 Yan Fu’s suggestions arefrom a practical view, and they reflect the ways how Chinese translators are taught todeal with long sentences. In the West, theoretically, Eugene Nida’s idea of “functionalequivalence” can serve as a guideline for translators to analyze and translate longsentences. In short, by functional equivalence, Nida means the equivalence of the source30 Ibid., p. 1.82

language and target language is set on the meaning level, rather than on the languagestructure level. 31 To achieve functional equivalence in translation, one important step isto find out the kernel sentences, or “kernels,” behind a sentence. A kernel is the basicstructural elements out of which the language builds its elaborate surface structures. 32 Along sentence, if broken into smaller segments, must contain a few kernels. For example,the kernels behind this long sentence “John loved the girl who sat on the pasture that ledto the road” shall be as follows, and these basic structural elements should exist in everylanguage:John loved a girl.The girl sat on the pasture.The pasture led to the road.As we can see, this long sentence has three kernels, and they should all be acceptable topeople speaking any different languages if translated. Therefore, if a translator can findout the kernels behind a long sentence, s/he should be able to restore the meaningwithout a minimum of distortion by rearranging them in order.On the basis of this theory, the primary rule in the practice of translating a longEnglish sentence is to reduce it to its kernel level. After kernels are found, translatethem into the target language first. Then rearrange the translated kernels according tothe idiomatic use of the target language, and add transitions, if necessary, between thesekernels to polish the final translated sentence.It is known that Orwell always attempts to keep sentences as concise and clear ashe can in Animal Farm. However, there still exist long sentences in this novel eventhough most of the sentence structures are short. The meanings of these long sentences31 Ye Zinan 葉子南 , Yinghan fanyi lilun yu shijian 英漢翻譯理論與實踐 (The Theory and Practice ofEnglish-Chinese Translation) (Taipei: Bookman, 2000) 167.32 Eugene A. Nida and Charles S. Taber, The Theory and Practice of Translation, 2 nd ed., (Leiden: E. J.Bill, 1982) 39.83

are clear for sure, but the translation of these sentences is sometimes hard to read in theselected Chinese translations because the translators sometimes adopt the method ofliteral translation to deal with these long sentences. In this section, I will identify thedefects in their Chinese translations and offer my solutions by following Nida’s ideas offunctional equivalence and kernels. Here are some examples of translating longsentences in Animal Farm.Ex. 1 – A long sentence containing a relative clauseThe first example is a long sentence that contains a relative clause beginning with“whom”. The use of this kind of relative clause is common in English but rare inChinese. Therefore, when translating lines with this similar English grammaticalstructure, we have to rearrange the word order to make the grammatical structureconform to that of the target language. Here are the quoted lines:[The original: Chapter Eight]And when the nine dogs of Napoleon's own bodyguard, whom he had instructed tomake a detour under cover of the hedge, suddenly appeared on the men's flank,baying ferociously, panic overtook them.If reduced to its simplest forms, the kernel structures are as follows:There were nine dogs.有九條狗The dogs were Napoleon’s bodyguards.這些狗是拿破崙的護衛。The dogs were instructed (by Napoleon).這些狗受 ( 拿破崙的 ) 指揮。The dogs made a detour.84

這些狗繞道。The dogs were under cover (of the hedge).這些狗在 ( 樹籬的 ) 掩護下。The dogs appeared on the men’s flank.這些狗出現在人類的側翼。The dogs bayed ferociously.這些狗瘋狂地吠叫。Panic overtook the men.人們驚慌了。In total, there are eight kernels out of this long sentence, and six of them modifythe dogs (from the second to the seventh). Each kernel can stand alone and make senseeven if they are translated into Chinese. Now, let us see how Kong copes with this longsentence:[Kong’s translation: Chapter Eight]當受命在籬笆的遮蔽下迂迴到敵人後方的九條狗 —— 也是拿破崙的衛士 ——瘋狂地叫著從側翼攻擊時 , 人們驚慌了。Even though this English sentence contains six kernels to modify “the dogs”, itdoes not mean we have to turn all these six modifiers into adjectivals in Chinese. As wecan see, Kong has turned these modifiers into adjectivals in his Chinese translation. Theadjectival phrase “shouming zai libade zhebi xia yuhui dao diren houfang de” 受命在籬笆的遮蔽下迂迴到敵人後方的 that Kong inserts before “jiutiao gou” 九條狗 (thenine dogs) is too long, and this makes the adjectival phrase awkward in Chinese. Thereason is because in Chinese, when an adjective or adjectival is added before a noun, ithas to be limited in length. If we put a long adjectival phrase, just like the one in thiscase, before a noun, readers have to digest so much information about the noun before85

they actually see the noun. This will create burden for readers. Let us take a look at howGao and Zhang cope with this long sentence:[Gao and Zhang’s translation: Chapter Eight]给拿破仑作贴身警卫的那九条狗 , 奉他的命令在树篱的遮掩下迂回过去 , 突然出现在敌人的侧翼 , 凶猛地吼叫起来 , 把那帮人吓坏了。In comparison, Gao and Zhang are able to realize the main idea of this longsentence, so the adjectival phrase “gei napolun zuo tieshen jingwei de” 给拿破仑作贴身警卫的 (as Napoleon’s bodyguards) contains only one modifier (as Napoleon’sbodyguards) that modifies the dogs. This adjectival phrase is short enough andidiomatic in Chinese. Readers will immediately know the function of the dogs withouthaving to go through the long adjectival phrase before they come to the noun (the ninedogs). Then, the other five modifiers that further modify the dogs are put in the latterpart in their translation. In this way, these modifiers become Chinese sentences “[zhexiegou] feng tade mingling zai shuli de zheyan xia yuhui guoqu”[ 這些狗 ] 奉他的命令在树篱的遮掩下迂回过去 ([these dogs] made a detour on his command under the cover ofthe hedge), “[zhexie gou] turan chuxizn zai diren de ceyi”[ 這些狗 ] 突然出现在敌人的侧翼 ([these dogs] suddenly appeared on the humans’ flank), and “[zhexie gou]xiongmengdi houjiao qilai ”[ 這些狗 ] 凶猛地吼叫起来 ([these dogs] barkedferociously). In other words, the long sentence is broken into kernels, and these kernelsare arranged in Chinese. The complete meaning is thus clearly preserved, and thetranslation sounds more like Chinese in this way.In order to correct Kong’s mistakes and provide the readers with anotherperspective, I will quote my translation in the following paragraph and explain how Ideal with this long sentence in the light of Nida’s idea of kernels. Let us look at mytranslation:86

[My Translation: Chapter Eight]而保護拿破崙的那九隻狗 , 在牠的指揮下 , 經由樹籬的掩護繞到人類的側翼 ,開始對他們狂吼 , 此時人類開始驚慌失措。I avoid turning those kernels that modify “the dogs” into a long adjectival phrasefor fear that the adjectival phrase put before “jiutiao gou” 九隻狗 (the nine dogs) willbe too long. That is to say, my solution is different from Kong’s. Instead, like Gao andZhang have done in their translation, I have broken the long sentences into kernels, andused only one kernel, “baohu Napolun de” 保護拿破崙的 , to function as an adjectivalphrase before “jiuzhigou” 九隻狗 (the nine dogs). The other kernels that modify thedogs are turned into sentences “zai tade zhihui xia” 在牠的指揮下 (on his command),“jingyou shuli de yanhu raodao renlei de ceyi” 經由樹籬的掩護繞到人類的側翼(made a detour under the cover of the hedge), and “kaishi dui tamen kuanghou” 開始對他們狂吼 (started to bark at them ferociously). The long sentence is thus broken andrearranged in my Chinese translation. Therefore, the result turns to be more idiomatic inChinese.Ex. 2 –- A long sentence containing a complex sentenceThe second example of a long sentence contains one inserted complex sentencethat gives extra information. The extra information not only further depicts how theanimals feel, but also lengthens the whole sentence. The example goes like this:[The original: Chapter Seven]Never had the farm — and with a kind of surprise they remembered that it wastheir own farm, every inch of it their own property — appeared to the animals sodesirable a place.87

This is a long sentence in which one complex sentence “and with a kind of surprisethey remembered that it was their own farm, every inch of it their own property” is putbetween dashes to explain how the animals feel about the farm. This kind of languagestructure of inserting a complex sentence in a main sentence is rare in Chinese.Therefore, the translators have the duty to break the whole sentence up into kernels andrearrange them to fit the Chinese language structure in order to help the target readersunderstand it. If we break this long sentence up, the kernels will be as follows:They remembered something.牠們記得一件事。They remembered it with surprise.牠們很驚訝自己記得這件事。It was their farm.這是牠們的農莊。Every inch of it was their property.每吋土地都是牠們的財產。The farm had never been something (to the animals).( 對動物們而言 ) 農莊從來不曾代表過什麼。The farm was a desirable place.農莊是個令人神往的地方。There are six kernels out of this long sentence. Each kernel is independent inmeaning and makes sense even if they are translated into Chinese. Now, let us take alook at how Kong deals with this long sentence:[Kong’s translation: Chapter Seven]農莊似乎從來沒有 —— 帶著驚奇的心情 , 他們又突然意識到這是他們自己的農莊 , 每一寸土地都是他們自己的財產 —— 這樣的可愛。88

Apparently, Kong has duplicated the entire original sentence structure into Chinesewithout even making any structural changes. The inserted complex sentence in theoriginal text “and with a kind of surprise they remembered that it was their own farm,every inch of it their own property” is translated into “daizhe jingqide xinqing, tamenyou turan yishidao zheshi tamen zijide nongzhuang, meiyicun tudi doushi tamen zijidecaichan” 帶著驚奇的心情 , 他們又突然意識到這是他們自己的農莊 , 每一寸土地都是他們自己的財產 in between two dashes. The translation, when put in between twodashes, becomes unidiomatic because normally, the Chinese do not insert yet anotherlengthy sentence inside a sentence like this. The solution still relies on kernels. That isto say, we have to break this long sentence into kernels, and rearrange them in Chinese.What follows is Gao and Zhang’s translation:[Gao and Zhang’s translation: Chapter Seven]他们此刻忽然想到 , 这是他们自己的庄园 , 每一吋土地都归他们自己所有 ,这是他们感到十分惊讶的。因为在此之前 , 他们从未发现这里竟是如此令他们心驰神往。On the other hand, Gao and Zhang have noticed the main idea of this long sentence.The long sentence is broken into short sentences and phrases which roughly equal toNida’s theory of kernels. As we can see, the translated short sentences and phrasesconnect very well with one another. Especially, the inserted complex sentence “and witha kind of surprise they remembered that it was their own farm, every inch of it their ownproperty” becomes “meiyicun tudi dou gui tamen ziji suoyou, zheshi tamen gandaoshifen jingyade” 每一吋土地都归他们自己所有 , 这是他们感到十分惊讶的 . The twoChinese sentences make sense, and they connect very well with their adjacent sentencesin Chinese because they get rid of the use of dashes in the original text. The results are afew short sentences and phrases that sound more natural for Chinese readers. Therefore,this is a proper solution to tackle this long sentence.89

To correct the Kong’s mistakes and provide readers with reference, I will quote mytranslation in the following paragraph, and explain how I cope with this long sentence.My translation goes like this:[My translation: Chapter Seven]動物們突然想起 , 當初牠們意識到農莊已成為牠們所有時 , 那份驚喜的感覺 ,沒錯 , 這裡的每寸土地都是牠們的了。從來沒有任何農莊能像這樣讓動物們如此嚮往。Like Gao and Zhang, I have also got rid of the dashes in my translation. Theinserted complex sentence “and with a kind of surprise they remembered that it wastheir own farm, every inch of it their own property” is translated into “dangchu tamenyishi dao nongzhaun yi chengwei tamen suoyou shi, nafen jingxide ganjue, meicuo,zhelide meicun tudi doushi tamende le” 當初牠們意識到農莊已成為牠們所有時 , 那份驚喜的感覺 , 沒錯 , 這裡的每寸土地都是牠們的了 . After this complex sentence istranslated, I start a new sentence “conglai meiyou renhe nongzhuan neng xiang zheyangrang dongwumen ruci xiangwang” 從來沒有任何農莊能像這樣讓動物們如此嚮往for “Never had the farm appeared to the animals so desirable a place”. In this way, thedashes inserted in “Never had the farm appeared to the animals so desirable a place” nolong exist in my translation. The results are short Chinese sentences that seem to bemore independent in meaning, and when combined together, they can fully express themeaning of the English sentence.Ex. 3 – A long sentence containing a series of noun clauses led by the conjunction“that” functioning as the objectsThe third example is a long sentence containing six noun clauses. These nounclauses all begin with “that” to serve as the objects of the verb “prove”. This sentence90

牠們睡的地方都舖有乾草 , 而且也不像以前那麼常被跳蚤叮咬。There are eight kernels in total, and the Chinese translation of them can stand alone.Notice the last six kernels that function as the objects of the verb “prove”. The key pointof translating this long sentence is to put these translated clauses after the verb“zhengming” 證明 (prove) to show what Squealer, the propaganda pig, wants to prove.Now let us see how Kong translates this sentence.[Kong’s translation: Chapter Nine]用一種尖銳快速的聲調 , 史奎爾會背出一連串的數字 , 仔細向動物們證明 ,現在他們有更多的燕麥、更多的稻草、更多的青菜、工作時間更短、飲水的水質更乾淨、壽命增長、幼兒死亡率減低、畜舍裡乾草更多、並免除跳蚤的侵擾。Except for the missing of “bi Qiongsi dangjia shi” 比瓊斯那時期 (than in Jones’sday), Kong’s translation is basically correct. He has understood the deep meaning of thislong sentence, and translated those noun clauses that function as the objects of “prove”,and put them after “zhengming” 證明 (prove). We can see his translation generally fitswhat Nida refers to as kernels, and clearly shows what Squealer wants to prove. Now letus read Gao and Zhang’s translation in the following:[Gao and Zhang’s translation: Chapter Nine]为了向大家详细说明这一点 , 斯奎拉用他那尖细的嗓音一口气念了一大串数字。这些数字証明 , 和琼斯时代相比 , 他们现在有了更多的燕麦、干草、萝卜 , 工作的时间更短 , 饮用的水质更好 , 寿命延长了 , 年轻一代的存活率提高了 , 窝棚里有了更多的草垫 , 而且跳蚤少多了。Just as Kong has done, Gao and Zhang have also put those noun clauses that serve92

as the objects of “prove” after “zhengming” 証明 (prove) in order, so their translationroughly fits Nida’s theory of kernels, and what Squealer wants to prove is clear in theirtranslation.We are not certain whether Kong, Gao, and Zhang realized the idea of kernelswhen they translated this long sentence because in the previous examples, Kong appearsto have copied the entire English long sentence into Chinese without making changes tothe word order. However, in this example, their translations generally comply withNida’s ideas of kernels and sound natural in Chinese. Now, for the readers’ reference, Iwill show my translation based on Nida’s theory of kernels in the following paragraph:[My translation: Chapter Nine]史奎爾每次都用尖銳快速的語調向動物們宣讀那些數據 , 牠巨細靡遺地向牠們證明牠們比瓊斯那時期有更多燕麥 , 乾草和蕪菁可以吃 , 牠們工作時數也比以前少 , 牠們飲用水的品質也提高了 , 牠們的壽命也比以前長 , 牠們的孩子夭折的比率也下降了 , 現在牠們睡的地方都舖有乾草 , 而且也不像以前那麼常被跳蚤叮咬了。In my process of translating this long sentence, I try to find out the kernels,translate them, and rearrange them in Chinese. The six noun clauses that serve as theobjects of “prove” are also found out first, translated, and then put after “zhengming” 證明 (prove) in order in my translation. The final translation is natural and idiomatic inChinese.Although in this example the result is roughly the same as Kong’s and Gao andZhang’s translation, this example, along with the previous two, demonstrates thesystematic way I translate long sentences. With Nida’s idea of kernels in mind, I havemanaged to take good care of long sentences and avoided apparent mistakes, like whathave been found in Kong’s translation. Therefore, my translation of long sentencestends to be idiomatic for Chinese readers in most cases.93

In this section, the issue of translating long sentences is discussed through a fewchosen examples. Nida’s idea of functional equivalence is adopted to serve as theguideline for translating long sentences. Because the ultimate goal of translation is toreach functional equivalence, translators need not spend much time pursuingequivalence in language structure, especially when there are many linguistic differencesbetween English and Chinese. Instead, what they only need to take care of is the“meaning level”. In order to achieve functional equivalence, Nida further suggests thattranslators should find out the basic structural elements, or the kernels, that construct theelaborate surface structures of a language. If the kernels inside a long sentence can befound, it will be easier for translators to tackle a long sentence by putting these kernelsin order in the target language.By applying Nida’s theory, I have endeavored to examine how Kong, Gao, andZhang deal with the issue of translating long sentences in their translations. The resultof the examination shows that Kong’s translation of long sentences generally maintainsthe English language structure; in other words, many of his sentences are not“idiomatic” in the use of Chinese. That is to say, the final goal of functional equivalenceis not well achieved in Kong’s translation. In most cases, Kong simply duplicates theoriginal English language structures into Chinese, neglecting the fact that there are quitea few structural differences between the two languages. As a consequence, his sentencesare mostly awkward, like the quotations from his translation in Example 1 and 2. I havehere pointed out a few typical problems in his translation, and managed to propose mysolutions to them in this thesis.In Gao and Zhang’s translation of long sentences, the translated sentences are moreappropriate for Chinese readers than Kong’s, and they basically fit Nida’s theory offunctional equivalence on the whole. Gao and Zhang are able to sense the underlyingkernels behind a long sentence, translate these kernels, and rearrange them according tothe idiomatic use of Chinese. As a result, those long sentences that Gao and Zhangtranslate comply with the Chinese sentence structures, and the equivalence on the94

meaning level is properly achieved in their translation.95

Part Two: A Chinese Translation of Animal Farm第一章曼諾農莊的瓊斯先生晚上把雞舍鎖上 , 可是卻因喝的酩酊大醉而忘了把門孔關上。隨著燈籠的光影晃呀晃 , 瓊斯先生搖搖擺擺地走過院子 , 在後門用力把鞋子踢脫 , 喝掉儲藏間酒桶倒出的最後一杯酒 , 走向床舖 , 此時瓊斯太太早已呼呼大睡了。臥房的燈一熄滅 , 農舍裡隨即掀起一陣騷動。大家都聽說老少校 , 就是那隻得獎的白毛種豬 , 昨晚作了個怪夢 , 並且希望將這個夢告訴其他動物。所有動物早已都同意 , 在瓊斯先生完全離開之後 , 牠們便立刻在穀倉內碰面。老少校 ( 大家還是這麼稱呼牠 , 即使牠出賽時的名稱是威靈頓美男子 ) 德高望重 , 因此所有動物都情願犧牲一小時的睡眠聽牠演說。在穀倉的後面 , 有個凸起的平台 , 上面有張草床 , 老少校早已安穩地躺在上面 , 上方的橫樑還掛著一盞燈。老少校年滿十二歲 , 近來變得很胖 , 可是還是很壯碩 , 而且看起來仍然相貌堂堂 ; 儘管牠的獠牙未曾拔過 , 牠的外表依舊和藹可親並顯露出智慧。不久其他動物紛紛到場 , 找到合適的地方然後便按自己喜歡的方式坐下。首先進來的是三隻狗 , 布魯貝爾、潔西和平曲 ; 再來是豬 , 牠們進場後馬上在講台前的稻草堆坐下。母雞棲身在窗台上 , 鴿子飛上房樑 , 綿羊和牛則躺在豬後面 , 開始咀嚼反芻出來的食物。再來是兩匹拉車的馬 , 巴克斯和克洛薇 ,牠們一起進到會場 , 小心翼翼走著 , 深怕蹄子踩到稻草堆中的小動物。克洛薇是隻年近中年 , 體態豐腴且富有母愛的母馬 , 然而在生下第四隻小馬後 , 牠的身材便再也無法回復原樣。巴克斯身高近兩公尺 , 33 力氣幾乎和兩隻普通的馬加起來一樣大。但是牠鼻子上的一條白鬃毛卻讓牠看起有點愚蠢。牠並非絕頂聰明 , 然而牠不屈不撓 , 奮力工作的形象卻贏得其他動物的敬重。再來是白山羊繆蕾以及驢33原文為 eighteen hands high。Hand 為一手之寬 , 是測量馬匹身高的單位。一個 hand 合四吋 , 約等於 10 公分。96

子班傑明。班傑明是農莊中年紀最大 , 脾氣也最不好的動物。牠鮮少說話 , 然而每次開口總說一些諷刺的言論。譬如牠會說 , 上帝給牠尾巴趕蒼蠅 , 可是牠寧可不要有尾巴也不要有蒼蠅。牠是農莊上唯一不曾笑過的動物。如果問牠為什麼 ,牠會說沒有什麼值得一笑的。雖說牠從未公開承認 , 但牠確實很尊敬巴克斯 ; 牠們倆常常星期天在果園旁的草地上肩並肩 , 默默地吃草。兩隻馬剛躺下不久 , 一群才剛失去母親的小鴨魚貫地走進穀倉 , 牠們吱吱喳喳 , 左搖右擺地不斷找尋不會被其他動物踩到的地方。克洛薇圍起前腳 , 像築起一道牆一樣保護這些小鴨 , 小鴨臥下不久後隨即進入夢鄕。接下來到場的茉莉 ,是匹很漂亮 , 但卻很愚蠢的白色母馬 , 平時都幫瓊斯先生拉些雜物。牠裝模作樣走進來 , 口中還嚼著一塊糖。牠在前面找了個位子坐下 , 開始擺動牠那白色的鬃毛 , 希望吸引動物注意上面的紅絲帶。最後貓也來了 , 一如往常 , 牠看啊看 , 尋找最溫暖的地方 , 最後在巴克斯和克洛薇中間坐下 ; 老少校演講時 , 牠不斷發出滿足的呼嚕聲 , 根本不在乎牠在說些什麼。除了瓊斯所馴養 , 現在在後門樹梢上睡覺的那隻烏鴉摩西之外 , 其他動物都已就定位。當老少校看到所有動物都已就座並迫不及待想聽演講時 , 牠清了清喉嚨後 , 開始說道 :「同志們 , 各位都應該聽說過我昨晚作了一個怪夢。可是在我談這個夢之前 ,我先要說些別的事。我想我和各位相處的時間恐怕只剩幾個月了 , 因此 , 在我死之前 , 我覺得我有責任將我的智慧傳授給你們。我活的夠久了 , 我獨自躺在豬舍時會想很多事 , 如果各位說我非常了解生命的本質 , 那可說一點也不為過。這就是我要對你們說的事。」「那麼 , 同志們 , 我們生命的本質是什麼 ? 講明白一點吧 : 我們的生命既悲慘又短暫 , 還有做不完的工作。我們一生下來就只能得到足以讓我們苟延殘喘的食物而已 , 活著時又要被迫勞動 , 直到吐出最後一口氣為止。一等到不能再工作時 , 我們只有等著被殘忍地宰殺掉。任何在英格蘭的動物 , 滿周歲後再也不知道什麼是快樂和悠閒。任何在英格蘭的動物 , 沒有一隻是自由之身。動物的生命正是悲慘和奴役 : 這就是事實。」「難道這就是上天注定的嗎 ? 難道說我們的土地太貧瘠 , 無法好好養活住在97

上面的動物嗎 ? 不 , 同志們 , 說一千個不也不夠 ! 英格蘭土地肥沃 , 氣候溫和 ,足以提供豐富的食物養活更多動物。光是我們農莊就可以養活十二匹馬 , 二十隻乳牛和數百隻綿羊 , 而且這些動物都可以過著既舒服又有尊嚴的日子 , 這實在超乎我們想像。那我們為什麼又要繼續過這種悲慘的生活呢 ? 因為我們辛勤生產的收穫 , 幾乎都被人類偷走了。所以 , 同志們 , 這些問題的答案可以總結成兩個字 ——『人類』。人類是我們唯一的敵人。只要把人類鏟除 , 飢餓和過度勞動的根本原因也就永遠消失了。」「人類是唯一只消費而不生產的動物。他們不產乳 , 不下蛋 , 身體太虛弱沒辦法犁田 , 而且也跑不快 , 連兔子都抓不到。然而他們卻是所有動物的主宰。他們奴役動物工作 , 卻只給牠們最少的食物讓牠們不會餓肚子而已 , 其他的他們都據為己有。我們的勞力耕作土地 , 我們的糞便肥沃土地 , 可是我們之中每一隻動物除了那張皮毛以外什麼都沒有。你們這些牛 , 去年一年你們生產了多少牛乳 ?這些本來應當拿去餵養小牛 , 讓牠們成長茁壯的牛乳去到哪了 ? 每一滴還不都流進我們敵人的喉嚨裡。還有你們這些母雞 , 你們生的蛋又有多少孵出小雞呢 ? 其他的還不都被拿去市場賣掉 , 換成了錢分給瓊斯和他的工人。還有克洛薇 , 你生的那四隻小馬 , 那四隻本來應該在你晚年供養你 , 為你帶來歡樂的小馬跑哪裡去了 ? 牠們每一隻都在滿週歲時就被賣掉 , 妳再也沒有機會看到牠們。妳坐了四次月子 , 並且在田裡辛勤工作 , 可是換來的除了那些僅以餬口的配糧和那間馬廄以外 , 妳又曾經擁有什麼呢 ?」「即便我們的命運已經那麼悲慘 , 我們還是無法安養天年。我並不是在抱怨 ,因為我算很幸運了。我已經十二歲 , 有四百多個孩子。這就是一隻豬該有的命運。可是所有動物終究難逃最後那一刀的命運。你們這些坐在前面的肉豬 , 一年內你們就會在屠刀下慘叫身亡。牛、豬、雞、羊 , 所有動物都會面對這種恐懼。就算是馬和狗也好不到哪去。你 , 巴克斯 , 一等到你強健的肌肉失去力量 , 瓊斯便會把你賣給屠宰場 , 宰掉做成獵狗的飼料。還有你們這群狗 , 當你們老了 , 牙齒掉光的時候 , 瓊斯就會在你們脖子綁上磚頭 , 把你們丟到水池裡淹死。」「同志們 , 這不就一清二楚了 , 我們生命中的不幸還不都是出於人類的獨裁嗎 ? 只有剷除人類 , 我們才能保有辛勤工作的成果。差不多只要一個晚上我們就98

能變得富裕自由。那麼我們該怎麼辦呢 ? 啊 , 日以繼夜 , 全心全力努力 , 為的就是推翻人類 ! 這就是我要給各位的訊息 , 同志們 : 揭竿起義吧 !」「我不知道革命什麼時候會發生 , 可能在一個禮拜或是一百年內。可是我知道 , 就如同我很確定看到腳下的東西是稻草一樣 , 正義終將來臨。同志們 , 在短暫的有生之年內各位要專心實踐這個目標。更重要的是 , 你們要把我的訊息傳給後代 , 讓牠們能夠繼續奮鬥 , 直到成功為止。」「還有 , 同志們 , 記住你們的決心絕不能動搖。絕對不要讓任何言論誤導你們。絕對不要相信人類說你們和他們擁有共同的利益 , 說是一邊的繁榮就等於另一邊的繁榮。這全是謊言。人類除了追求自身利益以外 , 根本不管動物死活。所有動物在這場奮鬥中一定要堅定團結起來 , 展現堅定的同志精神。所有的人類都是敵人。所有的動物都是同志。」就在此時 , 群眾裡掀起一陣騷動。原來是少校演說的同時 , 有四隻老鼠從洞裡爬了出來並坐下聽牠演講。狗很快就看到牠們 , 於是牠們也一溜煙鑽進洞裡面去 , 保住了小命。這時少校舉起前蹄要大家安靜。「同志們 ,」牠說道 :「有件事必須解決。像是老鼠和兔子這些野生動物 , 牠們是朋友還是敵人 ? 我們來投票吧。我問各位 , 老鼠是同志嗎 ?」表決馬上有了結果 , 絕大多數的動物都認為老鼠是同志。只有四張反對票。這四張反對票是那三隻狗和貓所投下的 , 可是大家不久就發現 , 其實貓兩邊都投了。投票結束後 , 少校繼續說道 :「我沒什麼要說了。我只想再說一遍 , 記住各位的責任就是要與人類為敵 ,仇視他們的所作所為。只要是兩條腿的都是敵人。只要是四條腿 , 或是有翅膀的 ,都是朋友。也請各位記住 , 在對抗人類的鬥爭當中 , 我們絕對不能變成像他們那樣。就算我們征服他們 , 我們也不能像他們那樣胡作非為。任何動物絕對不能住在房子裡 , 絕不睡床上 , 絕不穿衣服 , 絕不喝酒 , 絕不抽煙 , 絕不使用金錢或從事任何貿易行為。所有人類的習慣都是罪惡。更重要的 , 任何動物絕對不能欺壓同類。不論聰明與否 , 強壯與否 , 我們都是兄弟。任何動物絕對不能殺害同類。所有動物一律平等。」「現在 , 同志們 , 我要告訴各位我昨晚所作的夢。我沒辦法仔細把它描述出99

來。那是個人類從地球上消失後的夢境。這場夢也讓我回想起我老早就忘記的一些東西。很多年前 , 當我還是一隻小豬時 , 我母親和其他同伴都會唱一首老歌 ,牠們只記得這首歌的曲調和前幾個字而已。我很小時就知道這曲調 , 可是這曲調早已從我的記憶中消失。然而 , 昨天晚上我在夢裡卻又回想了起來。還有 , 這首歌的歌詞居然也在夢中出現了。我很確定 , 這首歌就是以前動物們唱過 , 但是卻又忘了的歌曲。同志們 , 我現在就要唱給各位聽。我老了 , 聲音啞了 , 可是當我把這曲調教給你們以後 , 你們自己可以唱得更好。這首歌就叫英格蘭之獸」。老少校清了清喉嚨之後開始唱。如牠所說 , 牠的聲音真的很沙啞 , 可是牠卻唱得很好。這是一首曲調優美 , 有點介於克雷門坦和蟑螂之歌的歌曲。 34 歌詞如下 :英格蘭之獸 , 愛爾蘭之獸 ,普天下之獸 ,一齊傾聽我的福音 ,那美好未來的光陰。美好的日子遲早會到來 ,殘暴的人類將會被推翻。英格蘭果實纍纍的田疇 ,獸類的腳步將遍地走。鈴鐺消失於鼻樑 ,背上的馬具不再 ,馬勒和馬刺永遠鏽朽 ,殘酷的鞭擊不再抽響。財富超越我們想像 ,34 「克雷門坦」原文為 Clementine, 乃美國民謠 ;「蟑螂之歌」原文為 La Cucaracha, 乃一首節奏輕快的墨西歌民謠。100

小麥大麥 , 燕麥牧草 ,苜蓿豆子 , 還有甜菜 ,那日子終歸我們所享。陽光會普照英格蘭田疇 ,水源更將清澈於往昔 ,微風也吹送清香 ,那日子賜我們自由。我們要一起為那天努力 ,犧牲性命等待破曉 ,牛和馬 , 鵝和雞 ,為了自由大家要力拼不搖。英格蘭之獸 , 愛爾蘭之獸 ,普天下之獸 ,一齊傾聽來傳我的福音 ,那美好未來的光陰。這首歌讓動物們陷入瘋狂。老少校都還沒唱完 , 動物們就已經唱起來了。就算是最笨的動物也已經熟悉整個曲調並記得了幾個字 ; 比較聰明的動物 , 像是豬和狗 , 在幾分鐘之內早就把整首歌銘記心頭了。試了幾次之後 , 所有動物都齊聲合唱英格蘭之獸。牛哞哞唱著 , 狗嗚嗚唱著 , 羊咩咩唱著 , 馬嘶嘶唱著 , 鴨呱呱唱著。牠們非常喜歡這首歌 , 於是一連唱了五次 , 要不是遭人打斷 , 牠們可能還要整夜唱下去呢。很不巧 , 喧鬧聲吵醒了瓊斯先生 , 他跳下床後以為院子裡有隻狐狸 , 拿了一把隨時擺在床邊的獵槍 , 朝黑暗中打了一發六號子彈。 35 子彈打中穀倉的牆壁 , 使35一種霰彈槍用的子彈。101

得會議草草結束。所有動物於是都回到自己睡覺的地方。鳥兒飛上樹梢 , 其他動物回到草堆裡 , 整個農莊頓時又沈睡下去了。102

第二章三夜之後 , 老少校在睡夢中安詳辭世。牠的遺體安葬在果園的一角。當時是三月初。接下來的三個月內有很多秘密活動進行著。少校的演說讓農莊裡比較聰明的動物對生命有了全新的期待。牠們不知道少校預測的革命何時會來臨 , 也沒理由相信革命會在牠們有生之年內發生 , 可是牠們覺得還是有責任為革命作準備。教育和組織動物的重責大任自然落在豬的身上 , 因為牠們是公認最聰明的動物。所有豬裡面最傑出的兩隻要算是雪球和拿破崙了 , 牠們本來是瓊斯準備養大賣掉的種豬。拿破崙體型龐大 , 面相兇狠 , 是農莊裡唯一的柏克夏黑種豬。 36 牠並不算多話 , 可是卻因行事武斷而出名。相較下之 , 雪球算是隻較活潑的豬 , 伶牙俐齒 , 點子特多 , 可是一般都認為牠不如拿破崙沈穩。農莊上剩下的公豬都是肉豬。當中最出名的是一隻叫史奎爾的小胖豬。史奎爾臉頰圓潤 , 眼睛閃亮有神 , 動作敏捷 , 叫聲尖銳。牠的演說精闢透徹 ; 在闡述一些困難的問題時 ,身體總是左蹦右跳 , 尾巴也擺個不停 , 看起來就很有說服力。動物們都說史奎爾就是有辦法把黑的說成白的。牠們三個把老少校的教誨發揚光大 , 成為一套完整的思想體系 , 並命名為「動物主義」。一個星期總有幾天晚上 , 牠們會趁瓊斯先生入睡後在穀倉舉行秘密集會 , 向動物闡述「動物主義」的要點。起先 , 牠們面臨到動物們既愚笨又漠不關心的態度。有些動物滿口說要對瓊斯先生盡忠 , 稱他為主人 ; 有些動物只會說些簡單的言論 , 像是「瓊斯先生餵飽我們。如果趕走他 , 我們就會餓死。」其他動物則問說 :「我們幹嘛關心死後會發生什麼事 ?」或是「如果革命終究會發生 , 那我們準不準備有什麼差別呢 ?」為了告訴牠們這些想法有違「動物主義」的精神 ,豬碰了不少釘子。不過 , 最愚蠢的問題還是茉莉 , 也就是那匹白馬所提出的問題。牠問雪球的第一個問題是 :「革命以後還會有糖吃嗎 ?」「不會 ,」雪球斬釘截鐵說。「農莊裡沒有製糖的工具。此外 , 妳再也不需要吃糖了。妳想擁有多少燕麥和牧草都隨妳高興。」36豬的品種之一 , 最早在英格蘭中南部的約克夏郡繁殖。體型中等 , 身長較其他品種的豬稍長 ;耳朵直立 , 毛色黑色 , 足部、鼻子和尾巴的顏色則為白色。103

茉莉又問 :「那麼我還可以繼續在鬃毛上綁上絲帶嗎 ?」「同志 ,」雪球說道 ,「你深愛的那些絲帶其實都是奴役的象徵。妳難道不明白自由比絲帶更可貴嗎 ?」茉莉同意了 , 可是牠似乎不是很信服。然而 , 為了消除摩西所散佈的謊話 , 豬碰到了更大的困難。摩西是瓊斯先生的寵物 , 是隻受人馴養的烏鴉。牠擅長打探消息並散播謠言 , 不過牠也算能言善道就是了。牠聲稱知道有個「糖果山」的神祕國度 , 動物們死後都會去那個地方。牠說「糖果山」在天的另一邊 , 在白雲深處。那裡天天都是星期天 , 全年都有苜蓿芽可吃 , 樹籬邊就有蔗糖和亞麻子。動物們都很討厭摩西 , 因為牠只會散佈謠言卻不肯工作。然而還是有些動物相信「糖果山」的存在。豬費盡口舌試圖說服牠們 , 告訴牠們根本沒有這種地方的存在。豬最忠實的門徒是那兩匹拉車的馬 , 巴克斯和克洛薇。牠們兩個頭腦不太靈光。但自從把豬當作是老師之後 , 牠們便吸收了豬告訴牠們的一切事物 , 並用簡單的言詞轉告給其他動物知道。牠們從未曾在穀倉的秘密會議中缺席過 , 而且總是在會議結束之前帶領動物們齊聲高唱英格蘭之獸。現在 , 出乎意料之外 , 革命的成功來得要比大家預期的還要早 , 也更容易。過去幾年 , 儘管瓊斯非常嚴苛 , 但還不失是個能幹的農夫。可是近來他運氣不佳 ,輸掉一場官司之後 , 他變得相當沮喪 , 並且開始借酒澆愁。他會在廚房的溫莎木37椅坐上一整天 , 看報紙 , 喝酒 , 偶爾還會拿泡過啤酒的麵包皮給摩西吃。他的工人也都懶散起來了 , 開始騙東騙西 ; 田裡長滿雜草 , 房子屋頂欠缺修補 , 樹籬沒人看管 , 動物也開始吃不飽。時序進入六月 , 準備收割牧草的季節到了。某個週六 , 也就是施洗約翰節的前一天晚上 , 38 瓊斯先生跑到威靈頓 , 在「紅獅酒吧」喝到爛醉 , 直到星期天中午才回家。他的工人一早擠完牛奶後便溜出去打野兔 , 根本沒想到要餵食動物。瓊39斯回家後就在客廳的沙發上倒頭大睡 , 還拿了張世界新聞報蓋住他的臉 , 所以一直到傍晚動物們依舊沒吃東西。最後牠們實在忍不住了。有隻母牛用牛角刺破了373839原文為 Windsor chair, 木椅的一種。椅座為一片木板 , 椅背則以數根直立木條製作而成。北半球夏至日的前一天晚上。英國報紙名 , 每週日出刊。104

倉庫的門 , 接著所有動物便爭先恐後地進去找東西吃。然而 , 瓊斯在那時候醒來了。接下來他和四個工人於是手持鞭子 , 站在倉庫的門邊 , 開始胡亂抽打動物。這群餓壞了的動物可說是忍無可忍了。儘管動物們事先並沒有計畫 , 牠們仍不約而同 , 向那群曾經虐待過牠們的人撲了過去。瓊斯和那幾個工人突然發現動物們從四面八方朝他們攻擊 , 情況於是完全失控。他們從沒看過動物這樣 , 這群他們曾隨心所欲鞭打虐待的動物突然群起反抗 , 嚇得他們魂不附體。才一會兒工夫 ,他們便放棄保護自己 , 開始拔腿就跑。不久 , 他們飛也似地跑到通往大路的馬車道上 , 這時動物們還在後頭趁勝追擊呢。瓊斯太太從臥房看到窗外的景象 , 急忙收拾了些細軟 , 從另一條路溜出農莊。摩西也飛離樹頭 , 跟在她後面 , 驚叫著逃走了。此時動物們已將瓊斯和他的工人趕離道路 , 並把五柵門鎖上。因此 , 在動物們還搞不清楚狀況時 , 革命已經成功了 : 瓊斯被趕跑 ,「曼諾農莊」已為動物們所有。剛開始的幾分鐘內 , 動物們很難相信牠們會這麼好運。牠們接下來的第一個動作就是一起繞著農莊的邊界巡視了一圈 , 彷彿是要確定沒有人類還躲在裡面 ;接著牠們趕回農舍 , 把瓊斯統治的象徵 , 也就是那些令人憎恨的器具全部掃除一空。馬廄後面放馬具的房間開了門 ; 動物們把馬勒、鼻環、狗鏈還有瓊斯用來閹割豬和羊的刀子通通丟到井裡。韁繩、套頭、馬眼罩和飼料袋全被當作垃圾 , 丟到院子裡點火燒掉。當然鞭子也不例外。動物們看到皮鞭在火焰中燃燒的景象 ,無不歡欣鼓舞。雪球也把趕集時綁在馬尾和鬃毛上的絲帶丟到火堆一塊燒掉。牠說 :「絲帶就像衣服 , 是人類的象徵。所有動物都不該穿衣服。」巴克斯聽牠這麼一說 , 便把夏天戴在頭上預防蒼蠅飛進耳朵的小草帽 , 連同其他東西一併丟到火堆燒掉。不久之後 , 動物們已經把能讓牠們想起瓊斯先生的一切東西通通破壞殆盡。拿破崙接下來帶領牠們回到穀倉 , 分給每隻動物兩倍的配糧 , 狗還多得了兩塊餅乾。然後牠們不停唱著英格蘭之獸 , 一連唱了七次後才去睡覺。當晚牠們睡了一夜好眠 , 似乎牠們從來都沒那樣睡過。可是動物們第二天依然如往常般在破曉時刻起床 , 牠們突然想起昨天發生的光榮事件 , 於是全部衝上草原。離草原不遠處有個視野很好的小山丘 , 上面可以105

看到大半個農莊。動物們跑上山丘 , 在清晰的晨光中環視整農莊。沒錯 , 農莊已是牠們的了 , 眼前所有東西都是牠們的了 ! 一想到這樣 , 牠們全都欣喜若狂 , 牠們圍成圓圈轉啊轉 , 歡欣鼓舞地跳啊跳。牠們在露珠中打滾 , 大口吃著甜美的牧草 , 還把土壤挖開 , 猛力嗅著芳香的氣息。接著牠們巡視整個農莊 , 以崇敬的心情檢視耕地、草地、果園、水池和雜樹林。牠們就好像從來沒看過這些東西一樣 ,即使現在也很難相信這些東西真的已歸牠們所有。接著牠們魚貫地走回農舍 , 在主人房門前靜靜地停留了半响。雖然那房子已歸牠們所有 , 可是牠們還是不敢走進去。然而過了不久 , 雪球和拿破崙用肩膀撞開了門 , 於是動物們一個個走進去 , 如履薄冰似的 , 似乎深怕干擾到什麼。牠們躡手躡腳走過每個房間 , 一句話也不敢講 , 以非常崇敬的眼光看著那些令人難以置信的豪華擺飾。這些擺飾包括了羽毛床墊、眼鏡、馬毛沙發、布魯塞爾地毯 , 40還有位在客廳壁爐上的維多莉亞女王畫像。等到牠們下樓才頓時發現茉莉不見了。於是牠們回頭找 , 發現原來牠還留在寢室內。牠從瓊斯太太的梳妝檯拿了一條藍絲帶 , 擺在肩膀前 , 癡癡地照著鏡子欣賞自己那幅模樣。其他動物大聲將牠數落一番後便離去。接下來 , 掛在廚房的火腿被拿到外面埋掉 , 儲藏室的啤酒桶被巴克斯一腳踢壞 , 除了這些以外 , 房子裡的其他東西動物們都沒碰過。當下所有動物一致同意主人房應保留作博物館之用 , 而且所有動物都不可以住在裡面。動物們吃過早餐後 , 雪球和拿破崙又一次把牠們集合起來。雪球說 :「同志們 , 現在是六點半 , 今天我們要做的事可多了。我們今天要收割牧草。可是有件事我必須先讓各位知道一下。」於是豬透露先前牠們在垃圾堆中找到一本拼字書 , 這本書原本是瓊斯他小孩的。過去三個月來 , 牠們從書中學到如何閱讀和書寫。拿破崙於是找來了幾罐黑色和白色的油漆 , 帶領牠們朝向通往大路的五柵門走去。接著雪球 ( 因為雪球的字寫的最好看 ) 用蹄子夾了一把刷子 , 把門口的「曼諾農莊」擦掉 , 在原先的地方重新寫上「動物農莊」。這就是農莊以後的名稱了。接著牠們回到農舍 , 雪球和拿破崙找來一把梯子 , 將它靠在穀倉的牆上。牠們解釋 , 過去三個月來 , 根據牠們的研究 , 豬已經成功把「動物主義」濃縮為「七誡」。這七條誡律將會寫在牆上 ,40原文為 Brussels carpet, 是地毯的一種。這種地毯係以亞麻布為底 , 上面滿佈色彩鮮艷的紗線。106

而且不得修改 ; 動物農莊裡的所有動物都必須遵守這些誡律。然後雪球好不容易爬上梯子 ( 因為豬要站在梯子上保持平衡的確不容易 ) 並開始書寫 , 史奎爾則在下面幫忙拿著油漆罐。「七誡」是用白色的漆寫在黑色的牆上 , 而且字寫得很大 ,在三十碼以外就清晰可見。這七誡是 :1. 凡是兩條腿的就是敵人。2. 凡是四條腿 , 或是有翅膀的 , 就是朋友。3. 動物皆不得穿衣服。4. 動物皆不得在床上睡覺。5. 動物皆不得喝酒。6. 動物皆不得殺害同類。7. 所有動物一律平等。字寫的很整齊 , 除了朋友 (friend) 那個字拼成 freind, 還有一個 S 寫反以外 ,整體來說都沒什麼錯誤。為了幫助其他動物了解 , 雪球大聲把這些字唸出來。所有動物聽完後都點頭同意這些誡律 , 而較 / 聰明的動物則已經開始把「七誡」記在腦子裡。「現在 , 同志們」, 雪球把刷子丟到地上 , 並且大喊 :「趕快到田裡去 ! 我們要比瓊斯和他的工人更快把牧草收割完。如果我們辦得到的話 , 這就證明我們比他們行。」可是就在這時 , 那三隻母牛開始大叫。牠們似乎已經難過了好一陣子 , 原來牠們已經一整天都沒有擠奶 , 乳房幾乎要爆掉了。豬想了一會兒 , 於是找來幾個桶子 , 成功地幫牠們擠完奶。牠們的蹄子似乎很適合做這工作。不久之後 , 五桶新鮮的牛奶便呈現在大家面前。動物們對這些牛奶都很感興趣。「這些牛奶接下來要怎麼辦 ?」有動物問道。有隻母雞說 :「瓊斯有時會把牛奶摻在我們的飼料裡。」「別管牛奶了 , 同志們 !」拿破崙站在桶子前大叫。「有人會處理的。收成牧107

草比這來的重要太多了。雪球同志會帶各位去割草。我等一下就跟上。同志們 ,前進 ! 牧草正等著我們收割呢 !」動物們於是列隊走到田裡開始割草。可是牠們傍晚回來時 , 牛奶卻已經不翼而飛了。108

第三章為了收割牧草 , 動物們是多麼辛苦努力 , 揮汗如雨地工作啊 ! 不過牠們的努力得到了回報 , 因為收穫遠比牠們預期的還多。不過有時工作還是很難進行 ; 因為工具都是為人類設計 , 動物們很難使用。而且 , 牠們也沒辦法使用任何需要靠兩條腿站立才能操作的工具 , 這點確實是很大的不便。可是豬都很聰明 , 每次總能想出解決方法。對馬而言 , 牠們非常熟悉田裡的每一寸土地 , 而且也遠比瓊斯和他的工人更能勝任犁田的工作。豬實際上並不下田工作 , 牠們只負責監督指導其他動物。由於牠們知識比較豐富 , 自然肩負起領導動物的責任。巴克斯和克洛薇會自己套上耕田的工具 ( 當然 , 韁繩和啣鐵再也派不上用場了 ), 不斷在田裡來回耕作 ; 豬則跟在牠們背後大叫「前進 , 同志 !」或是「後退 , 同志 !」農莊裡大大小小的動物都在田裡割草 , 並把割下來的草堆在一起。即使是鴨子和母雞也在烈日下辛勤工作 , 用嘴巴啣起細小的草根。最後 , 收成結束了 , 花費時間還要比瓊斯和他的工人少了兩天。此外 , 這也是農莊有史以來最成功的一次收成。所有動物都參與收成的工作 ; 母雞和鴨子眼明手快 , 牠們總能撿起最後一根草。而且動物們連一口農作物也不曾偷吃過。整個夏天 , 農事都像時鐘一般規律地進行著。動物們都很高興 , 因為牠們從來不曾想過自己能做到。每一口食物嚐起來都鮮美極了 , 因為這是牠們自己的食物 , 是牠們為自己生產的食物 , 而不是吝嗇的主人分配給牠們的。那些像寄生蟲一樣的人類消失後 , 動物們可以享用的食物也跟著增多了。空閒時間也比以前多了 , 雖然動物們都還不太習慣 , 但這一切真的發生了。然而牠們也碰到很多困難 —— 譬如 , 年終穀類收成時 , 因為沒有打穀機 , 動物們只能用非常古老方式 ,用腳踩去穀類的殼 , 再用嘴巴吹掉上面的皮。儘管如此 , 聰明的豬和力大無窮的巴克斯總是能把工作完成。巴克斯是所有動物崇敬的對象。在瓊斯的時代 , 牠已經很努力工作了 , 可是現在牠似乎還能完成三匹馬才能完成的工作。有一段時間 ,農莊裡所有的工作似乎都要落在牠強而有力的肩膀上。牠從早忙到晚 , 而且總是挑最難的工作去做。牠還吩咐一隻小公雞 , 要牠在大伙起床前半小時叫醒牠 , 起109

床後牠就自願先去做些極需完成的事情 , 然後才開始一天正式的工作。牠遇到任何困難挫折的說法都一樣 , 就是「我還要更努力工作 !」牠可以說已經把這句話當成座右銘了。每隻動物都按自己的能力工作。比如說母雞和鴨子幫忙撿起掉在地上的穀41類 , 如此還多收集了五蒲式耳的穀類。沒有動物偷竊 , 也沒有動物抱怨糧食分配不均 , 過去那段日子動物們常常為了食物爭吵、互相攻擊、彼此嫉妒 , 然而現在這些情況已不復見。沒有動物會逃避責任 —— 或是說幾乎所有動物都不會這樣。不過很確定的一點就是 , 茉莉不太習慣早起 , 而且也常藉口說牠蹄子裡有石子 ,然後工作到一半就開溜。還有貓的行為也有些特立獨行。不久動物們發現 , 每當有工作要做 , 貓就不見蹤影。牠可以消失個數小時 , 然後在吃飯時 , 或是傍晚工作結束時 , 才裝作若無其事地回來。牠每次都找一大堆很好聽的理由 , 並且喵喵叫討人憐愛 , 讓人不得不相信牠其實沒什麼惡意。驢子班哲明在革命後似乎沒什麼改變。牠還是像瓊斯當家時那樣慢吞吞地工作。牠不會逃避工作 , 但也不會多做就是了。牠對於革命以及革命的結果都不表示意見。每當問牠瓊斯走了以後日子是不是比較快樂 , 牠只會回答 :「驢子可以活很久 , 你們應該還沒看過死驢吧 ?」其他動物也沒辦法 , 只好同意牠這種神祕兮兮的說話方式。星期天不用工作。動物們比平常晚一個小時用早餐 , 早餐之後 , 動物們會舉行一個儀式 , 而且每星期都沒間斷過。首先是升旗典禮。雪球在放馬具室裡找到瓊斯太太的一張綠色桌巾 , 牠用白色的油漆在上面畫上一隻蹄子和一隻牛角。這就是每星期天早上在花園裡升起的旗幟。雪球解釋說綠色旗幟代表英格蘭翠綠的田野 , 蹄和角則象徵人類完全被推翻後 , 未來動物們建立的「動物共和國」。升旗典禮之後 , 動物們列隊走進穀倉舉行集會 , 也就是動物們所謂的「大會」。會議中會宣布下一週的工作計畫 , 議案也會在此時提出來並接受討論。每次提案的都是豬 , 其他動物只知道投票 , 從來沒辦法自己提案。雪球和拿破崙是目前會議中最活躍的兩隻動物。然而牠們總是意見相左 : 每當其中一個提出意見 , 另一個就準備要反駁。就算大會決議要在果園角落規劃出一塊地作為動物退休後的安居之地( 這也是天經地義的事 ), 牠們兩個還是會為了各類動物適當的退休年齡而針鋒相41 「蒲式耳」英文為 bushel, 係衡量穀物或水果的容量單位。一蒲式耳約等於 36 升。110

對。會議每次都在英格蘭之獸的歌聲中結束。星期天下午則是動物們休閒的時間。不久之後 , 豬便在馬具室成立了指揮所。夜晚牠們在這裡學習打鐵、木工和其他記載在書上 , 牠們認為是必要的技術。雪球還忙著組織動物成立各種「動物委員會」, 牠可真是樂此不疲。牠為母雞成立「雞蛋生產委員會」, 為乳牛成立「清潔尾巴聯盟」。為了馴服老鼠和兔子 , 牠成立「野生同志再造委員會」。牠也為綿羊舉行「羊毛潔白運動」。此外 , 牠還開了許多教導動物閱讀寫字的課。但是整體而言 , 這些計畫都失敗了。比如說 , 馴服野生動物的企圖很快就宣告失敗了。這些動物依然我行我素 , 每當對牠們好時 , 牠們就只會趁機佔便宜。貓加入了「野生同志再造委員會」, 有一段時間還非常積極參與。可是有一天 , 有動物看到牠坐在屋頂上 , 和一群離牠遠遠的麻雀講話。牠告訴麻雀說 , 現在所有動物都是同志了 , 如果牠們要的話 , 可以飛來停在牠手掌上 ; 可是牠們還是敬而遠之。儘管如此 , 寫字和閱讀的課卻很成功。到了秋天 , 所有動物或多或少都能識字了。豬對於閱讀和書寫完全沒有問題。狗的閱讀能力也不差 , 但是除了「七誡」以外 , 牠們對其他東西一概不感興趣。山羊繆蕾的閱讀能力比狗強 , 有時牠還會在晚上讀一些像是從垃圾堆找來的碎報紙給動物聽。班哲明的閱讀能力跟豬一樣強 , 可是牠從來不運用這種能力。牠說 , 就牠所知 , 沒有什麼東西值得一讀。克洛薇把所有的字母都記起來了 , 可是卻沒辦法依序排出來。巴克斯則只能記到 D。牠能在沙地上用蹄子寫出 ABCD, 然後站在那裡瞪大眼睛 , 豎起耳朵 , 有時候甩甩額毛 , 努力回想下一個字母 , 可是就是想不起來。有時候 , 牠的確把 EFGH 記起來了 , 但是等到牠要寫的時候 , 前面的字母居然全忘光了。最後牠決定只記這四個字母就好 , 而且每天寫一到兩次以免忘記。茉莉則除了牠名字的那幾個字母以外就不願學了。牠會用樹枝在地上整齊排列出牠的名字 , 旁邊再擺上幾朵花 , 然後繞來繞去欣賞那美麗的藝術品。農莊裡其他的動物則只能記得 A。一些比較笨的動物 , 像是綿羊 , 母雞還有鴨子 , 甚至連「七誡」都背不起來。雪球幾經思考 , 最後宣布「七誡」實際上能縮短為一句格言 , 也就是 :「四條腿好 , 兩條腿壞。」牠說這一條就足以包括「動物主義」的精髓。只要能夠完全了解這句話 , 動物就能免於人類的影響。然而鳥111

一開始很反對 , 因為牠們只有兩條腿。可是雪球後來向牠們說明事實並非如此。牠說 :「同志們 , 鳥的翅膀是一種推進的器官 , 並非拿來操作東西。因此翅膀應該視為腿。人類最與眾不同的特徵就是那雙手 , 那是他們作惡多端的工具。」鳥兒們聽不太懂雪球的這翻長篇大論 , 但是卻能夠接受牠的解釋。接著所有動物都開始背誦這條格言。「四條腿好 , 兩條腿壞」寫在穀倉的牆上 , 寫在比「七誡」還高的地方 , 字體也比較大。綿羊記住了這條格言後 , 便瘋狂喜歡上了它。牠們躺在田裡時 , 嘴裡時常不停叫著 :「四條腿好 , 兩條腿壞 ! 四條腿好 , 兩條腿壞 !」而且一叫就是好幾個小時 , 一點也不覺得累。拿破崙對雪球的各種委員會感到興趣缺缺。牠認為教育年輕的下一代要比教育已經長大成年的動物更重要。剛好潔西和布魯貝爾在秋收時產下九條健壯的小狗 , 一等到牠們斷奶 , 拿破崙就把牠們從母親身邊帶走 , 說牠會負責教育牠們。牠把小狗帶到馬具室上面的閣樓 , 那地方只有搭梯子才能上去。由於小狗無法跟其他動物接觸 , 因此不久之後 , 動物們便忘了牠們的存在。過了一陣子 , 牛奶消失的神祕事件終於有了解釋。原來是豬每天把它加到自己的飼料裡面了。後來 , 早結的蘋果成熟了 , 果園的草地上到處都是風吹下來的蘋果。動物們都以為這些蘋果理所當然應該會平分給大家 ; 然而有一天 , 突然來了一道命令 , 說是所有被風吹落的蘋果都要集中起來送到馬具室給豬食用。有些動物對這件事頗有微詞 , 但也沒用。所有的豬此時竟然都意見一致 , 甚至連雪球和拿破崙也是。史奎爾於是奉命對動物作出必要的解釋。牠大聲說 :「同志們 ! 我想你們該不會以為我們豬這樣做是出於自私和特權吧 ? 其實有很多豬都很討厭蘋果和牛奶 , 我就是其中之一。我們這樣做的目的純粹是為了健康的緣故。牛奶和蘋果含有豬所需的營養成份 ( 同志們 , 科學已經證實了 )。我們豬是勞心的動物 , 整個農莊的組織和經營都必須依靠我們 , 我們日以繼夜為各位謀福利 , 我們是為了各位的福祉才喝牛奶吃蘋果。如果我們沒有盡到責任 , 各位知道會發生什麼事嗎 ? 瓊斯會回到農莊 ! 沒錯 , 瓊斯會回來 !」史奎爾說話的方式近乎乞求 , 牠不斷左蹦右跳 , 搖著尾巴說 :「同志們 , 你們當然不希望再看到瓊斯回來吧 ?」現在 , 假如有任何一件事能讓所有動物都同意 , 那就是牠們絕不希望瓊斯再112

回到農莊。話這麼一說 , 牠們也沒什麼意見了。維持豬的健康實在太重要了。所以動物們也不再爭論 , 牠們同意以後把牛奶和被風吹落地面的蘋果 ( 還有日後收成的蘋果 ) 都留給豬食用。113

第四章夏天快結束時 ,「動物農莊」發生的事已經傳遍了大半個郡。雪球和拿破崙每天派鴿子到附近的農莊和動物打交道 , 告訴牠們革命的故事 , 並且教牠們唱英格蘭之獸。另一方面 , 瓊斯大半時間則都在威靈頓的「紅獅酒吧」鬼混 , 向別人抱怨他在農莊裡碰到的極度不平等待遇 , 以及被一群一無是處的動物趕出家園的故事。農夫們對他的遭遇基本上感到同情 , 但一開始也並沒有提供太多的援助。實際上 ,他們心裡都在盤算 , 看看是否能從瓊斯的不幸遭遇中佔點便宜。幸虧「動物農莊」附近的兩個農莊關係一直不睦。其中一個叫「狐林」, 是個佔地廣大卻疏於看管的舊式農莊。農莊裡樹林密佈 , 寸草難生 , 樹籬破破爛爛。農莊的主人叫皮爾金頓先生 , 是個隨興的農夫。隨著季節的變化 , 他不是去釣魚 , 就是去打獵。另一個農莊叫「平曲菲爾德」。這個農莊規模比較小 , 可是管理卻比較完善。農莊的主人是費德列克先生 , 是個強悍精明的人。他總是不斷和人打官司 , 而且還因喜愛討價還價而出名。這兩個人彼此相厭 , 因此要他們意見一致實在很難 , 即使要捍衛共同利益也一樣 , 很難達成共識。然而 , 他們兩人一聽到「動物農莊」的革命就非常害怕 , 急著盡量阻止自己農莊裡的動物得到太多訊息。一開始 , 他們對於動物自己管理農莊這件事嗤之以鼻。他們說整件事很快就會結束。他們還說「曼諾農莊」( 他們堅持這樣稱呼 , 因為他們無法忍受「動物農莊」這個名稱 ) 的動物不斷在自相殘殺 , 而且很快就會全部餓死。可是時間一久 , 動物們顯然沒有餓死。因此他們兩人改變說法 , 開始談論「動物農莊」裡發生的恐怖事件。他們說農莊裡的動物互相殘食 , 拿燒得通紅的馬蹄鐵彼此燒燙虐待 , 而且還多隻動物共有一妻。他們說這就是違背自然法則的後果。然而這些事情從來都沒動物相信過。反之 , 傳聞還不斷以模糊不完整的方式流傳開來 , 說是有個很棒的農莊 , 裡面的人類遭到驅逐 , 動物自行管理一切事物。而且 , 那一整年以來 , 鄉下地方的叛亂事件一波接一波發生。一向溫馴的牛突然114

發狂起來 ; 羊破壞樹籬 , 大口偷吃苜蓿芽 ; 乳牛踢翻奶桶 ; 馬不願意跳過柵欄 ,還把騎士摔到另一邊去。此外 , 英格蘭之獸的歌詞和曲調更有如燎原之火 , 很快傳遍整個國家。雖然人類聽到這首歌時認為荒謬可笑 , 並裝出一副不以為意的樣子 , 可是其實卻怒不可遏。他們說他們無法理解 , 為什麼動物會去學唱這種一文不值的垃圾。只要有動物唱這首歌時被逮到 , 鐵定當場遭到一頓毒打。然而這樣還是無法壓抑這股風潮。巴哥在籬笆上唱這首歌 , 鴿子在樹上唱這首歌 ; 打鐵舖裡的喧鬧聲和教堂裡的鐘聲也夾雜著這首歌的旋律。人類一聽到這首歌 , 無不暗地裡打起寒顫 , 似乎他們聽到了預言 , 聽到了未來毀滅的命運。十月初 , 穀類已經收成存放到穀倉 , 有些還已經去了穗。有一天 , 一群鴿子在天空盤旋 , 然後在農莊的院子裡倉皇降落。原來 , 瓊斯帶著他的工人和六個來自「狐林」和「平曲菲爾德」的人走進農莊的五柵門 , 他們沿著馬車走的小路朝農莊前進。這群人手裡都拿著棍子 ; 瓊斯則除外 , 他走在前頭 , 手裡拿著一把槍。很明顯他們的意圖就是要重新奪回農莊。這早已是意料之事 , 動物們也早已為此做好了準備。雪球以前在瓊斯的房舍裡找到一本有關凱撒戰史的舊書 , 並且仔細研讀過 , 所以理所當然由牠負責整個防禦行動。牠很快下達命令 , 幾分鐘後動物們全都就戰鬥位置了。隨著人類逼進農舍 , 雪球發動了第一波攻擊。為數三十五隻的鴿子在人類頭頂盤旋 , 朝他們拉屎 ; 人類還在應接不暇時 , 躲在樹籬旁的鵝衝出來並朝著他們的小腿猛啄。然而 , 這只不過是小規模的突擊而已 , 目的只是為了製造混亂。當然 , 人類用棍子便輕易地把鵝趕跑。雪球這時又發動了第二波攻擊。繆蕾、班哲明和所有的羊 , 在雪球的帶領下 , 從四面八方衝向人類 , 朝他們又戳又撞。班哲明這時則回頭高舉蹄子朝向人類猛踢。可是人類這一次又靠著手裡的棍子還有腳下的平頭釘靴輕易地把牠們趕跑。就在這時 , 雪球突然大喊一聲 , 發出撤退的訊號 , 動物們於是統統掉頭跑回院子裡。人類看到這樣 , 發出勝利的歡呼。他們以為敵人落荒而逃 , 因此也顧不得三七二十一 , 先追上去再說。這樣正好中了雪球的陷阱。等到人類深入院子 , 埋伏在牛棚邊的三匹馬、三頭牛和其餘的豬便從他們的背後一擁而上 , 切斷後路。雪球接著下令反擊 , 並獨自朝瓊斯衝去。瓊斯看到雪球迎面而來 , 二話不說便舉起115

槍向牠射擊。子彈擦過雪球 , 在牠背上留下斑斑血跡 , 一隻羊則中彈倒地身亡。42雪球毫不遲疑 , 立刻以近百公斤的龐大身軀朝瓊斯的腿飛撲過去。瓊斯被撞倒 ,掉進一堆糞裡 , 手上的槍也因此掉了。但是最讓人類害怕的應該是巴克斯了 , 牠後腳站立 , 前腳高抬 , 有如一匹駿馬 , 用套著馬蹄鐵的蹄子不停猛踢敵人。牠的第一擊正中了「狐林農莊」一位看管馬廄的少年 ; 少年的頭顱受到重擊 , 倒臥在泥堆裡 , 一動也不動。一看到這景象 , 有幾個人丟掉手中的棍子試圖逃逸。他們嚇壞了 , 接下來動物們便在院子裡把他們追得團團轉。動物們又牴又踢還不夠 ,還用嘴咬 , 用腳踹。所有動物無不用自己的方式替自己報仇。貓也不例外 , 牠從屋頂上一躍而下 , 跳到一個放牛工人的肩上 , 張開爪子用力掐進他的脖子 , 痛得他慘叫連連。好不容易人類殺出了一條血路 , 於是他們迫不及待地衝出院子 , 三步併二步往大路飛奔而去。只不過五分鐘的光景 , 他們的入侵行動就成了難堪的慘敗 , 而且敗逃的路線正如他們進到農莊一樣 , 一群鵝追趕著他們 , 一路朝他們的小腿猛啄而去。現在除了那少年之外 , 所有人類都逃跑了。巴克斯回到院子 , 用腳碰了一下那個少年 ; 那年輕人的顏面朝下 , 倒臥在泥堆中。巴克斯試著把他翻過來。可是他卻一動也不動。巴克斯哀傷地說 :「他死了。我不是故意要殺死他。我忘了自己還套著馬蹄鐵。有誰會相信我不是故意的呢 ?」「同志們 ,」雪球大聲喊道 ,「用不著悲傷 ! 戰爭就是戰爭。戰場上唯一的好人就是死掉的人類。」說著說著 , 牠背上的傷口還在淌血。淚光。「我從沒想過要殺生 , 更別說要殺害一個人。」巴克斯重複著 , 眼裡還泛著這時 , 有動物驚叫 :「茉莉跑那裡去了 ?」茉莉失蹤了。接下來的一段時間裡 , 動物們起了一陣恐慌 , 牠們害怕人類可能會傷害牠 , 甚至帶走牠。然而最後 , 動物們發現茉莉其實躲在馬廄 , 頭埋在馬槽的草堆中。原來 , 牠一聽到槍聲便立刻逃跑。動物們找到茉莉後便離開馬廄 ,42原文為 fifteen stone。Stone 為測重的單位 , 一 stone 約為 6.35 公斤 , 雪球的體動換算後約將近一百公斤。116

卻發現剛才那少年不見了。原來他只是昏倒而已。他醒了以後便一溜煙地跑掉了。動物們重新聚集在一起 , 牠們興奮到最高點 , 每隻動物都高聲談論著自己的戰績。隨後牠們立即舉行慶祝儀式。牠們升起旗幟 , 並一連唱了英格蘭之獸好幾遍。同時牠們也為剛才犧牲的羊舉行了隆重的喪禮 , 並在牠的墳前種了一棵山楂樹。雪球在墳前發表了簡短的演說 , 牠談到 , 如果有需要 , 所有動物都應該隨時準備為「動物農莊」犧牲。動物們接下來一致決議設立軍事勳章。「一等動物英雄勳章」立刻授予巴克斯和雪球。這是一枚銅質勳章 ( 這些銅其實是在馬具室裡找到的一些破銅 ), 每逢星期天及假日都必須配戴。另外還有「二等動物英雄勳章」, 這枚勳章不久之後授予了那隻死掉的羊。動物們並熱烈討論應該如何為這場戰役命名。最後 , 牠們同意將這場戰役命名為「牛棚之戰」, 因為那地方是動物們埋伏並一躍而出的地點。瓊斯先生的槍在泥堆中被發現 , 而且動物們知道他的房子裡存有一批彈藥。於是牠們把槍置放在旗杆底下 , 就像一座砲台 , 每年十月十二號「牛棚之戰」當天 , 還有夏至日揭竿起義當天各發射一次 , 以紀念這兩個日子。117

第五章隨著冬天的腳步逐漸逼近 , 茉莉也變得越來越麻煩。牠每天早上工作都遲到 ,說什麼牠睡過頭 ; 牠也會抱怨身體有些怪異的病痛 , 可是食慾卻好的很。牠還會找藉口開小差 , 跑到飲水池邊 , 癡癡地站在那裡看著自己在水中的倒影。不過也有傳聞說這其中隱藏了更嚴重的事情。有一天茉莉愉快地走進院子 , 搖著長長的尾巴 , 嘴裡嚼著一根草 , 克洛薇看到後把牠拉到一旁。「茉莉 ,」牠說道 ,「我有件很要緊的事跟妳說。今天早上我看到妳站在隔開我們農莊和『狐林農莊』的籬笆旁 , 向另一邊看。皮爾金頓先生的一個工人站另一邊 , 雖然我站的老遠 , 可是我很確定他在跟妳說話 , 而且妳還讓他摸妳的鼻子。茉莉 , 這是什麼意思呢 ?」「他沒有和我說話 ! 我也沒讓他碰我的鼻子 ! 那不是真的 !」茉莉大叫。說著說著 , 牠開始侷促不安 , 不斷以蹄子碰觸地面。「茉莉 ! 看著我。妳能跟我保證他當時不是在摸你的鼻子嗎 ?」茉莉重複了一遍 :「妳說的話都不是真的 !」可是牠卻無法直視克洛薇。接著牠便快步離開 , 直奔田野而去。克洛薇思索了一下。牠不發一語 , 立刻跑到茉莉的馬廄 , 用蹄子翻開裡頭的乾草。果不其然 , 乾草底下藏了一堆糖和數捆五顏六色的絲帶。三天後 , 茉莉便失去了蹤影。接下來的幾個星期 , 動物們也不知道牠的下落。後來鴿子回報說牠們在威靈頓的另外一邊看到牠。當時牠拉著一部紅黑相間的輕便馬車 , 停在一間酒館外。有個臉色紅潤 , 穿馬褲繫綁腿 , 看起來像是酒館主人的胖子摸著牠的鼻子 , 還餵牠吃糖。牠的毛重新修剪過 , 而且額頭上還綁著一條深紅色的絲帶。聽鴿子說牠看來似乎很自得其樂。從此之後 , 再也沒有動物提起茉莉了。一月的天氣嚴寒萬分。泥土僵硬如鐵 , 使得動物們無法下田工作。牠們在穀倉召開許多會議 , 而豬總是在會議中提出下一季的生產計畫。大家都同意 , 因為顯然豬要比其他動物聰明 , 所以應該由牠們決定農莊的經營策略。儘管如此 , 豬118

的提議還是得通過絕大多數動物的表決才行。要不是雪球和拿破崙一直爭執不下的話 , 這樣的程序其實可以很順利運作。牠們兩個總是為了反對對方而反對。如果一個提議要種更多大麥 , 另一個一定會說要種更多燕麥 ; 如果一個說某片田地適合種甘籃菜的話 , 另一個一定說那塊地只適合種根莖類作物而已。牠們兩個各有各的支持者 , 這些支持者也經常爭論不休。雪球的演說精彩 , 總是能在會議中贏得多數動物的認同 ; 然而拿破崙則擅長在會議暫停的時間裡 , 遊說其他動物 ,為自己爭取支持。在取得羊的支持這方面 , 牠尤其成功。最近那群羊無時無刻都在叫「四條腿好 , 兩條腿壞」, 而且經常利用這個方式阻撓會議進行。牠們特別喜歡在雪球演說到關鍵處 , 適時喊出「四條腿好 , 兩條腿壞」打斷牠的演說。雪球曾在瓊斯家裡找到一些《農牧業人》 43 的過期期刊 , 仔細研讀後並提出許多創新及改革的計畫。牠像老學究一樣談論著什麼農田水利 , 什麼飼料保存 , 什麼合成肥料等等 , 並提出一套複雜的計畫 , 讓動物直接把排泄物排放到田裡 , 而且每天都排放到不同的地點 , 如此便可以節省運輸的勞力。拿破崙自己則不提計畫 , 牠只會冷冷地說雪球的計畫將會一敗塗地。看來 , 牠似乎是在等著看好戲。但是在所有的爭論中 , 最嚴重的應該算是要不要興建風車這個問題了。離農舍不遠的大草原上有座小山丘 , 那地方是農莊的最高點。經過調查後 ,雪球宣布山丘是建造風車的絕佳位置。風車一旦建立 , 就可以帶動發電機 , 提供電力給整個農莊。這樣一來 , 馬廊就有照明 , 並可以在冬天保持溫暖 , 動物們也可以使用電鋸、電動切草機、電動切菜機和電動擠奶機。動物們從來都沒聽過這些東西 ( 因為牠們的農莊是個老式農莊 , 只擁有最原始的機械設備 ), 因此當雪球向牠們描述這些神奇的機器時 , 牠們都聽得入神 , 覺得不可思議。雪球說 , 這些機器可以取代動物的勞力 , 讓牠們有多餘的時間在田裡悠閒吃草 , 或者閱讀書籍以增進智慧。不到幾星期的時間 , 雪球已經擬好建造風車的計畫了。機械部份的細節主要來自瓊斯所擁有的三本書 ——《整修房子的錦囊妙計》、《自己動手蓋房子》和《基礎電學》。雪球把原先是孵蛋室的那個棚子當成自己的書房 , 那房間裡舖著木板 ,43 《Farmer and Stockbreeder》。英國農業期刊。1889 年開始以週刊形式發行 ,1971 年遭到合併 ,改名為雙週刊《British Farmer and Stockbreeder》,1984 年 3 月停刊。119

因此很適合在上面畫設計圖。牠每次在裡面一待就是好幾個鐘頭。牠把書打開 ,用石頭壓著 , 然後用蹄子夾著粉筆 , 快速來回穿梭 , 在地上一條線接著一條線畫著 , 還不時輕輕發出興奮的呼聲。漸漸地 , 設計圖畫到了一堆複雜的曲柄和齒輪 ,光是這些東西就佔去大半地板 ; 其他動物根本一竅不通 , 可是牠們卻很欣賞這些東西。每天至少有一次 , 牠們會跑來看這些圖。即使是母雞和鴨子也來了 , 牠們小心翼翼 , 深怕踩到粉筆畫的記號。只有拿破崙漠不關心 , 因為牠一開始就反對興建風車。然而有一天 , 牠出乎意料地來查看這個計畫。牠在棚子裡重步跺著 ,仔細觀看設計圖的每個細節 , 偶爾還用鼻子聞一聞 , 然後站在角落 , 瞪著設計圖沈思了一會兒 ; 最後牠突然抬起後腳 , 在設計圖上撒了泡尿 , 接著一言不發地離開棚子。整個農莊為了風車這問題產生嚴重的對立。雪球不否認建造風車是件難事。動物們要先搬石頭築牆 , 還要製作風帆 , 接著還要利用到電動機和纜繩。( 雪球並沒有解釋這些東西要從那來。) 可是牠說這工作一年內就可以完成。從此以後 ,動物們可以省去很多勞力 , 而且一個禮拜只要工作三天即可。另一方面 , 拿破崙則反駁說當前最重要的事是要提高糧食產量 , 要是動物們把時間花在風車上 , 牠們會全部餓死。動物們分成兩派 , 各有各的口號。一派說 :「支持雪球就是支持週休四日」, 另一派則說 :「支持拿破崙讓我們豐衣足食」。班哲明是唯一沒有選邊站的動物。牠既不相信食物會變得充足 , 也不相信風車能節省勞力。牠說 , 不管有沒有風車 , 生活還是一如往常 —— 還是一樣難過。除了風車的爭議之外 , 如何防衛農莊大家也有的吵。所有動物都心知肚明 ,雖然人類在「牛棚之戰」中慘敗 , 但他們可能會再次發動攻擊試圖奪回農莊 , 並且讓瓊斯重新掌控大局。人類有充份的理由這樣做 , 因為他們失敗的消息很快傳遍整個鄉下 , 而且附近農莊的動物也變得更不安分了。即便是在這節骨眼上 , 雪球和拿破崙還是如同往常各唱各的調。拿破崙說 , 動物們的當務之急是要購買武器 , 並學會如何使用。雪球則說牠們應該派出更多鴿子去散佈消息 , 讓其他農莊的動物發動革命。一個說如果牠們不捍衛自己的話 , 牠們鐵定會吃敗仗 ; 另一個則說如果到處都有革命的話 , 牠們就沒必要防衛自己了。動物們一下子覺得拿破崙說的對 , 一下子又覺得雪球講的有道理 , 根本無法決定到底誰是誰非 ; 事實上 ,120

牠們後來發現只要當時是誰在說話 , 牠們就同意牠的說法。最後 , 雪球的計畫終於完成了。接下來的星期天 , 風車興建與否的問題終於要表決了。動物們到齊後 , 雪球便起身解釋興建風車的理由 , 在牠演說同時 , 羊偶爾發出叫聲打斷牠的演說。雪球說完後 , 拿破崙起立回覆 , 牠冷冷地說風車是沒用的東西 , 並建議動物們不要投贊成票。話一說完 , 牠便立刻坐下 ; 牠只講了三十秒 , 而且好像根本不在乎那些話有什麼效果。接著羊又開始叫起來。一聽到這樣 , 雪球跳了起來 , 大聲地壓過羊叫聲 , 開始熱切說明支持風車的理由。本來動物們兩邊都很同情 , 可是才一下子的功夫 , 雪球的雄辯又讓牠們轉而支持牠了。雪球以華麗的言辭 , 描繪農莊的遠景 , 告訴動物們從此以後牠們就可以遠離勞動的苦差事了。牠的想像力已不再侷限於切草機和切蘿蔔機了。牠說電力除了可以運作打穀機、犁、耙子、滾筒、收割機和割捆機等等工具以外 , 還可以照亮馬廊 ,讓動物們使用電熱器 , 供應冷熱水。雪球的話一說完 , 動物們投票的態勢其實已經很明顯了。然而就在這時 , 拿破崙突然起立 , 對雪球投以怪異的眼神 , 然後發出一聲大家從沒聽過的尖哨聲。這時 , 外頭傳來了恐怖的咆哮聲 , 接著九條體型碩大 , 戴著銅釘項圈的狗突然衝向穀倉。牠們朝雪球直奔而去。雪球即時跳了起來 , 逃過牠們的血盆大口。才一會兒功夫 , 雪球已奪門而出 , 可是那些狗還在後面追趕。動物們看到這景象無不嚇得目瞪口呆 , 牠們全部擠到門口看這場追逐戰。雪球狂奔過通往大路的草原。牠沒命地奔跑 , 可是那群狗還是緊追不捨。突然牠滑了一跤 , 眼看就要成為狗的囊中物了。然而牠又站起來 , 死命狂奔 , 但速度還是敵不過那些狗。其中一條狗朝雪球的尾巴咬了一口 , 可是牠及時縮起尾巴逃過一劫。然後牠使勁衝刺 ,九死一生地從籬笆旁的小洞鑽了出去。從此以後再也沒有動物看過牠了。動物們實在嚇壞了 , 一點兒都不敢吭聲 , 悄悄地溜回穀倉。接著那幾隻狗也回來了。一開始根本沒有動物知道牠們打哪來 , 可是謎團一下就解開了 : 原來牠們就是被拿破崙從母親身邊帶走 , 私底下養大的小狗。儘管牠們還不是成犬 , 可是體型已經是龐然大物 , 看起來和狼一樣凶狠。牠們圍繞著拿破崙向牠搖尾巴的模樣 , 就好像以前的那些狗對瓊斯先生搖尾巴那樣。拿破崙讓這些狗跟在身後 , 然後站在地板高凸處 , 也就是老少校先前發表演121

說的地方 , 宣布從今以後星期天早晨的大會取消了。牠說這些會議浪費時間 , 所以沒必要舉行。往後農莊裡的問題都交給一個由豬組成的特別委員會處理 , 拿破崙自己就是主席。委員們私底下聚會 , 再將決策告訴其他動物。動物們星期天早晨仍要集合 , 向旗子敬禮 , 唱英格蘭之獸 , 接受下週的工作命令 ; 之後也不會再舉行辯論了。儘管雪球遭到驅離讓動物們深感震驚 , 可是牠們對於這項宣布更感到不可思議。要不是牠們不知如何表達 , 有些動物可能早已經提出抗議了。即使是巴克斯也有點困惑。牠豎起耳朵 , 甩甩額毛 , 努力整理思緒 ; 可是最後牠還是想不出什麼好說的。然而有些豬比較敢說話。坐在前排的那四隻小肉豬出聲反對 , 而且也站起來準備發表意見。可是拿破崙身旁的那些狗突然發出懾人的怒吼 , 於是這些豬又趕緊坐下並保持安靜。接著羊又開始狂叫「四條腿好 , 兩條腿壞」。牠們一叫就是一刻鐘 , 因此任何討論也沒機會進行了。之後史奎爾奉命到農莊各地向動物解釋這項新措施。「同志們 ,」牠說 ,「我相信各位一定很感激拿破崙勞心勞力 , 為大家犧牲奉獻 , 將這份責任一肩扛起。各位不要以為領導是件輕鬆愉快的事 ! 反之這件事有著相當重的責任。拿破崙同志堅信所有動物一律平等。牠真的誠心希望能讓各位自己做決定。可是各位有時會做出錯誤的決定。同志們 , 那該怎麼辦呢 ? 現在我們都知道 , 雪球和一個罪犯相比也好不到那裡去。假設各位決定要支持牠那番空話去興建風車 , 結果又會如何呢 ?」「可是牠在『牛棚之戰』中作戰很英勇啊。」有動物這樣說。「光是勇氣還不夠 ,」史奎爾這麼說 ,「忠誠和服從更重要。而且我相信我們總有一天會發現雪球在『牛棚之戰』中的表現其實是受到過度渲染。紀律 , 同志們 , 鐵的紀律 ! 這就是今天的口號。我們要是一有偏差 , 敵人很快就會找上門來。同志們 , 我相信你們不會想再看到瓊斯回來吧 ?」動物們又一次不知如何回答是好。牠們確實不希望再看到瓊斯重返農莊 ; 要是星期天早晨舉行辯論可能會讓他找上門來的話 , 那還是不要舉行好。巴克斯現在終於有機會把整件事好好想一遍 , 於是牠說出牠那再普通也不過的感想 :「只要是拿破崙同志說的 , 一定是對的。」而且從那時起 , 除了牠先前「我還要更努力122

工作」的格言以外 , 牠還把「拿破崙永遠都是對的」這句話當成了座右銘。天氣好轉 , 春耕已經開始。雪球以前畫設計圖的那個棚子已經上了門禁 , 地上畫的那些圖大概也都已經擦得一乾二淨了。每星期天早上十點 , 動物們都要在穀倉聚集以接受下星期的工作命令。而老少校那已經風乾的頭顱則從土裡挖起 ,插在一根枯樹枝上 , 移到旗桿旁 , 放在槍的旁邊。升旗典禮之後 , 動物們都要必恭必敬地列隊行經那顆頭顱 , 再進到穀倉。現在牠們不像以前那樣都坐在一起了。拿破崙 , 史奎爾和另外一隻叫米里莫斯 , 擅長創作詩歌的豬坐在講台的前半部 ,那九條狗在牠們身旁圍成半圓 , 而其他的豬坐在牠們後面。剩下的動物則一起坐在台下面對豬。然後拿破崙板起臉孔 , 有如軍人一般聲音沙啞地宣讀下週的命令。接下來動物們只唱一次英格蘭之獸後就解散了。雪球遭到驅逐後的第三個星期天 , 拿破崙宣布風車最後還是要興建。動物們聽到這消息後多少都嚇了一跳。拿破崙並沒有解釋為何牠會改變心意 , 牠只告誡動物說這項工作將會很艱辛 , 可能還必須減少糧食的配給。這些計畫其實早就已經徹底擬妥。原來 , 過去三星期以來 , 豬所組成的特別委員會一直在策畫這件事。風車的興建和其他改進的計畫預訂要花兩年時間才能完成。當晚史奎爾私下向其他動物解釋 , 牠說實際上拿破崙從沒反對過要興建風車。相反地 , 一開始提議興建風車的就是拿破崙。雪球在棚子裡畫的那些設計圖其實是從拿破崙的手稿中抄襲來的。事實上風車是拿破崙的點子。於是有動物問道 , 為什麼拿破崙要發言強力反對呢 ? 這時史奎爾露出陰險的面孔。牠說這就是拿破崙同志聰明的地方。牠假裝反對興建風車 , 然而這只不過是剷除雪球的手段而已。雪球是個危險人物 , 會帶來不良的影響。既然雪球已經消失了 , 這項計畫就可以不受牠的干預 , 順利進行下去。史奎爾說 , 這就叫策略。牠反複說了好幾遍「策略 , 同志們 , 這就是策略 !」講話的同時還一臉愉悅 , 不停左擺右晃搖著尾巴。動物們不太確定史奎爾在說些什麼 , 可是牠們看到牠這麼有說服力 , 而且身旁剛好又跟著三隻發出懾人怒吼的狗 , 牠們也只好接受史奎爾的解釋 , 不再有疑問了。123

第六章那一整年動物們都像奴隸一般工作。可是牠們卻樂在其中 ; 牠們心甘情願地犧牲奉獻 , 因為牠們很清楚牠們的所作所為都是為了自己和牠們的後代 , 而不是為了那一群好逸惡勞的人類。整個春天和夏天 , 動物們每週工作六十小時 ; 到了八月 , 拿破崙更宣布星期天下午也有工作要做。雖然這些工作完全屬於自願性質 , 可是缺席的動物糧食將會減半。儘管如此 , 有些工作還是無法完成。那年的收穫比去年稍微少一些 , 而且兩塊本來應該在夏天種植根莖類作物的田地 , 卻因為土壤還沒來得及翻完而無法耕種。所以可以預見 , 即將來臨的冬天將會非常艱苦。另外 , 風車的興建也碰到前所未有的難題。農莊裡有一個品質良好的石灰岩礦場 , 動物們也在庫房內發現許多沙石和水泥 , 因此建造風車的所有材料都已一應俱全。然而動物們一開始所無法解決的問題 , 就是如何把石頭弄碎 , 成為適合興建風車的大小。除了用十字鎬和鐵鍬以外 , 好像沒有其他辦法可以把石頭弄碎。可是這些工具動物們都沒辦法使用 , 因為牠們無法靠兩條腿站立。牠們試了好幾個星期依然徒勞無功 , 最後終於有動物想到一個好方法 —— 也就是說 , 利用地心引力把石頭摔碎。沒辦法用於建築的大石頭在礦場上隨處可見。動物們用繩索把這些大石頭綁起來 , 同心協力 , 牛、馬、羊 , 任何可以使得上力的動物都來幫忙( 甚至連豬在緊要關頭也來出一臂之力 )。牠們將這些大石頭沿著斜坡緩慢地拖到礦場的頂端 , 然後從上面推下 , 把石頭弄碎。石頭弄碎後 , 運送起來就容易多了。馬一車一車地把碎石拉走 , 羊也一塊一塊地拉 , 甚至連繆蕾和班哲明也拉起小馬車 , 盡一份心力。到了夏末 , 石頭已經累積到足夠的數量。於是在豬的監督之下 ,風車開始興建了。然而整個過程既緩慢又費力。動物們常常花了一整天的時間 , 費盡力氣才把一顆大石頭拖到礦場頂端 , 可是推下後卻發現石頭沒有摔碎。要不是巴克斯發揮以一抵百的力氣 , 許多工作還真的都無法完成。每當大石頭開始滑動 , 眼看動物們就要被拖下山 , 失望大叫之際 , 都是巴克斯即時拉住繩索 , 才讓石頭停住。每124

次動物們看到巴克斯汗如雨下 , 氣喘吁吁地奮力穩住腳步 , 一步一步把石頭拉上斜坡的時候 , 牠們無不感到佩服。有時克洛薇會警告牠 , 要牠小心不要工作過度 ,可是巴克斯就是聽不進去。牠那兩句口號 ——「我還要更努力工作」以及「拿破崙永遠是對的」—— 似乎是牠回應任何問題的答案。此外 , 牠還和那隻小公雞更進一步約定 , 要牠每天早上提早四十五分把牠叫醒 , 而不再是以前約好的半小時了。儘管現在已沒有太多空閒時間 , 可是只要一有機會 , 牠還是會獨自跑到礦場 ,收集滿整車的石頭 , 獨力拖到風車的建地去。儘管工作辛苦 , 動物們那年夏天倒還過得去。如果說牠們的食物沒有像瓊斯時期那樣多的話 , 至少也沒少到哪裡去。動物們現在只要養活自己就好了 , 牠們用不著去管那五個揮霍成性的人類 , 光是這個好處就足以勝過許多牠們所遭受的挫敗。而且在很多方面 , 動物們做事的方法更加事半功倍。比方像除草 , 動物們做的非常徹底 , 這是人類不可能辦到的事情。還有 , 既然動物們現在不再偷竊食物 , 因此也沒必要隔開草原和耕地 , 如此一來便省去看管樹籬和大門的勞力。然而 , 隨著夏天逐漸過去 , 許多動物們先前沒想到的缺點也一一浮現。煤油、釘子、繩索、狗餅乾和馬蹄鐵的需求越來越多 , 然而這些東西都沒辦法在農莊裡製造。之後動物們還需要種子和人造肥料 , 除此之外還有各式各樣的工具。更最重要的 ,牠們也需要興建風車的機械設備。這些東西從哪來 , 沒有動物能夠想到。某個星期天早晨 , 當動物們集合起來接受命令時 , 拿破崙宣佈牠已經決定採取一項新措施。從現在開始 ,「動物農莊」將和鄰近的農莊進行貿易。當然 , 這樣做並不是為了商業考量 , 而是為了取得一些農莊極需要的材料。牠說 , 興建風車的急迫性必須勝過一切。因此牠正在安排要把一堆乾草還有部分今年收成的麥子賣掉 ; 以後如果需要更多金錢的話 , 牠也會考慮賣雞蛋 , 因為威靈頓市場上對雞蛋的需求很大。牠說 , 母雞們應該對自己的犧牲感到光榮 , 因為這是牠們為興建風車所做的特殊貢獻。動物們又一次感到莫名的不安。絕不和人類買賣 , 絕不進行貿易 , 絕不使用金錢 —— 這些不都是瓊斯遭驅逐之後 , 動物們在第一次慶祝大會上通過的決議嗎 ? 所有動物都記得牠們曾經通過這些決議 —— 至少牠們認為牠們還記得。那四隻曾經在拿破崙宣布廢除大會時發言抗議的四隻小肉豬戰戰兢兢的提高音量 , 可125

是很快又被那些狗恐怖的叫聲壓了下去。接著 , 一如往昔 , 羊群又開始大叫「四條腿好 , 兩條腿壞 !」頓時尷尬的場面又緩和下來。最後拿破崙舉起前蹄要大家安靜 , 並宣布牠已經做好所有安排。動物們不需親自跟人類接觸 , 這點絕對沒必要。牠會一肩扛起這個責任。而一位住在威靈頓 , 名叫溫普爾的仲介商同意擔任「動物農莊」和外界聯絡的橋樑 , 並會在每週一早上親自到農莊接受指示。之後 ,拿破崙和平常一樣高喊「動物農莊萬歲 !」結束牠的演說 , 而動物們唱完英格蘭之獸後便解散。之後 , 史奎爾到農莊上繞了一圈以安撫動物們的情緒。牠向動物們保證 , 絕不從事貿易和絕不使用金錢的決議根本從未通過 , 甚至連提案也沒有過。那純粹是想像而已 , 可能是一開始雪球放出的謊言。但是有些動物仍然感到些許疑惑 ,於是史奎爾狡黠地問牠們 :「同志們 , 你們確定你們不是在作夢嗎 ? 你們有留下這些決議的紀錄嗎 ? 它有寫成白紙黑字嗎 ?」既然動物們確定牠們沒有留下任何紀錄 , 牠們也只好認為牠們記錯了。每星期一早上 , 溫普爾先生都會依約拜訪農莊。那傢伙留著鬢角 , 一副小頭銳面的樣子。他經營的仲介生意規模不是很大 , 但他卻觀察敏銳 , 老早就知道「動物農莊」會需要一個仲介人 , 讓他可以從中賺取可觀的佣金。動物們懷著誡慎恐懼的心情看著他進進出出 , 並盡可能避免和他接觸。然而 , 每次牠們看到四腳站立的拿破崙對兩腳站立的溫普爾下命令時 , 牠們心中便充滿優越感 , 因而不再全盤排斥這樣的新措施。現在牠們和人類的關係已不再像過去那樣緊張。「動物農莊」現在欣欣向榮 , 可是人類並沒有因此而減低對它的憎恨 ; 事實上 , 他們比以前更加深惡痛絕。所有人類心中都有個堅定不移的想法 , 就使「動物農莊」遲早會破產。而且更重要的是 , 風車的建造一定會失敗。他們喜歡在酒吧聚會 , 拿著圖表向彼此證明風車注定沒辦法完成 ; 就算完成了 , 也沒辦法運作。然而 , 儘管千百個不願意 , 他們還是不得不佩服動物們自行經營農莊的效率。最好的證明就是他們現在已經接受「動物農莊」這個稱呼 , 而不再視而不見 , 還把它叫作「曼諾農莊」。他們現在也不再支持瓊斯了 , 因為那傢伙早已萬念俱灰 , 不想取回農莊 , 反而搬到別的地方去住了。「動物農莊」現在除了透過溫普爾先生以外 , 似乎還沒有其他與外界接觸的管道。可是不斷有傳言 , 說是拿破崙準備要和「狐林農莊」的126

皮爾金頓先生或是「平曲菲爾德農莊」的費德列克先生進行貿易。儘管如此 , 牠並沒有同時和這兩人往來的打算。大概就在這時候 , 豬突然搬進主人房 , 在裡面住了起來。動物們再次想起之前似乎有項不准動物住在房子裡的決議 , 然而史奎爾又一次說服牠們 , 告訴牠們沒那回事。牠告訴動物說 , 由於豬用心經營整個農莊 , 所以絕對有必要讓牠們在安靜的地方工作。而且讓大統領 ( 最近牠開始用「統領」這個稱號來稱呼拿破崙 )住在房子裡 , 要比讓牠窩在豬舍裡更有尊嚴。然而 , 有些動物聽到豬不僅在廚房用餐 , 把客廳當作交誼廳 , 還睡在床上時 , 內心還是不免覺得怪怪的。巴克斯聽到這樣則不以為意 , 牠還是像以前一樣說著「拿破崙永遠是對的 !」可是克洛薇想起牠曾記得有一項關於床的誡律寫得很清楚 , 於是牠跑到穀倉後面 , 試著把寫在牆上的「七誡」拼湊起來。在發現牠沒辦法把字母拼讀出來之後 , 牠於是把繆蕾找來。「繆蕾 ,」牠說「把第四條誡律唸給我聽。它是不是說動物們不可以睡在床上呢 ?」繆蕾花了一點時間才把它拼讀出來。「它說 :『動物皆不得在有床單的床上睡覺』。」繆蕾最後這樣說。克洛薇覺得很奇怪 , 牠從來不記得第四條誡律曾經提過床單 ; 可是既然牆上的字是這樣寫著 , 一定就是這樣了吧。此時 , 史奎爾剛好經過 , 身邊跟著幾條狗。牠又藉機把整件事好好解釋了一番。牠說 :「同志們 , 你們現在一定聽說我們豬住在房子裡 , 睡在床上吧 ? 為什不可以呢 ? 你們該不會以為又有一條誡律是反對床舖的吧 ? 床鋪只不過是個睡覺的地方而已。馬廄裡的一堆草可以是一張床 , 這當然沒問題。然而 , 那條誡律真正反對的是床單 , 因為那是人類的發明。我們早就把床單從床上拿掉了 , 現在我們只不過在身上蓋條毯子而已。這樣也是很舒服的床啊 ! 我們每天都要用掉不少腦力 , 其實 , 同志們 , 我可以這樣告訴各位 , 這樣的床相對於我們體力的消耗而言 ,根本不能算舒服。你們該不會連我們睡眠的權利也想剝奪吧 , 同志們 ? 你們不想看到我們滿臉倦容 , 無法盡到責任吧 ? 你們應該都不想再看到瓊斯吧 ?」動物們一聽到這樣 , 馬上同意牠的說法 , 再也不過問豬睡在床上的事了。也127

因為這樣 , 幾天後動物們得知豬早上可以晚一個鐘頭起床 , 牠們也沒什麼抱怨了。到了秋天 , 動物們儘管很累 , 可是卻感到很高興。牠們那年很辛苦 , 儘管賣掉部份的乾草和穀類所換來過冬的糧食並不算多 , 可是風車彌補了一切。風車現在已經完成一半。秋收之後有一段期間天氣非常的乾爽 , 因此動物們比以往更加努力工作 , 牠們認為只要能再把牆壁往上築一尺 , 就算整天來回努力拖石頭也值得。巴克斯甚至還會趁著月圓光線充足時 , 在晚上利用自己的時間 , 獨自工作個一兩小時。動物們會利用空閒時間 , 圍繞著完工一半的風車走來走去 , 稱讚那牆壁有多直多厚。牠們對自己的能力感到佩服 , 因為牠們從來不覺得自己能夠創造出這樣雄偉的東西。雖說如此 , 老班哲明對於風車還是不怎麼熱衷 , 牠還是像往常一樣 , 嘴巴說著總是不出「驢子都很長壽」之類的神祕話語。十一月來臨 , 強烈的西南風肆虐個不停。由於氣候太潮濕 , 使得水泥無法混合 , 因此風車的建造必須停止。有一天晚上 , 風實在太強了 , 吹得農舍搖搖晃晃 ,穀倉上的一些瓦片還因此被吹掉了。母雞們從睡夢中驚醒 , 不停害怕地叫著 , 因為牠們竟然同時都夢見聽到遠方有一聲槍響。隔天早上 , 動物們全部跑出馬廄一探究竟 , 牠們發現旗杆被吹倒 , 果園角落的一棵榆樹也像拔蘿蔔一樣遭到連根拔起。隨後動物們發現一件事 , 牠們看到那景象後無不慘叫連連 , 絕望不已。牠們看到可怕的一幕 , 那就是 , 風車毀了。牠們一塊兒衝到現場。連平常不太外出走動的拿破崙也一馬當先 , 帶頭跑到現場。沒錯 , 風車倒了。動物們努力的成果被夷為平地。牠們辛苦弄碎 , 搬運到建地的石頭散落滿地。牠們無話可說 , 只能站在那悲傷地看著滿地的碎石。拿破崙不發一語 , 來來回回地跺步著 , 偶爾還用鼻子聞聞地面。牠的尾巴直挺挺豎起來 , 並且左右快速搖晃著 , 這是牠腦筋動個不停時的招牌動作。突然牠停了下來 ,好像已經有了結論。「同志們 ,」牠冷靜地說 ,「你們知道誰要為這件事負責嗎 ? 你們知道是那個敵人趁夜晚潛入農莊摧毀風車的嗎 ? 就是雪球 !」拿破崙突然發出如雷狂吼。「這就是雪球幹的好事 ! 那傢伙心懷不軌 , 只想讓我們的計劃受挫 , 順便替牠自己遭到驅逐的事報一箭之仇。所以這叛徒在夜色的掩護下偷偷溜進農莊 , 毀掉我們將近一年的工作成果。同志們 , 現在我宣判雪球死刑 ! 只要誰能讓牠接受法律制裁 ,128

我就頒發『二等動物英雄勳章』給牠 , 外加半蒲式耳的蘋果。只要誰活捉牠 , 我就賞牠一蒲式耳的蘋果 !」動物們知道連雪球也會幹下這種壞事之後 , 無不感到震驚錯愕。牠們發出怒吼 , 並且開始想辦法 , 只要雪球膽敢重返農莊的話 , 一定要逮到牠。就在同時 ,離小山丘不遠的草地上發現了豬的腳印。這些腳印只延伸了幾碼而已 , 但很明顯是通往樹籬邊的一個洞裡。拿破崙用力聞了一下這些腳印 , 最後牠宣布這些都是雪球的腳印。牠認為雪球很可能是從「狐林農莊」那邊溜過來的。「同志們 , 不要再拖了 !」拿破崙檢視過這些腳印之後 , 這樣大叫著。「我們還有工作要做。我們今天早上就要開始重建風車 , 歷經寒冬也要做 , 下雨天 , 烈日下也要做。我們要告訴那可憐的叛徒 , 讓牠知道牠沒辦法那麼輕易毀掉我們的成就。記住 , 同志們 , 我們的計劃絕不能動搖 : 我們要堅持到底完成使命。前進 ,同志們 ! 風車萬歲 ! 動物農莊萬歲 !」129

第七章那年冬天相當嚴寒。強勁的風勢夾雜冰冷的雨雪 , 地面結上厚厚的霜 , 直到隔年二月才好不容易消去。動物們盡最大努力重建風車 , 牠們深知外界都在看 ,要是風車沒有及時完成 , 那群好妒的人類鐵定是滿心歡喜 , 彷彿獲得勝利一般。那群人類出於惡意 , 他們假裝不相信是雪球破壞了風車 : 他們說風車會垮掉 ,是因為牆壁不夠厚的緣故。儘管動物們知道事實並非如此 , 牠們還是決定這次要把牆壁的厚度從原來的一呎半增加為三呎 , 這也意味著牠們需要更多石頭。然而 ,有很長一段時間 , 礦石中夾雜了大量冰雪 , 根本沒辦法開採。動物們趁著後來天氣比較乾冷的時候進行一部份工作 , 那都是非常辛苦的工作 , 而動物們也不再像從前那樣樂觀了。牠們不時覺得寒冷 , 還常常餓肚子。只有巴克斯和克洛薇從未失去信心。史奎爾還是一如往常發表那些長篇大論 , 大談服務的樂趣以及勞動的可貴 , 但是更能讓動物們得到激勵的是巴克斯的力量 , 以及牠那從未停歇的口號 :「我還要更努力工作 !」一月食物短缺。穀類的配額銳減 , 後來又宣布說會另外發馬鈴薯當作補償。然而 , 由於幼苖覆蓋不及 , 大部份的馬鈴薯都受到凍傷。馬鈴薯看起來營養不良 ,硬度也不夠 , 只剩少數可以食用。有一段期間 , 動物們除了粗糠和甜菜以外 , 根本沒有別的東西可吃。饑荒虎視眈眈 , 腳步似乎一步一步逼進了。顯然牠們必須對外界封鎖這消息。人類受到風車倒塌的鼓舞 , 又開始放出許多關於「動物農莊」的不實謠言。於是 , 又有傳言說動物們死於疾病和饑荒 , 說牠們不斷自相殘殺 , 甚至又開始吃同類和殺害年幼的動物。拿破崙深刻了解到 ,要是外界知道農莊有食物短缺的情形 , 後果將不堪設想。因此牠決定利用溫普爾先生散播相反的言論。在此之前 , 動物們還很少有機會和每週固定拜訪農莊的溫普爾接觸 ; 然而現在 , 有些動物 ( 大多是羊 ) 經過挑選 , 受命在溫普爾先生造訪農莊時 , 不經意地說出糧食已經增加的消息。此外 , 拿破崙也下令要求動物們把糧倉裡快要見底的桶子裝滿沙子 , 直到快要滿出邊緣為止 , 最上層再覆蓋上僅剩的穀物。動物們則會找適當的藉口 , 帶溫普爾經過糧倉 , 讓他有機會瞧瞧那些桶130

子。溫普爾先生因此受到矇騙 , 不斷向外界說「動物農莊」裡食物充足 , 沒有短缺的問題。然而 , 接近一月底時 , 動物們顯然必須從別的地方購買部分穀類。最近這些日子以來 , 拿破崙極少公開露面 , 牠全部時間都待在房子裡 , 房子的每一道門都有凶狠的狗看守著。每次牠露面時 , 那個排場像極了慶典 , 六條狗緊緊圍繞護衛著牠 , 只要有任何動物太過接近 , 牠們便馬上發出吼聲。牠甚至也越來越少在星期天早上露面 , 牠只透過其他的豬宣布命令 , 通常那隻豬都是史奎爾。某個星期天早晨 , 史奎爾宣佈即將下蛋的母雞都必須交出所有的蛋。拿破崙已透過溫普爾和外面簽訂了一紙合約 , 同意每週提供四百顆雞蛋。所得的錢將可以購買足夠的穀類和糧食 , 讓農莊撐到夏天來臨 , 以紓緩缺糧的窘況。母雞們聽到這消息後全都強烈反彈。雖然牠們先前就被告知這樣的犧牲在所難免 , 可是牠們萬萬沒想到這件事終究還是發生了。牠們最近才剛準備下蛋 , 好在春天孵化 , 因此牠們抗議說把雞蛋奪走無異是謀殺。於是 , 在瓊斯遭到驅逐之44後 , 第一次有類似反叛的舉動出現了。在三隻黑米諾卡母雞的帶領之下 , 母雞們下定決心不讓拿破崙稱心如意。牠們的做法是飛到樑上生蛋 , 這樣一來蛋全都掉到地上摔碎了。但是拿破崙也即刻採取了鐵腕措施。牠下令立刻停止供給母雞配糧 , 並宣布只要有動物膽敢給母雞一點食物吃的話 , 立即處以死刑。這些命令由狗負責執行。母雞們撐了五天 , 最後牠們還是投降 , 乖乖回到巢裡繼續下蛋。這段期間內死了九隻母雞。牠們的屍體埋在果園 , 豬則向動物說牠們是因感染疾病而死。溫普爾對此事則毫無所悉 , 雞蛋還是如期交貨 , 雜貨商的馬車每週固定一次到農莊把雞蛋載走。動物們有好長一段時間都不曾聽過雪球的消息。有傳言說牠躲在附近的農莊 , 不是「狐林」就是「平區菲爾德」。這段期間內 , 拿破崙和其他農夫的關係要比以前稍微來得好一些。剛好院子裡有一堆已經放了十年的木材 , 那是以前砍掉的山毛櫸。那些木柴堆在那裡已有一段時間 , 而且早就風乾了 , 因此溫普爾建議賣掉 ; 皮爾金頓先生和費德列克先生都有強烈的購買意願。拿破崙很猶豫 , 不知道要賣給誰。每次牠即將和費德列克達成協議時 , 就有人說雪球躲在「狐林農莊」;44米諾卡雞英文為 Minorca chicken, 原產於地中海地區 , 為生蛋雞的優良品種。131

而每次牠快要和皮爾金頓先生達成協議時 , 又有人說雪球躲在「平區菲爾德農莊」。這些謠言使得拿破崙實在沒辦法拿定主意。初春時 , 有件驚人的消息突然傳開來。原來雪球一直都趁著夜晚偷偷潛入農莊 ! 動物們對此感到不安 , 也無法安穩成眠。據說 , 牠每天都會在夜色的掩護下潛入農莊大搞破壞。牠偷走穀物 , 踢翻奶桶 , 打破雞蛋 , 踩壞苗圃 , 咬掉果樹的樹皮。久而久之 , 動物們便習以為常 , 只要有狀況 , 大家一定會把矛頭指向雪球。只要有窗戶破掉 , 或是排水管阻塞 , 動物們就會說那一定是雪球在晚上幹的好事 ;每當倉庫的鑰匙不見了 , 全體動物就會相信一定又是雪球把鑰匙丟到井裡去。但是說來奇怪 , 就算鑰匙最後在麵粉袋底下被發現 , 牠們還是相信那是雪球惡搞的結果。乳牛們還異口同聲說雪球趁牠們睡覺的時候 , 偷偷溜進牛棚擠牠們的奶。而那年冬天不斷製造麻煩的老鼠也據說是和雪球同夥的。拿破崙於是下令針對雪球的行為展開全面調查。在狗的陪伴下 , 牠開始逐步仔細檢查農舍 , 其他動物亦步亦趨 , 但都保持一定距離以示尊敬。每隔幾步拿破崙便停下來聞聞留在地面的足跡 , 牠說牠可以透過嗅覺判斷那是不是雪球。牠聞遍了所有角落 , 穀倉、牛棚、雞舍、菜園都不放過 , 最後牠發現到處都有雪球的足跡。牠把鼻子靠近地面 , 用力嗅了幾下 , 然後氣急敗壞地說 :「雪球曾經到過這裡 ! 我可以清楚聞到牠的氣味 !」狗一聽到「雪球」這兩個字 , 無不呲牙裂嘴 ,發出令人血冷的咆哮聲。動物們全都嚇壞了。對牠們而言 , 雪球像是一股看不見的邪惡力量 , 充斥在空氣中 , 作出許多危害牠們的舉動。傍晚 , 史奎爾把動物們召集起來 , 神情緊張地告訴牠們有重要的事情要報告。「同志們 !」史奎爾大叫 , 身體還因為緊張而微微顫抖著。「我們發現一件極為嚴重的事。原來雪球老早就把自己出賣給「平區菲爾德農莊」的費德列克了 !而費德列克現正計畫要攻擊我們 , 把農莊從我們手中奪走 ! 只要攻擊一開始 , 雪球會帶領他進入農莊。可是還不只這樣而已。我們以前認為雪球會變節僅僅是出於虛榮心和野心而已。可是同志們 , 我們錯了。各位知道確實的原因是什麼嗎 ?其實雪球從一開始就和瓊斯站在同一邊 ! 牠一直都是瓊斯的爪牙。我們發現雪球留下的一些文件 , 這就是最好的證明。我認為這件事非同小可 , 同志們。各位知132

不知道 , 原來那傢伙在『牛棚之戰』中就曾經企圖讓我們吃敗仗 —— 只不過牠沒成功罷了。」動物們全都嚇呆了。這件惡毒的事情遠勝過雪球對風車的破壞。牠們花了很久的時間才接受這件事。牠們都還記得 , 或以為牠們都還記得 , 雪球在「牛棚之戰」中領軍作戰 , 激勵牠們士氣 , 甚至在背部受槍傷後依然奮勇抗敵 , 一刻也沒停止。一開始動物們不太相信雪球居然會和瓊斯站在同一邊。就算是很少發問的巴克斯也感到很困惑。牠趴下來 , 縮起前腳 , 閉上眼睛努力整理牠的思緒。「我不相信。」牠這麼說。「雪球在『牛棚之戰』中奮勇作戰。我自己也親眼看見。我們不也是馬上頒給牠『一等動物英雄勳章』嗎 ?」「這正是我們的疏忽 , 同志們。現在我們發現了 , 因為這些事情全都記在那些秘密文件上。事實上雪球就是企圖把我們帶往毀滅之路啊 !」「可是牠有受傷啊 ,」巴克斯這麼說。「我們都看到牠不顧身上血流 , 奮力向前衝。」「那全都是在演戲 !」史奎爾大叫。「瓊斯的子彈只不過擦過牠身體而已。要不是你們無法閱讀的話 , 我真的可以從牠的筆記翻出來給你們看。雪球的目的就是在最危險的時刻發出撤退信號 , 然後離開戰場 , 投向敵營。而且牠還差點成功了 —— 我甚至可以說 , 要不是我們英明領袖拿破崙同志的領導 , 牠老早就成功了。現在你們還記得 , 當瓊斯那群人進到院子後 , 雪球突然轉身起跑 , 身後還跟著許多動物嗎 ? 你們還記得 , 原先大家驚慌失措 , 眼看一切即將化為烏有的同時 , 拿破崙同志突然大吼『消滅人類 !』, 然後用力咬住瓊斯的腳嗎 ? 同志們 , 你們一定還記得這件事吧 ?」史奎爾說著 , 身體還不時左右搖晃。現在史奎爾那樣生動描述出當時的情景 , 動物們似乎也真的想起來了。講明確一點 , 牠們的確記得在「牛棚之戰」的緊要關頭時 , 雪球轉身逃逸。可是巴克斯仍然感到有些怪怪的。「我不相信雪球一開始就是個叛徒。」最後牠這麼說。「儘管牠後來的所作所為確實和以前大不相同。可是 , 我相信在『牛棚之戰』時 , 牠還是個很好的同志。」「我們的領袖 , 拿破崙同志 ,」史奎爾語氣慢了下來 , 並且十分堅定地說 ,「牠已經說得一清二楚了 , 同志們 , 一清二楚 ! 雪球從一開始就是瓊斯的爪牙。沒錯 ,133

在我們知道有革命這件事之前牠老早就是了。」「啊 , 這樣就不同了 !」巴克斯這樣說。「如果拿破崙也都這麼說的話 , 那一定是對的。」「這樣就對了 , 同志 !」史奎爾大聲說著。但是那雙閃爍的眼睛卻對巴克斯投以怪異的眼光。牠接著回頭準備離開 , 然而卻突然停下並加重語氣說 :「我向各位警告 , 請你們眼睛睜大點。因為我們有理由相信雪球的一些眼線現在就藏在我們之中 !」四天之後的傍晚 , 拿破崙下令所有動物到院子裡集合。集合完畢之後 , 拿破崙從房子裡出現 , 身上配戴兩枚勳章 ( 牠最近才剛頒給自己「一等動物英雄勳章」和「二等動物英雄勳章」), 身邊則跟著那九條大狗。牠們圍繞著拿破崙並發出恐怖的低吼 , 動物們全都不寒而慄。牠們站在原地靜靜地縮著身體 , 似乎知道恐怖的事情即將要發生。拿破崙嚴肅地站著檢視牠的聽眾 ; 然後牠吹了一聲口哨。那些狗聽到後立刻跳向前 , 咬住其中四隻豬的耳朵 , 也不管牠們痛的哇哇尖聲 , 照樣把牠們拖到拿破崙的腳下 , 這時 , 牠們的耳朵還在流血。那些狗一嚐到血的味道後 , 近乎瘋狂了好一陣子。然而 , 出乎大家意料之外 , 有三條狗突然朝巴克斯衝了過去。巴克斯看到牠們衝過來 , 立刻舉起大蹄 , 在空中攔下一隻狗 , 然後把牠壓倒在地。那隻狗哀聲求饒 , 另外兩隻看到這樣則夾著尾巴逃命去了。巴克斯看著拿破崙 , 似乎在詢問牠是否應該把那隻狗殺了 , 或是饒牠一命。拿破崙臉色一變 , 立刻下令要巴克斯放了那條狗。巴克斯於是抬起蹄子 , 那條狗便一溜煙跑掉 , 身上到處都是淤青 , 還不斷發出哀嚎。原本騷動的情況現在安靜了下來。那四隻豬在旁邊等著 , 身體不停發抖 , 臉上的皺紋好像寫滿了罪過。拿破崙要牠們承認自己的罪行。原來牠們就是在拿破崙宣布廢除星期天大會時起身抗議的那四隻豬。在沒人逼迫的情況之下 , 牠們承認從雪球被驅離之後 , 牠們還一直秘密與牠接觸。牠們和雪球一起合作毀掉風車 ,也和雪球達成共識 , 要把「動物農莊」交給費德列克先生控制。牠們也承認 , 雪球曾經向牠們說過 , 牠當瓊斯先生的眼線已有好幾年了。那四隻豬才剛坦承罪行 ,那群狗立刻一擁而上把牠們的喉嚨咬斷。接著拿破崙忿怒地詢問是否還有其他動134

物要認錯。那三隻為了雞蛋而帶頭企圖叛變的母雞站了出來 , 牠們說雪球曾經出現在牠們的夢中 , 煽動牠們違背拿破崙的命令。牠們也立刻遭到處決。接著一隻鵝也站了出來 , 牠坦承去年收成期間私自藏了一些穀類 , 然後利用夜晚的時間偷吃。再來是一頭羊承認牠曾在飲水池裡小便 , 當然這也是雪球唆使的。另外還有兩頭羊也坦承牠們曾經殺害了一隻老公羊 , 那頭公羊還是拿破崙的堅定支持者。牠們繞著火堆追著牠跑 , 直到牠喘不過氣 , 咳嗽咳到死掉為止。這些認罪的動物都當場遭到處決。接下來這樣批鬥的過程持續進行 , 直到拿破崙的腳邊堆了一大堆屍體 ,空氣中充滿血腥的味道為止。這種情況在瓊斯遭到驅離之後都不曾見過了。整個事件結束後 , 除了豬和狗以外 , 其他動物都集體黯然神傷地離開。牠們感到既悲傷又震驚。牠們不知道哪件事比較可怕 —— 到底是那些動物和雪球聯手幹的破壞可怕 , 或是牠們剛才親眼目睹 , 那手段兇殘的報復事件恐怖。類似的血腥場面在過去也時有所聞 , 可是現在情況更糟 , 因為這些場面就活生生地在牠們之間上演。自從瓊斯離開農莊至今都還沒有動物殺害過同類。就算是老鼠也未曾遇害。動物們走到山丘上 , 在完成一半的風車旁躺了下來 , 那場景就好像牠們全都瑟縮成一團取暖一樣。除了貓以外 ( 那傢伙就在拿破崙下令要動物集合之前便突然消失不見 ) 克洛薇、繆蕾、班哲明、乳牛、羊群還有鵝和母雞 , 所有動物 ,沒錯 , 所有動物都縮在一塊。有好一段時間都沒有動物開口說話。只有巴克斯仍然站著。牠不安地走來走去 , 搖晃著那長長的尾巴 , 有時還發出驚訝的嘶聲。最後牠終於開口 :「我不了解。我不相信這種事竟然會發生在我們農莊裡。一定是我們犯了什麼錯才會這樣。我認為解決這事情的方法就是加倍努力工作。從現在起 , 我應該每天早晨都提早一小時起床。」說完 , 牠便拖著沈重的步伐走到礦場 , 一連收集滿兩車的石頭 , 把它們拖到風車的建地 , 直到晚上休息為此。其他動物則圍著克洛薇瑟縮在一起 , 一句話也不說。牠們躺下的那個山丘上視野良好 , 牠們可以很清楚看見廣大的鄉下地方。「動物農莊」的大部分地區都在牠們可見的範圍內 —— 延伸到大路的草原、牧野、樹林、飲水池 , 加上才剛開始135

發芽 , 青蔥翠綠的麥田 , 還有伴著裊裊炊煙升起 , 覆蓋在農舍屋頂上的紅瓦片都一覽無遺。當時已是春天 , 傍晚天氣相當晴朗。草原和樹籬在陽光的照耀下染成一片金黃色。動物們突然想起 , 當初牠們意識到農莊已成為牠們所有時那份驚喜的感覺 , 沒錯 , 這裡的每寸土地都是牠們的了。從來沒有任何農莊能像這樣讓動物們如此嚮往。克洛薇朝山腳下望去 , 眼中噙著淚水。如果牠能說出自己的感受 ,牠會說這並非牠們幾年前辛苦推翻人類後所追求的生活。這些恐怖的殺戮場景並不是老少校鼓吹革命當晚 , 牠們所期望見到的景象。如果牠心中有一幅未來的遠景 , 那也是一個動物們不再挨餓 , 不再受鞭打的社會。在那裡 , 所有動物一律平等 , 各依自己的能力工作 , 強者保護弱者 , 就好像老少校發表演說那天晚上 , 牠圍起前腳保護那群小鴨子一樣。然而 , 牠不知道為什麼 , 為什麼事情會演變成這樣。牠們不敢表達自己的想法 , 牠們必須忍受那群恐怖的狗四處巡邏 , 牠們只能眼睜睜看著同伴承認過錯 , 遭到碎屍萬段。並不是說牠心裡有反叛或是抗命的想法。因為牠知道就算這樣 , 日子還是比瓊斯那時候好過得多 , 而且為了防止人類重返農莊 , 這樣做也是必然。不論發生什麼事 , 牠依然充滿信心 , 牠會努力工作 ,完成使命 , 並且接受拿破崙的領導。可是儘管如此 , 這樣的生活並非牠和其他動物原先夢想 , 想要努力達成的目標。牠們並不是為了過這種日子才去建造風車 ,面對瓊斯的子彈。雖然牠找不到合適的字眼來表達 , 但這就是牠的想法。最後 , 牠開始唱起了英格蘭之獸 , 因為牠覺得裡面的歌詞可以適度表達牠的想法。其餘坐在牠身邊的動物也跟著唱了起來 , 牠們一連唱了三次 , 音調是那麼柔和 , 但卻又那麼緩慢 , 那麼悲傷。牠們從來都沒有像這樣唱過這首歌。牠們才剛唱完第三遍 , 史奎爾 , 在兩條狗的陪伴下 , 突然出現在牠們面前 ,似乎有什麼重要的消息要宣佈。牠說 , 在拿破崙的命令之下 , 英格蘭之獸已經廢止了。從現在起再也不准唱這首歌了。動物們嚇了一跳。「為什麼 ?」繆蕾大叫。「同志 , 我們不再需要這首歌了。」史奎爾語氣強硬地說。「英格蘭之獸是革命的歌曲。既然現在革命已經完成 , 就沒有再唱下去的必要。今天下午處決叛徒是最後的行動。農莊內外的敵人都已經肅清。英格蘭之獸表達出我們對一個美好136

社會的渴望。但是現在這個社會已經建立 , 所以很明顯 , 這首歌的目的已經不存在了。」儘管動物們感到詫異 , 而且牠們之中可能有些也早已想要起身抗議 , 可是此時羊群又一如往常開始叫起「四條腿好 , 兩條腿壞」。就這樣叫了一段時間 , 討論也因此草草結束了。此後 , 再也沒有動物唱英格蘭之獸了。那隻叫米里模斯 , 擅長創作詩詞的豬則寫了另一首歌作為替代 , 歌詞如下 :動物農莊 , 動物農莊 ,在吾人守護之下 , 汝等休想帶來創傷。動物們星期天早上升完旗都要唱這首歌。然而這首歌的曲調和歌詞對牠們而言 ,似乎怎麼也比不上英格蘭之獸。137

第八章過了幾天 , 等到清算的恐懼消失後 , 有些動物想起 ( 或者牠們以為還記得 )第六條誡律是「動物皆不得殺害同類」。雖說動物們在豬和狗面前不會想提這件事 , 可是牠們覺得那樣子的殺戮並不符合這條誡律。於是克洛薇要班哲明把第六條誡律唸給牠聽 , 但是班哲明還是一如往常 , 說牠拒絕淌這場渾水。克洛薇不得已 , 只好去找繆蕾。繆蕾於是把第六條誡律唸給牠聽 , 上面是說「動物皆不得無故殺害同類。」奇怪的是 ,「無故」這兩個字早已從動物們的記憶裡消失了。最後牠們只好認為那樣的殺戮並沒有違反這條誡律 ; 因為這樣一來就有充分的理由處決那些和雪球同夥的叛徒了。這一整年動物們遠比去年更加賣力工作。為了在指定時間內重建風車 , 把牆壁的厚度增加一倍 , 還要應付農莊裡的例行工作 , 動物們面臨很大的工作壓力 ;很多時候牠們還得要超時工作 , 而且吃的東西也不比瓊斯那時期多。星期天早晨 ,史奎爾會拿著記載一大堆數據的紙張 , 向牠們報告各種食物的產量增加了兩倍 ,三倍或是五倍之多。動物們不得不相信牠 , 因為牠們也記不太清楚革命之前的情況是如何了。而且 , 牠們的想法從來都沒改變過 , 牠們只期待以後寧可有多點食物可吃 , 少聽點數據而已。現在所有的命令不是透過史奎爾 , 就是透過其他的豬宣佈。拿破崙不再像以前那樣經常現身了。不過如果牠真的出現的話 , 跟在牠身邊的不再只有那些狗隨扈而已 , 現在又多了一隻在前面開路的黑色小公雞 , 牠有點像樂隊的號手 , 每次拿破崙要說話之前 , 牠都會「喔喔喔」大叫 , 要大家注意聽。而且據說拿破崙雖然住在房子裡 , 可是牠卻和其他的豬分開 , 單獨住在不同的房間。牠獨自用餐 ,45身旁有兩條狗服侍 , 而且還經常使用放在客廳玻璃櫥窗裡的王冠德比高級瓷具進食。另外 , 現在也宣佈 , 除了原來那兩個週年紀念日以外 , 拿破崙生日當天也要鳴槍慶祝。現在動物們提到拿破崙時 , 不能再只有稱呼牠的名字而已。牠們必須很正式45原文為 Crown Derby dinner service. Crown Derby 為高級瓷器的製造商。138

地稱呼牠為「我們的領袖 —— 拿破崙同志」。那群豬好像很喜歡為牠創造一些頭銜 , 像是「動物之父」,「人類剋星」,「羊群守護者」和「鴨子之好友」等等。每當史奎爾演講時 , 牠總是滿臉熱淚談論著拿破崙有多聰明 , 內心有多善良 , 以及牠對世界各地的動物有多疼愛 , 特別是對那些還生活在其他農莊 , 過著水深火熱生活的動物。而讓動物們習以為常的還有一件事 , 就是只要有任何事情成功完成 ,或是有好運發生時 , 動物們都會說那全是拿破崙的功勞。牠們常常聽到有母雞跟同伴說 :「在我們的領袖 —— 拿破崙同志的英明領導下 , 我在六天之內就生了五顆蛋。」或是在水池邊飲水的兩條乳牛會說 :「感謝拿破崙同志的領導 , 池子的水喝起來真甜啊 !」農莊裡的動物對拿破崙的感念充分表現在米里模斯所寫的「拿破崙同志」這首詩裡。這首詩的內容如下 :失怙者之友 !快樂之源頭 !食槽之真主 ! 噢 , 當我凝視您 ,令我肺腑狂熾。您冷靜威嚴的眼神 ,有如中天之日 ,拿破崙同志 !您賜予我們萬物 ,是動物心中所愛 ,一天兩餐 , 不愁吃 , 不愁睡 ;每隻動物不分大小 ,皆有窩可安住 ,一切依您關照處置 ,拿破崙同志 !如果我有頭小乳豬 ,139

在牠長大之前 ,既使小如奶瓶或擀麵棒 ,牠也必須學會對您誓以至誠 ,是的 , 牠的初鳴就該高呼「拿破崙同志 !」拿破崙批准了這首詩 , 並且要求把這首詩寫在穀倉的牆上 , 就寫在「七誡」的另一端。史奎爾則用白漆在這首詩上面畫了一幅拿破崙側身的肖像。在此同時 , 拿破崙透過溫普爾的仲介 , 和費德列克以及皮爾金頓展開複雜的協商 , 為的是將那堆木材賣出。這兩人之中 , 費德列克有較積極的購買意願 , 可是卻不願意提出合理的價錢。而在這時則有新的流言傳開 , 說是費德列克那夥人正計畫要攻擊農莊並摧毀風車 , 因為風車的建造讓牠忌妒萬分。而這時據說雪球還躲在「平區菲爾德農莊」裡。仲夏時 , 動物們聽到一件震驚的消息。有三隻母雞出面自首 , 牠們坦承和雪球密謀要殺害拿破崙。牠們當場遭到處決 , 拿破崙身邊的安全警戒也因此提高了層級。晚上牠要就寢時 , 有四條狗分別在床鋪的四個角落護衛牠。而且每到要用餐前 , 牠都會叫一隻叫「粉紅眼」的小豬先為牠品嚐食物 , 以免食物遭到下毒。大約也在這時候 , 拿破崙決定要把那堆木材賣給皮爾金頓先生 ; 牠同時也決定要和皮爾金頓簽訂一項定期合約 , 從「狐林農莊」換取某些物品。儘管拿破崙和皮爾金頓還是透過溫普爾居中協調 , 但是現在的關係已近乎非常友善。動物們不相信皮爾金頓 , 因為他是人類 , 可是牠們更討厭費德列克 ; 其實牠們對這兩人還是既厭惡又害怕。隨著夏天一天一天過去 , 風車也接近完工 , 這時關於攻擊的傳言也甚囂塵上。據說費德列克會帶領二十個全副武裝的人攻擊農莊 ; 而且他還早就已經買通了郡長和警方 , 如果他能立即取得「動物農莊」的所有權狀 , 他們也不會過問。更有甚者 ,「平區菲爾德農莊」現在傳出了恐怖的消息 , 說是費德列克對他的動物施以暴行。他把一匹老馬鞭打到死 , 讓乳牛餓肚子 , 把一條狗丟到火爐活活燒死 , 他在公雞的腳上綁上刀片 , 讓牠們在傍晚時分打鬥以當作娛樂。140

動物們聽到牠們的同志遭到如此對待 , 無不群情激憤 , 熱血沸騰 , 牠們有時候會吵著要集體進攻費德列克的農莊 , 趕走人類 , 解救動物。可是史奎爾總是安撫牠們 , 以免牠們做出魯莽的舉動 , 同時牠也要求牠們相信拿破崙的策略。儘管史奎爾努力勸說 , 動物們對費德列克的仇恨還是日益高漲。星期天早晨拿破崙現身穀倉 , 牠跟動物解釋牠從來沒想過要把那堆木材賣給費德列克 , 因為牠覺得和那群惡棍進行交易有損牠的尊嚴。那些派出去鼓吹革命的鴿子現在則不准踏上「狐林農莊」的土地 ; 而原先牠們「消滅人類」的口號也已經改為「打倒費德列克」。夏末 , 雪球的另一項陰謀又被揭發。當時麥田裡長滿雜草 , 原來是有一次雪球趁夜晚溜進農莊 , 在小麥的種子裡混進雜草的種子所造成的結果。一隻知情不報的公鵝向史奎爾坦承罪過 , 並立刻服下毒莓自殺。動物們現在才得知雪球根本從未拿過「一等動物英雄勳章」, 以前牠們對此事還深信不疑呢。原來這都是雪球在「牛棚之戰」後自己憑空捏造的故事。動物們現在不再讚揚雪球了 , 反而還批評牠在戰場上怯懦的表現。然而 , 有些動物再次覺得不太對勁 , 可是史奎爾總是能夠說服牠們 , 讓牠們相信自己記錯了。秋天時 , 動物們歷經千辛萬苦 , 在同時還得兼顧收成的情況下 , 終於把風車完成了。雖然裡面的機械設備還未安裝 , 而且溫普爾還在採購中 , 可是風車的主體建築已經完工了。儘管動物們遭遇許多困難 , 儘管牠們只有最原始的工具 , 儘管牠們運氣不佳 , 儘管雪球從中破壞 , 但是整個工程最終還是如期完成了 ! 雖然牠們很疲憊 , 但是牠們覺得很光榮 , 於是牠們圍繞著牠們的傑作走來走去 , 新的風車在牠們眼中看來甚至遠比上次那座更雄偉。除此之外 , 牆壁還是原來的兩倍厚。這一次 , 除非使用炸藥 , 不然可真是沒辦法搞垮它呢 ! 當動物們想到牠們過去的辛勞 , 想到牠們曾經克服萬難 , 想到風帆即將升起 , 機械開始運轉之後牠們的生活即將大大改變 —— 當牠們想到這一切 , 牠們的疲勞頓時間消失的無影無蹤 , 牠們圍著風車跳啊跳 , 齊聲高呼勝利。拿破崙則在那群狗和那隻公雞的陪伴下出來巡視整個成果 ; 牠親自向動物們道賀 , 並宣佈風車將命名為「拿破崙風車」。兩天之後動物們被召喚到穀倉召開特別會議。當拿破崙宣佈牠已經把木柴賣給費德列克先生後 , 動物們都嚇呆了。隔天費德列克的車子會到農莊把木頭載走。原來 , 拿破崙表面上跟皮爾金頓先生保持友好關係 , 可是私底下卻已經和費德列141

克達成秘密協議。自此之後「動物農莊」和「狐林農莊」的關係宣告全面破裂 ; 拿破崙公開詆毀皮爾金頓 , 鴿子則被告知以後不要到「平區菲爾德農莊」鼓吹革命 , 牠們也把原來「打倒費德列克 !」的口號改成「打倒皮爾金頓 !」了。在此同時 , 拿破崙則向動物保證原先說要攻擊動物農莊的傳言都是假的 , 而且費德列克虐待動物的事情其實是遭到過度誇大了。這些謠言可能都出自於雪球和牠的同夥。照這樣看來 , 雪球現在似乎並沒有躲在「平區菲爾德農莊」, 事實上牠也從沒到過那裡 : 牠現在其實在「狐林農莊」過著吃香喝辣的生活 ; 原來牠早就替皮爾金頓先生工作了好幾年之久。那群豬對於拿破崙的智巧感到欣喜若狂。原來牠表面上跟皮爾金頓友好 , 事實上是藉此逼迫費德列克把價錢提高了十二英鎊。可是據史奎爾表示 , 拿破崙才智最過人的地方在於牠任何人都不相信 , 甚至連費德列克也不相信。費德列克曾經表示希望用一種叫支票的東西支付買木頭的款項 , 那東西就是一張紙 , 上面記載了何時要支付多少款項。可是拿破崙才不吃那一套。牠要求費德列克以面額五磅的紙鈔付款 , 而且必須在搬運木頭前付清。現在費德列克也已經付了錢 , 這筆錢剛好足夠拿來購買風車的機械設備。在此同時 , 木頭就迅速地被運走了。事情結束之後 , 拿破崙又召開另一項特別會議 , 要動物們到穀倉集合一起檢視費德列克送來的鈔票。拿破崙洋洋得意地笑著 , 佩戴著牠的勳章 , 安穩地躺在講台的草床上。那堆鈔票整齊地堆在從廚房拿來的磁盤上 , 正擺在拿破崙身邊。動物們列隊慢慢經過 , 個個都瞪大了雙眼看個飽。巴克斯用鼻子聞了聞這些鈔票 , 那些細薄的玩意兒輕易被牠吸起 , 還發出沙沙的聲響。三天之後驚人的事情發生了。有一天 , 溫普爾突然臉色蒼白 , 飛也似地騎著腳踏車抵達農莊 , 一進來就把車子摔倒在院子 , 然後火速衝進主人房裡。不久拿破崙的房間傳來一陣恐怖的怒吼。接著這項消息有如怒火燎原般很快便傳遍整個農莊。原來那些鈔票都是假鈔 ! 費德列克就這樣平白把那些木頭拿走了 !拿破崙立刻召集動物 , 以非常嚴厲的口氣宣判費德列克死刑。牠說只要費德列克被逮到 , 一定要把他活活給烹了。牠並警告動物 , 牠說這次詐騙事件以後 ,142

接下來最糟糕的事情可能即將要發生。費德列克那群人很可能隨時發動攻擊。於是農莊裡每個路口都已安排了衛兵。除此之外 , 四隻鴿子也奉命到「狐林農莊」求和 , 希望皮爾金頓先生能和「動物農莊」重修舊好。果不其然 , 隔天早上人類便開始發動攻擊。動物們當時還在吃早餐 , 衛兵在那時衝進來 , 牠們說費德列克那夥人已經進入五柵門了。動物們表現得很勇敢 ,立即全部出門迎戰 , 可是這一次牠們不會再像「牛棚之戰」那樣輕易獲得勝利了。對方總共有十五人 , 其中六個帶槍 , 而且一進到五十碼的距離內便立刻開火。動物們不敵隆隆槍響和四處亂竄的子彈 , 儘管拿破崙和巴克斯努力激勵牠們士氣 ,牠們還是很快就遭到擊退。有些動物早已負傷躲進農舍 , 小心翼翼地從縫隙往外窺視。整個大草原 , 包括風車 , 轉瞬間便落入敵人的手裡。這時就算是拿破崙看起來好像也不知所措。牠不發一語 , 快速地來回踱步 , 尾巴直挺挺地搖來搖去。牠的眼神透露出期待 , 不斷朝「狐林農莊」望去。如果皮爾金頓和他的工人願意伸出援手的話 , 這場仗或許還有贏的希望。然而那四隻鴿子這時飛了回來 , 其中有一隻身上帶著皮爾金頓的字條 , 上面用鉛筆寫著 :「你們活該 !」此時 , 費德列克那群人在風車旁停了下來。動物們看著那群人 , 私底下覺得氣餒。接著有兩個人手上拿著鐵鍬和鐵槌 , 看樣子他們是想要把風車敲垮。「不可能 !」拿破崙大叫。「我們把牆壁築的很厚 , 不可能用敲的就把風車弄垮。就算他們敲一個禮拜也不可能成功。同志們 , 鼓起勇氣吧 !」可是班哲明仔細看著他們的一舉一動。那兩個手拿鐵鍬和鐵鎚的人原來是在風車的地基挖洞。慢慢地 , 班哲明點了點頭 , 暗地裡樂了一下。「我本來也這樣想 ,」牠說。「可是你們看不出他們在幹什麼嗎 ? 他們等一下就要在洞裡面灌入火藥。」動物們嚇壞了 , 牠們只能屏息以待 , 因為現在牠們不可能冒險衝出農舍。幾分鐘之後 , 動物們看到那群人朝四面八方快速散去 , 接下來只聽到一聲震耳欲聾的巨響。鴿子飛到天空 , 其他動物全部頭朝腹部臥倒在地 , 只有拿破崙還是站著。等到牠們再站起來 , 牠們發現風車那地方懸著一大片黑煙。等到黑煙慢慢散去 ,動物們這才驚覺 , 風車居然不見了 !一看到這樣 , 動物們重新鼓起了勇氣。牠們目睹如此無恥的舉動後 , 怒氣迅143

速蓋過先前恐懼失望的情緒。牠們大叫著要復仇 , 而且不待拿破崙下令 , 牠們便全部往外衝 , 直奔敵人而去。這一次牠們也顧不得槍林彈雨了 , 一場血腥慘烈的戰爭就此展開。人類不停開槍 , 而且等到動物夠接近時 , 立刻高舉棍子抬起雙腳 ,用力朝牠們又打又踹。一條牛 , 三頭羊和兩隻鵝犧牲了 , 而且幾乎所有動物都受了傷。在後方指揮的拿破崙也一樣 , 牠的尾巴被子彈削去一塊肉。然而人類也並非毫髮無傷。三個人被巴克斯的蹄子踢得頭破血流 ; 另外一個則被牛角刺中腹部 ;還有一個的褲子差點被潔西和布魯貝爾脫了下來。而保護拿破崙的那九隻狗 , 在牠的指揮下 , 經由樹籬的掩護繞到人類的側翼 , 開始對他們狂吼 , 此時人類開始驚慌失措。眼看即將遭到包圍 , 於是費德列克一聲令下 , 他們趁勢收兵 , 接下來那群膽小的敵人便開始逃命。動物們把他們趕到田野的最後面 , 趁最後機會又踢了他們幾下 , 最後人類才急忙越過樹籬逃走。動物們是贏了 , 可是牠們也都受了傷而且疲累不堪。牠們開始慢慢拖著受傷的身驅走回農莊。地上到處都是牠們同伴的遺體 , 這景象讓有些動物不禁潸然落淚。接著牠們走到風車那裡 , 有好一會兒牠們停在那裡難過到一句話也說不出來。沒錯 , 風車毀了 ; 牠們辛苦努力的結果最後連一點痕跡也沒留下 ! 就算是地基也有部分遭到破壞。石頭散落滿地 , 跟以前一樣 , 動物們沒辦法拿這些碎石頭重建風車。而且這一次還有些石頭根本連影子也看不到了。爆炸的威力把這些石頭炸到好幾百碼以外的地方 , 現在的情況看來就好像風車從未存在過一樣。當牠們接近農莊時 , 先前無故從戰場上消失的史奎爾突然出現了。史奎爾搖著尾巴走向牠們 , 臉上還帶著滿意的笑容。這時動物們聽到一聲槍響 , 那聲響是從農舍那邊發出來的。「那聲槍響是幹什麼的 ?」巴克斯問道。「那是為了慶祝我們的勝利啊 !」史奎爾大聲說。「什麼勝利 ?」巴克斯又問。牠的膝蓋在淌血 , 蹄子裂開不說 , 還掉了一只馬蹄鐵 , 而且其中一隻後腿還留有十二發子彈。「同志 , 什麼勝利 ? 我們不是把敵人從我們的土地 , 從「動物農莊」這塊神聖的土地上趕跑了嗎 ?」「可是他們也把風車毀了。那可是我們辛苦工作了兩年的成果啊 !」144

「那又怎樣 ? 我們會再建造一座風車。只要我們想要 , 造六座風車也沒問題。同志們 , 難道你們無法體會我們剛剛完成的神聖使命嗎 ? 我們的敵人曾經佔領過現在我們腳下這片土地。而現在 , 多虧拿破崙英明的領導 , 我們再次成功地奪回這每一寸土地了 !」「可是我們只不過贏回以前我們所擁有的東西而已啊 !」巴克斯說。「這樣仍然是我們的勝利啊 !」史奎爾說著。動物們一跛一跛地走回院子。巴克斯後腿上的子彈讓牠疼痛不已。牠看著風車的地基 , 心裡已經開始計畫未來艱辛的工作 , 而且已經想好要肩負起這些責任了。可是這也是牠第一次想到牠已十一歲 , 牠的肌肉可能不再像以前那樣結實了。然而 , 動物們看到飄揚的綠旗 , 聽到槍響 ( 總共有七響 ), 以及拿破崙恭喜牠們的演說時 , 牠們似乎又覺得 , 畢竟牠們還是贏得一次重大的勝利。牠們接著立刻為在戰爭中犧牲的同志舉行隆重的葬禮。巴克斯和克洛薇拉著靈車 , 拿破崙則走在隊伍最前面。動物們之後放了兩天假以慶祝勝利。這兩天充滿了演講、歌聲和慶祝的槍聲。每隻動物各得到一顆蘋果 , 每隻鳥各得兩盎司穀物 , 每隻狗則各得三塊狗餅乾以當作賀禮。後來拿破崙宣佈將這場戰役命名為「風車之戰」, 接著牠又發佈一枚新徽章 —— 綠旗勳章 , 並且立刻授予牠自己。於是 , 在歡樂的氣氛之下 , 假鈔事件也就被忘得一乾二淨了。幾天之後 , 豬剛好在主人房的地窖裡發現一箱威士忌。牠們剛開始進駐主人房時並沒有發現這些東西。當天晚上房子裡傳來非常吵雜的歌聲 , 而讓動物們感到訝異的是 , 歌聲裡居然夾雜英格蘭之獸的歌詞。晚上九點半左右 , 有動物清楚看到拿破崙頭戴瓊斯先生的圓形禮帽在院子裡狂奔 , 不久之後又回到房子裡。然而第二天早晨 , 農舍卻充滿死寂 , 連一條豬的蹤影也沒有。早上快接近九點時史奎爾出現了。牠步伐緩慢 , 垂頭喪氣 , 兩眼無神 , 尾巴下垂 , 看起來好像身染重病一樣。牠把動物集合起來 , 告訴牠們一件非常令人震驚的消息 —— 拿破崙同志快要死了 !動物們無不悲從中來 , 哀聲此起彼落。主人房門口鋪著乾草 , 動物們踮著腳指頭走進去探視拿破崙。牠們眼中含著淚水 , 不斷地問著要是拿破崙離開牠們 ,牠們要如何才好。有傳言說是雪球在拿破崙的食物中下毒才會讓牠生病。十一點145

時史奎爾又走出來作了另一項宣佈。這是拿破崙在世時的最後一件告示 : 喝酒者即處死。然而到了傍晚 , 拿破崙似乎好多了。到了第二天早晨 , 史奎爾告訴動物說拿破崙正逐漸康復中。當天晚上拿破崙已經回到工作崗位 ; 又過了一天 , 動物們得知拿破崙要溫普爾幫牠去威靈頓買一些有關於釀造和蒸餾的書。一星期後 , 拿破崙下令果園旁原先要給退休動物養老的那塊地開始進行翻土。牠對外的解釋是說那塊地已經荒廢許久 , 所以必須重新種植作物才行 ; 不久動物們才知道 , 原來拿破崙要在那塊地上種大麥。大約就在此時 , 農莊裡發生了一件事 , 這件事讓動物們百思不得其解。有天夜裡 , 大概是十二點左右 , 院子裡傳來一聲巨響 , 動物們全體衝到外面一探究竟。當晚月光皎潔。原來 , 穀倉後端寫著「七誡」的牆壁旁 , 有一把梯子摔成了兩截。史奎爾倒在旁邊暫時昏了過去 , 身邊還放著一盞燈 , 一把刷子和一桶打翻的白漆。狗聽到這聲響後立刻團團圍住史奎爾 , 並且在牠能站立行走之後立刻護送牠回房子裡。動物們都摸不著頭緒 , 只有班哲明點了一下頭 , 牠似乎知道什麼事 , 可是就是不說。幾天之後 , 繆蕾自己把「七誡」讀了一遍 , 可是牠卻發現裡面又有一條誡律動物們記錯了。牠們以為第五條誡律是「動物皆不得喝酒」, 可是原來牠們漏記了兩個字。第五條誡律其實應該是 :「動物皆不得喝酒過度」。146

第九章巴克斯裂開的蹄子得花上好長一段時間才能復元。慶祝勝利的慶典才結束 ,隔天動物們又隨即開始重建風車。可是巴克斯連放一天假也不肯 , 牠還覺得 , 如果讓其他動物看到牠痛苦的模樣 , 牠會覺得很丟臉。然而到了傍晚 , 牠私下向克洛薇透露蹄子的傷口讓牠很煩惱。克洛薇於是找了些藥草 , 用嘴巴咀嚼後再敷到牠的傷口上。牠和班哲明都異口同聲勸牠少做點工 , 牠向巴克斯說 :「馬的肺不可能永遠都不會出毛病。」可是牠那聽得進去。牠還說 , 牠現在只剩一個願望 , 也就是牠希望在退休前能看到風車開始運轉。起先「動物農莊」開始制定法律時 , 動物們都同意馬和豬的退休年齡是十二歲 , 牛十四歲 , 狗九歲 , 羊七歲 , 雞和鵝則是五歲。動物們退休後可以獲得不算少的退休俸。然而到目前為止 , 還沒有動物真正退休領過退休俸 , 可是最近這件事越來越受到矚目。既然果園後面那塊地已經種起大麥 , 因此有傳言說大草原上有塊地將會圍起來 , 讓退休動物能在裡面吃草。而且據說馬的退休俸包括每天五磅穀物 , 冬天則是十五磅乾草加上一根紅蘿蔔 , 碰到節日可能還外加一顆蘋果。巴克斯的十二歲生日即將在明年夏末到來。這段期間日子很不好過。今年冬天跟去年一樣寒冷 , 而且食物比以前還要短缺。除了豬和狗以外 , 動物們的配糧又一次遭到縮減。史奎爾解釋說 , 糧食的分配如果只是一味強調公平的話 , 很明顯將會違背「動物主義」的精神。不論在什麼情況下 , 每一次牠都能三言兩語便向動物證明實際上食物並沒有缺乏。只不過這段期間顯然有必要調整糧食的分配 ( 史奎爾每次總是用「調整」而絕不使用「減少」這字眼 ), 然而這樣和瓊斯那時候相比還是有長足的進步。史奎爾每次都用尖銳快速的語調向動物們宣讀那些數據 , 牠巨細靡遺地向牠們證明牠們比瓊斯那時期有更多燕麥 , 乾草和蕪菁可以吃 , 牠們工作時數也比以前少 , 牠們飲用水的品質也提高了 , 牠們的壽命也比以前長 , 牠們的孩子夭折的比率也下降了 , 現在牠們睡的地方都舖有乾草 , 而且也不像以前那麼常被跳蚤叮咬了。動物們對此深信不疑。說實在話 , 瓊斯以及他所代表的那一切現在差不多都從牠們的記憶裡消失147

殆盡 , 因此牠們也無從比較起。雖然牠們知道現在的生活貧困艱苦 , 常常還會挨餓受凍 , 而且不睡覺時差不多都在工作 , 可是無庸置疑 , 現在的日子還是要比過去好多了。牠們很樂於相信這點。此外 , 以前牠們都是奴隸 , 而現在牠們都是自由之身了 , 光是這點差別就很大。當然 , 每次史奎爾也一定不會忘記提出這一點。現在牠們有更多的牲口要養活。秋天時 , 那四隻母豬同時生產 , 總共產下三十一隻小豬。這些小豬身上都有斑紋 , 加上拿破崙又是農莊裡唯一的種豬 , 所以不難猜出牠們的父親是誰。之後有一道命令下來 , 說是等到木柴和磚塊買齊以後 ,動物們要在花園蓋一間教室供這些小豬使用。這些小豬現在則暫時在廚房裡由拿破崙親自教育牠們。牠們平時都在花園活動 , 並避免和農莊裡其他小動物一起遊戲。大概也就在這時候又多了一條規定 , 說是如果其他動物和豬在路上相遇 , 牠們一定要站到旁邊 , 讓豬先通過 ; 而且不管是那個等級的豬 , 牠們都有權力在星期天把綠色的緞帶綁在尾巴上。農莊今年收穫不錯 , 可是還是缺錢。動物們要購買磚塊 , 沙石和石灰 , 而且牠們也要開始重新存錢購置風車的機具。接著牠們又需要燈油 , 蠟燭以及拿破崙吃飯用的糖 ( 拿破崙禁止其他豬吃糖 , 理由是這會讓牠們變胖 )。然後又是一些消耗品 , 像是工具 , 釘子 , 繩索 , 煤炭 , 鐵絲 , 廢鐵還有狗餅乾等等。牠們已經賣掉一堆乾草和部分馬鈴薯 , 而雞蛋的供給量則提高到每週六百顆 , 也因此那一年 ,母雞都還來不及孵出足夠的小雞以維持雞隻的數量。到了十二月 , 糧食的配額再度減少 , 到二月又減少一次 , 而且動物們住的地方也不准點燈以節省油料。可是豬看來倒是過得很舒服 , 事實上牠們的體重還增加了。二月某天下午 , 廚房後面那間廢棄的釀酒間突然飄來一陣香甜誘人的味道 , 這種香味動物們之前可都沒聞過。有動物說這是煮大麥的味道。牠們飢腸轆轆地聞著這道香氣 , 心想也許晚餐會有熱騰騰的麥片粥可以吃。然而晚餐時卻沒見到麥片粥的蹤影 , 而且在接下來的星期天 , 有一道命令說從現在起 , 所有大麥都要保留給豬食用。而原先果園旁那塊地早就已經種起大麥了。接下來又有小道消息說每隻豬現在每天都有一品脫啤酒可以喝 , 拿破崙自己則有半加侖 , 46 而且還要用王冠德比的湯鍋盛給牠。每回要是有苦日子要挨 , 動物們想到現在這樣總比過去有尊嚴時 , 牠們也就46一品脫約為 473 毫升 ; 半加侖約為 1.9 公升。148

不太在意了。現在動物們比以前更常唱歌 , 更常聽演講 , 更常舉辦遊行。拿破崙還下令動物們每週都要舉行一次所謂的「自發遊行」, 目的是為了慶祝「動物農莊」奮鬥得來的勝利。指定時間一到 , 動物們都要放下手邊的工作 , 然後在農莊裡像軍隊一樣列隊遊行。豬走在隊伍前端 , 然後是馬、牛、羊 , 最後才是家禽。狗則走在側面 , 隊伍的最前面就是拿破崙的那隻黑色小公雞。巴克斯和克洛薇則共同拉著一面畫有蹄子和牛角的綠旗 , 上面寫著「拿破崙同志萬歲 !」。動物們吟唱詩歌 , 歌頌拿破崙一番 , 然後史奎爾開始演說 , 內容都是一堆數據 , 證明食物又增加了 , 偶爾牠們也會鳴槍慶祝。羊對這「自發遊行」可熱衷了 , 而且如果有動物抱怨牠們在浪費時間 ( 有些動物確實會在身邊沒有豬和狗的情況下這麼做 ), 或是說什麼在這麼寒冷的天氣還要站這麼久之類的事情 , 那群羊一定又會大叫「四條腿好 , 兩條腿壞 !」把牠們的抱怨聲壓過去。可是不管如何 , 動物們還是很喜歡這些慶祝活動。牠們只要想到自己是真正的主人 , 而且所做所為都是為自己時 ,心中就覺得很寬慰。也因為這樣、歌聲、遊行、數據、隆隆槍聲、小公雞的叫聲還有空中飛揚的旗幟 , 都能讓牠們忘掉肚子空空的事實 —— 至少有些時候可以。四月 ,「動物農莊」宣佈成為共和國 , 因此動物們必須選舉總統。唯一的候選人就是拿破崙 , 當然牠也在無異議的情況下當選總統。同一天有一條消息指出 ,根據最新發現的檔案進一步顯示 , 雪球和瓊斯之間有更深遠的密謀關係。證據顯示 , 原來雪球不只如同動物們先前認定那樣 , 企圖搞鬼輸掉「牛棚之戰」而已 ,牠其實根本就是在幫瓊斯作戰。事實上 , 牠就是那一群人類的領導人 , 而且還帶頭高呼「人類萬歲 !」而雪球背上的那些傷痕 ( 當然現在只有少數動物還記得曾經看過 ), 那些傷痕根本就是拿破崙的齒痕。到了仲夏 , 那隻名叫摩西 , 消失了好幾年的烏鴉突然又出現在農莊裡。牠依舊沒有些許改變 , 除了不工作以外 , 而且還像以前一樣 , 開口閉口都是那座「糖果山」。牠常棲息在樹上 , 拍著翅膀 , 逢人就說上好幾個小時。「同志們 , 在那上面 ,」牠嚴肅地說 , 用那只大嘴指向天空。「在那上面 , 就在那片烏雲後面 ,『糖果山』就在那裡。到了那地方 , 我們這些可憐的動物便可以休息 , 再也不用勞動了 !」牠還聲稱有一次牠飛得很高 , 真的到了那地方 , 而且看見滿山遍野都是苜宿芽 , 亞麻子蛋糕和一大堆糖就真的長在樹籬間。有很多動物開始相信牠 , 因為149

牠們認為生活充滿勞動和飢餓 ; 難道牠們沒有理由去夢想有這樣一個地方的存在嗎 ? 然而 , 那群豬對摩西的態度仍讓動物們摸不著頭。豬一致認為「糖果山」那47套全是謊言 , 可是牠們還是讓牠繼續留在農莊 , 不用工作而且每天還有一基爾的啤酒可以喝。巴克斯在蹄子康復後比以前還要更賣力工作。事實上 , 那一年動物們都像奴隸一樣。除了農莊的例行工作和重建風車外 , 牠們還要幫那些小豬蓋教室 , 因為牠們即將要在三月開始上課。有時候工作時數過長 , 糧食又不夠 , 牠們非常難熬 ,可是巴克斯依然毫不退縮。從牠的表現中看不出牠的體力有任何衰減的現象。只是牠的面容確實是有點小小的改變 ; 牠的皮膚似乎不像從前那樣光亮 , 牠粗壯的腰看起來也鬆垮了些。其他動物說 :「到了明年春天牠又會恢復成以前那樣強健的體態了。」可是春天來了 , 巴克斯依然沒有起色。有時候在通往採石場頂端的斜坡上 , 牠用力拉著那些大石頭 , 這時支撐牠的 , 似乎是牠的意志力 , 而不再是牠的腿了。在那當下 , 儘管牠沒出聲 , 牠的嘴唇似乎在隱約說著 :「我還要更努力工作。」克洛薇和班哲明再一次勸告牠要注意自己的健康 , 可是巴克斯依然當作耳邊風。牠十二歲的生日及將到來。只要牠在享退休俸前能夠採集到足夠的石頭 ,牠什麼也不會在乎。夏天的某個傍晚 , 突然有傳言說巴克斯出事了。牠之前才獨自外出 , 拉了一整車石頭到風車的建地去。這項傳言恐怕錯不了 , 因為幾分鐘後有兩隻鴿子飛快傳來消息 :「巴克斯倒下了 ! 牠側倒一邊 , 倒在地上爬不起來了 !」農莊裡差不多有一半的動物立刻趕往興建風車的山丘上。巴克斯倒在那 , 身上還套著馬車 , 牠的脖子朝向外面 , 沒辦法抬起頭。牠眼神呆滯 , 身上流了很多汗 , 嘴角還滲出一些血絲。克洛薇於是在牠身邊跪了下來。「巴克斯 !」牠大叫 ,「你還好吧 ?」「我的肺出問題了。」巴克斯虛弱地說。「不過沒關係 , 我想你們應該不用我的幫助也能完成風車。現在我們已經累積相當足夠的石頭了。我只剩一個月就要退休了。我告訴各位 , 事實上我非常期待我的退休生活。班哲明也漸漸老去 , 也許牠們會讓牠跟我一起退休 , 讓牠在身旁陪伴我。」47一基爾 (gill) 為 1/4 品脫 , 約為 118 毫升。150

「我們必須馬上找其他動物來幫忙。」克洛薇說。「快 , 趕快去告訴史奎爾發生了什麼事。」動物們立刻跑回農舍告訴史奎爾這項消息 , 現場只留下克洛薇和班哲明。班哲明躺在巴克斯身旁 , 一句話也沒說 , 並拖著長長的尾巴幫牠趕蒼蠅。大約過了十五分鐘史奎爾出現了 , 牠滿臉同情 , 憂慮萬分地走了過來。牠說拿破崙同志得知農莊裡對牠最忠心耿耿的同志出事後 , 內心感到難過萬分。牠說牠也已經安排讓巴克斯到威靈頓的醫院接受治療 , 對此 , 動物們內心覺得頗為不安。因為到目前為止 , 只有茉莉和雪球曾經離開過農莊 , 動物們實在不敢想像把牠們生病的同志交給人類處理會怎麼樣。然而 , 史奎爾輕而易舉地說服牠們 , 牠說威靈頓的獸醫給巴克斯的治療會比牠們在農莊裡所能做的還要好。大約過了半鐘頭 , 巴克斯覺得體力恢復了 , 於是牠費盡力氣站起來 , 步履蹣跚地走回馬廄 , 而克洛薇和班哲明早在那裡幫牠準備好一張舒服的草床了。接下來的兩天巴克斯都待在馬廄裡。豬在浴室的醫藥箱找到一大瓶粉紅色的藥 , 牠們派動物拿來 , 由克洛薇每天分兩次 , 在飯後幫助巴克斯服用。傍晚時分 ,牠躺在巴克斯身邊和牠說話 , 班哲明則在一旁幫牠趕蒼蠅。巴克斯說牠不後悔會變成這樣。牠說如果牠能康復的話 , 牠可能還可以活個三年 , 而且牠非常期待能夠在草原的角落享受退休的寧靜生活。那時牠將第一次有閒暇時間學習閱讀並提升自己的智力。牠說牠已經決定要在牠的餘生把那剩下的二十二個字母學完。然而 , 班哲明和克洛薇只有在工作結束後才能陪伴巴克斯。結果有一天 , 一部馬車趁著白天將巴克斯載走了。當時動物們都在豬的監督下到田裡除草 , 牠們看到班哲明從農舍那邊急忙跑出來 , 聲嘶力竭地叫喊。那時動物們都很驚訝 , 因為這是牠們頭一次看到班哲明那樣激動 —— 沒錯 , 這甚至也是牠們第一次看到班哲明跑這麼快。「快呀 ! 快呀 !」牠大叫著。「趕快來啊 ! 他們要把巴克斯帶走了 !」動物們也不等豬下令 , 全部丟下手邊的工作衝回農舍。院子裡的確停了一部大馬車 , 可是牠們看不見裡面是什麼。兩匹馬拉著那部車 , 車子的側邊還寫了一些字 ,駕駛座上則坐了一個頭戴圓頂禮帽 , 面相奸詐的人。而巴克斯的馬廄則已經空無一物。動物們圍著那部車齊聲說 :「再見 , 巴克斯 ! 再見 !」151

「笨蛋 ! 你們這群笨蛋 !」班哲明一邊大叫 , 一邊還不停用蹄子重擊地面。「笨蛋 ! 你們難道沒看到馬車的側面寫了什麼字嗎 ?」動物們愣了一下 , 全都安靜了下來。繆蕾開始把那些字拼出來。可是班哲明把牠推到一旁 , 趁著動物們還沒反應過來時把那些字唸了出來 :「『艾弗烈 . 希蒙斯 , 屠馬商兼製膠公司 , 威靈頓。專賣獸皮、骨粉和狗屋。』你們還不知道這是什麼意思嗎 ? 他們要把巴克斯載去給屠宰商了 !」動物們不禁嚇得大聲驚叫。可是說時遲 , 那時快 , 馬車駕駛此時用鞭子抽了那兩匹馬一下 , 接著牠們便快步離開院子。所有動物都追向前 , 用盡力氣高聲喊叫。克洛薇衝到前面 , 然而馬車卻開始加速。克洛薇一看不對勁 , 立刻加速狂奔。「巴克斯 !」牠大叫著。「巴克斯 ! 巴克斯 ! 巴克斯 !」巴克斯似乎聽到外面有聲音在叫牠 , 於是牠回過頭 , 露出鼻樑上那條白毛 , 從馬車後面的窗戶向外看了一下。「巴克斯 !」克洛薇沒命地喊著。「快出來 ! 趕快出來啊 ! 牠們要送你去死啊 !」所有動物齊聲跟著克洛薇高喊 :「出來 ! 巴克斯 ! 趕快出來啊 !」可是任憑牠們怎麼喊 , 那輛馬車早已加速遠去。動物們不太清楚巴克斯是否聽懂克洛薇在叫什麼。但是過了不久 , 牠的臉龐從窗戶邊消失 , 接著馬車裡傳來一陣蹄子猛力踢打車門的聲音 , 原來 , 巴克斯試著想把門踢開。以前牠只要踢幾下就可以把整台車踢成碎片。可是 , 唉 ! 牠的力量真的大不如前了 ; 過了不久 , 那聲音漸漸消逝 ,最後再也聽不到了。動物們深感絕望 , 牠們轉向那兩匹拉車的馬 , 要牠們趕快停下來。「同志 ! 同志 !」牠們大叫。「不要載著你們的弟兄去送死啊 !」可是那兩隻笨蛋實在愚不可及 , 牠們根本不知道發生什麼事 , 居然還把耳朵往後一豎 , 加緊腳步離開了。這時有些動物想到要衝到前面把五柵門關起來 , 可是太遲了 ; 才一下子的光景 , 那輛馬車便急速穿越五柵門 , 消失在道路上。動物們從此以後再也沒看過巴克斯了。三天後 , 儘管巴克斯接受了各項治療 , 牠最後還是在威靈頓的醫院中過世了。史奎爾向其他動物宣佈這項消息 , 牠說一直到巴克斯臨終前牠都待在牠身邊。「那真是我看過最感人的一幕了 !」史奎爾說 , 同時舉起牠的蹄子擦掉眼淚。152

「我直到最後一刻都待在牠身邊。直到最後 , 巴克斯身體虛弱到幾乎說不出話來 ,可是牠還是輕聲在我耳邊說 , 牠最大的遺憾就是沒有親眼看到風車完工。『前進 ,同志們 !』牠的語氣相當虛弱。『舉起革命的大旗向前進 ! 動物農莊萬歲 ! 拿破崙萬歲 ! 拿破崙永遠是對的 !』同志們 , 這就是牠的遺言。」說到這裡 , 史奎爾的表情突然有了轉變。牠停頓了一會兒 , 那雙小眼還不時向四周掃視 , 投以懷疑的眼光 , 然後牠又繼續下去。牠說根據牠的了解 , 巴克斯被送走當天 , 農莊裡流傳著一項既愚蠢又惡毒的謠言。有些動物注意到馬車側面寫著「屠馬商」這幾個字 , 然後就妄下結論說巴克斯被送去宰了。這實在是不可思議 , 史奎爾說 , 牠說那些動物怎麼會那麼笨。牠憤恨不平地說著 , 還不時跳來跳去搖著尾巴 , 牠說牠們應該知道 , 牠們親愛的領袖 , 拿破崙同志 , 不可能幹出那種事才對。這件事的解釋其實非常簡單。那輛馬車原本是某個屠夫的 , 後來賣給了獸醫 , 那獸醫還來不及把那些字塗掉而已。誤會其實就是這樣產生的。一聽到這裡 , 動物們心中的大石頭終於放了下來。接著史奎爾繼續描述巴克斯的病床 , 牠所受到無微不至的照料 , 以及拿破崙不假思索為牠購買最昂貴的藥品等等。動物們聽到這裡 , 心中的疑慮總算消失了。牠們一想到原來牠們的同志過世時是那樣安詳 , 心裡的哀傷也就舒緩不少。拿破崙在接下來的星期天早晨出現在會議中 , 並發表簡短的演說褒揚巴克斯的成就。牠說現在要將巴克斯的遺體運回農莊安葬已經不可能了 , 因此牠已經下令用花園中的桂冠樹製作一個大花圈 , 送到巴克斯的墳前放著。幾天之後豬為巴克斯舉辦了一場紀念餐會。拿破崙在餐會上引用巴克斯的座右銘 ——「我還要更努力工作」以及「拿破崙永遠是對的」—— 作為牠演說的總結。牠還說所有動物都要努力效法這種精神才是。餐會當天 , 有一部雜貨商的馬車從威靈頓送了一只大木箱到主人房。當天晚上主人房裡傳來喧鬧的歌聲 , 接著是一陣像在爭執的聲音 , 到了十一點左右 , 又傳來一聲像是打破玻璃的聲響。一直到隔天中午前房子裡都沒有動靜 , 於是有傳言說豬不曉得從那裡弄來一筆錢 , 替自己又買了一箱威士忌。153

第十章時間過了很多年。四季迭遞 , 動物們短暫的生命很快就消逝。到了最後 , 除了克洛薇 , 班哲明 , 烏鴉摩西和幾隻豬以外 , 已經沒有動物記得革命前的日子了。繆蕾過世了 ; 布魯貝爾 , 潔西還有平曲也是。瓊斯也過世了 , 他死在他鄕的一間戒酒中心裡面。多數動物早已不記得雪球了。同樣的道理 , 除了一些動物以外 , 大部份動物也都不知道巴克斯是誰。克洛薇現在已是一匹年邁肥胖的母馬 ,牠的關節僵硬 , 眼角還不時帶著眼屎。牠已經超過退休年齡兩歲了 , 可是農莊裡沒有動物真正退休過。大草原上圈出一塊角落讓年邁動物安享天年的說辭也老早廢棄了。拿破崙現在已是隻體重超過一百五十公斤的成熟種豬 , 48 而史奎爾已經胖到連睜開眼睛都很困難。只有老班哲明還是如同往昔 , 只不過牠鼻頭上的毛髮變灰了 , 而且在巴克斯過世後 , 牠變得更加孤僻 , 也更加沈默。現在農莊裡的動物雖然比以前多 , 可是數量的成長並不如預期快。許多年輕動物對上一輩的革命傳統也只有模模糊糊的概念而已 , 革命的故事只能透過口耳相傳 ; 另外還有一些動物是從外面買來的 , 牠們來到農莊之前根本不知革命為何物。現在農莊上除了克洛薇以外 , 還有三匹馬。雖然牠們體格壯碩 , 既努力工作又和其他動物相處融洽 , 可是還是很愚笨。沒有一匹馬能夠記得 B 以後的字母。只要有動物把革命的故事和「動物主義」的精神告訴牠們 , 牠們都全盤接受 , 尤其是克洛薇告訴牠們的事情 , 牠們更加能接受 , 因為牠們把牠當作母親一樣孝順 ;至於牠們有沒有聽懂又是另一回事了。農莊現在更加繁榮 , 組織也比以前更完整 : 牠們從皮爾金頓那邊買來兩塊地 ,使得農莊的面積增大了。風車最後終於完工啟用 , 而且動物們也有了屬於自己的打穀機和乾草升降梯 , 另外牠們也增建了好幾棟新的農舍。溫普爾先生也替自己買了一部小馬車。然而 , 風車終究還是沒有用來發電。它只不過用來磨穀物 , 為農莊帶來可觀的收入而已。動物們現正努力建造另一座風車 ; 據說這座風車完工後 , 發電機將會安裝在裡面。以前雪球教牠們夢想的那些事物 , 那些能讓生活更48原文為 twenty-four stone。換算後約略超過 150 公斤。154

舒適的事物 , 像是電燈 , 冷熱水 , 週休四日等等 , 早就不再討論了。拿破崙抨擊這些想法有違「動物主義」的精神。牠還說 , 最真實的快樂在於努力工作並過著簡樸的生活。農莊現在似乎是比以前更富裕了 , 可是好像除了豬和狗以外 , 其他動物並沒有好過到那去。也許部份原因是豬和狗的數量太多的緣故吧。牠們並不是不工作 ,牠們只不過是用自己的方式在工作而已。史奎爾總是不厭其煩地解釋 , 牠說牠們可是忙著監督動物和管理農莊的工作呢。大部份的工作以其他動物的聰明才智來說 , 都還不足以了解。比方說 , 史奎爾告訴牠們 , 豬每天都要秏費相當多的精力去處理一些叫作「檔案」、「報告」、「會議紀錄」和「備忘錄」等等的神祕文件。這些東西就是一堆紙 , 上面詳細記載了一堆文字 , 而且只要等到報告完畢 , 這些東西就得馬上拿到火爐燒掉。這些都是維持農莊褔祉最重要的工作 , 史奎爾這樣說。可是儘管如此 , 沒有任何一條豬和狗親自生產過食物 ; 而且牠們為數眾多 ,味口也好的很呢。至於其他動物 , 就牠們所知 , 生活還是像以前一樣難過。牠們普遍飽受飢餓之苦 , 牠們睡在草堆 , 喝飲水池的水 , 在田裡做苦工 ; 冬天時牠們受寒受凍 , 夏天則飽受蒼蠅騷擾。有時候 , 一些年長的動物想破頭去回想革命剛成功 , 瓊斯剛被驅逐時 , 當時的生活和現在相比到底是變得更好 , 還是變得更壞。可是牠們怎麼想也想不起來。牠們找不到其他事情和現在的處境相比 : 因為除了史奎爾所提供 , 那些千篇一律的數據以外 ( 那些數據總是證明現在一切都比以前好 ), 牠們根本沒有別的資料可參考。動物們發現這問題沒辦法解決 ; 反正牠們現在根本也沒時間仔細思考這問題。只有老班哲明說牠還記得牠那漫長生活中的點滴 , 牠說以前和現在都一樣 , 情況不曾改變過 , 未來也不會變好或變壞 —— 飢餓 , 艱苦和失望 , 據牠表示 , 都是生活的不變法則。然而動物們未曾放棄希望。牠們一刻也從未忘記自己的榮譽感 , 以及身為「動物農莊」一份子的殊榮。因為直到目前為止 ,「動物農莊」依然是這個國家 ( 整個英格蘭 !) 唯一一座由動物所擁有 , 自行管理的農莊。所有動物 , 不論年長年幼 ,不論先來後到 , 對此都讚不絕口。每當牠們聽到槍響或看到綠旗在旗桿上飄揚 ,牠們心頭便湧上一陣無限的驕傲 , 接下來牠們會開始討論過去那段光輝歲月 , 那155

段驅逐瓊斯 , 制訂「七誡」, 在戰爭中擊敗人類的光輝歲月。這些陳年往事動物們依然沒有忘記。牠們依舊相信老少校的預言 , 牠們將會建立一個毫無人類蹤跡的「動物共和國」。總有一天這個理想將會實現 : 它不見得很快會發生 , 也不見得在動物有生之年內會發生 , 可是它終將會來臨。即使是英格蘭之獸這首曲子可能也還有動物私底下在哼著 : 事實上 , 農莊裡的動物都知道這首曲子 , 可是牠們都不敢大聲唱出來而已。也許牠們的生活非常困苦 , 也許牠們的理想還沒有全部實現 ,可是牠們清楚知道 , 牠們跟其他動物畢竟還是不同。如果牠們感到飢餓 , 那不是因為牠們必須養活那群殘暴的人類 ; 如果牠們工作非常艱辛 , 至少那是為了牠們自己。農莊裡沒有動物靠兩條腿站立 , 也沒有動物必須稱呼其他動物「主人」, 因為所有動物一律平等。初夏的某一天 , 史奎爾命令羊群跟隨牠到農莊另一頭 , 一塊已長滿樺樹幼苗的廢地去。在史奎爾的監督下 , 那群羊在那裡吃了一整天的嫩葉。當天傍晚史奎爾回到主人房 , 由於當時天氣溫暖 , 因此牠要那群羊待在那地方。結果那群羊在那邊待了一個星期 , 這段期間動物們都沒看到牠們。史奎爾每天花很多時間跟牠們在一起。牠說牠正在教牠們唱一首新歌 , 為了保密 , 因此必須將牠們隔離。某個涼爽的傍晚 , 羊群正好回來 , 而動物們也才剛完成工作正要走回農莊 ,然而就在這時 , 院子裡傳來一聲馬的驚叫。動物們嚇了一跳 , 全部停了下來。那是克洛薇的聲音。牠又大叫了一聲 , 於是所有動物立刻趕往院子裡。牠們都看到克洛薇看到的景象。有一隻豬居然正在用後腳站立行走。沒錯 , 那正是史奎爾。牠的樣子有點笨拙 , 看起來似乎還不太習慣用兩隻腳支撐牠那龐大的身軀 , 可是牠的平衡感非常好 , 讓牠可以在院子裡走來走去。不久之後 , 有一大群豬從房子裡列隊走了出來 , 牠們全都用後腳站立行走。有些走得比較穩 , 偶爾有一兩隻看起來不太能平衡 , 看來似乎需要拐杖的支撐才行 , 可是牠們每一隻都能繞著院子走來走去 , 一點困難也沒有。最後傳來一陣懾人的狗叫聲和那隻小公雞尖銳的咯咯聲 , 原來是拿破崙走出來了。牠直挺挺地走著 , 以高傲的態度環視四週 , 那群狗則在牠身旁又叫又跳。牠蹄子上還拿了一條鞭子。156

全場一遍死寂。動物們既驚訝又害怕 , 牠們全體蜷縮在一塊兒看著那群豬列隊繞著院子慢慢地走來走去。這世界似乎反了。等到牠們恐慌的情緒逐漸散去 ,牠們才突然想到 —— 儘管牠們害怕那群狗 , 儘管這麼多年來牠們已經習慣於不抱怨批評 , 儘管天塌下來 —— 牠們也許還可以表達抗議。可是就在這時 , 那群羊就好像聽到某種信號一樣 , 又開始發出吵鬧的叫聲 ——「四條腿好 , 兩條腿更好 ! 四條腿好 , 兩條腿更好 ! 四條腿好 , 兩條腿更好 !」牠們連續叫了五分鐘 , 一會兒也沒停頓。等到那群羊安靜下來後 , 動物們表達抗議的機會也就沒了 , 因為那群豬已經走回房子裡去了。班哲明感覺到有動物用鼻頭在摩擦牠的肩膀 , 於是回頭向四周看了看。原來是克洛薇在牠身旁 , 牠的雙眼比以前更加黯淡了。牠二話不說 , 輕輕拉著班哲明的鬃毛 , 把牠帶到穀倉的後面 , 也就是寫著「七誡」的地方。牠們站在牆前 , 眼睛瞪著那些用白漆寫成的字好一陣子。「我的視力不行了 ,」克洛薇最後說。「就算我年輕視力好時 , 我也沒辦法看懂那些字。可是那面牆現在在我眼裡看來似乎有些不同了。班哲明 , 那七條誡律還是像以前一樣嗎 ?」班哲明終於第一次開了金口為克洛薇讀出寫在牆上的字。然而牆上現在空無一物 , 只剩下一條誡律。那條誡律是 :所有動物一律平等可是有些動物比其他動物更平等也因為這樣 , 動物們隔天看到那群豬拿著鞭子監督他們工作時 , 也不覺得奇怪了。當他們知道豬為自己買了一組無線電 , 準備安裝電話 , 並且開始訂購《約翰牛》,《花絮新聞》,《每日鏡報》 49 等書報雜誌 , 牠們也不覺得有什麼好驚訝了。而且當動物們看到拿破崙叨著煙斗在花園散步 , 當牠們看到豬從衣櫥裡把瓊斯的衣服拿出來穿 , 當牠們看到了拿破崙身穿黑色外套 , 穿馬褲繫綁腿 , 當牠們看到49 《約翰牛》英文為 John Bull, 係英國 40 年代到 60 年代發行的雜誌 , 內容以介紹當時英國家庭生活為主。《花絮新聞》英文為 Titbits, 亦為英國雜誌名 , 內容以時尚為主。《每日鏡報》英文為 DailyMirror, 乃英國著名報紙名稱 , 至今仍每日發行。157

牠的愛妾身著瓊斯太太週日常穿的絲質洋裝 , 牠們也不覺得有什麼好大驚小怪了。一星期後的某天下午 , 有幾輛馬車來到農莊。原來是附近農莊的一些代表受邀到「動物農莊」參觀。豬帶他們到處參觀 , 他們對眼前的一切 , 特別是風車 ,感到佩服不已。動物們當時都在田裡除草。牠們低頭勤奮工作 , 不知道牠們是應該害怕那些豬 , 還是害怕那些人類訪客。當天晚上 , 房子裡傳來陣陣笑聲和歌聲。動物們對這些吵雜的聲音感到好奇。既然這是動物和人類第一次在見面時平起平坐 , 房子裡到底發生了什麼事 ? 牠們於是一齊輕聲細語地溜進主人房裡的花園一探究竟。牠們在房子門口停下 , 有些動物心生畏懼而不敢進去 , 但是在克洛薇的帶領下 , 全體動物還是走了進去。牠們躡手躡腳走進房子 , 那些個頭比較高大的動物從餐廳的窗戶朝裡面望去。裡面有張圓桌 , 桌前坐了六個農夫和六隻地位比較高的豬 , 拿破崙則坐在主位。豬安穩地坐在椅子上。原來他們正在打牌 , 牌局間還中斷了一下 , 顯然他們是為了舉杯慶祝。他們傳著一壺啤酒 , 忙著把所有馬克杯都倒滿 , 因此根本沒人注意到在窗外窺視的動物。「狐林農莊」的皮爾金頓先生早已起身 , 手裡還拿著馬克杯。他說待會兒要邀大家舉杯慶祝。可是在那之前 , 他覺得有責任要跟大家講幾句話。他說 , 今天對他而言是個非常滿意的一天 , 因為他很肯定 , 長久以來的不信任以及誤會終於煙消雲散。過去有段時間 , 不僅是他而已 , 還有其他在場人士也曾這麼認為 , 過去真的有段時間 , 人類對「動物農莊」的動物懷有一種感覺 , 這種感覺不能說是敵意 , 但至少是某種程度的憂慮。過去一直有不幸的事故發生和錯誤的想法存在。他們以前一直認為附近有個由動物自給自足的農莊是件不正常的事 , 而且這樣的農莊最後會帶來不良影響。很多農夫在沒有查證的情況下 , 都以為這樣的農莊一定會充滿混亂和失序。他們一度很擔心這樣會對他們的動物 ,甚至是工人產生不良的影響。而現在所有的疑慮都清除了。今天他和他的伙伴終於有機會親眼目睹農莊的一切 , 他們有什麼發現呢 ? 原來 , 農莊裡不僅擁有最先進的管理方式 , 其中的紀律和秩序更是值得所有農夫學習的典範。他相信 , 讓「動物農莊」裡的低等動物比其他地方的動物做更多工作 , 卻分得更少食物的作法一點也不過份。事實上 , 今天他和他的伙伴看到很多管理方法 , 他們都覺得躍躍欲158

試 , 恨不得立刻趕快回去採行這些方法。接著他準備結束談話。他再次強調 , 他們與「動物農莊」之間的友好關係早已經建立 , 將來這層關係也必定會一直保持下去。他還說 , 其實豬和人類之間根本沒有 , 也實在沒必要有什麼利益衝突。他們所面臨的掙扎與困難皆是相同的。勞工的問題還不都舉世皆然嗎 ? 講到這裡 , 皮爾金頓似乎準備了一些順口溜 , 可是卻因太興奮了而說不出口。他吱唔了好一會 , 那肥胖的下巴還轉成紫色 , 最後他終於說 :「如果你們有你們的低等動物要應付 , 那麼我們也有我們的低等人類要搞定呢 !」這席話簡直讓現場來賓樂翻了天 ; 接著皮爾金頓先生再次恭喜豬 , 恭喜牠們沒讓那些動物過得太好 , 感謝牠們讓那群動物長時間工作 , 又只分配到少數糧食而已。最後他終於說 , 他要請現場所有來賓起立 , 確定每個人杯子都裝滿了啤酒。「各位 ,」皮爾金頓說 ,「我向各位舉杯致意 : 祝『動物農莊』繁榮興盛 !」接著現場來賓一陣雀躍歡呼。拿破崙樂不可支 , 牠站起來走向皮爾金頓先生 ,和牠乾杯後一飲而盡。等到歡呼聲安靜下來 , 雙腳站立的拿破崙示意說牠也有幾句話要說。拿破崙的演講和以前一樣簡短扼要。牠也表示樂於見到長久以來的誤會獲得冰釋。有好長一段時間到處都有謠言流傳 ( 牠有理由相信那是某些惡毒的敵人所放出的謠言 ), 說是有一股鼓吹革命的勢力蠢蠢欲動。過去有人指稱牠們試圖煽動附近農莊的動物揭竿起義 , 可是那都不是事實 ! 牠們過去和現在唯一的願望 , 就是和鄰近的農莊和平相處 , 共同維持良好的貿易關係。拿破崙還進一步說 , 牠能管理『動物農莊』這個合作事業實在是三生有幸。牠手中的所有權狀並非牠獨有而已 , 那東西其實是全體豬所共有的資產。牠不相信那些過時的疑慮依然存在 , 而且最近牠們也已經著手改善一些農莊裡的例行程序 , 這麼做應該可以進一步提振信心。過去農莊裡的動物都要遵循相當愚蠢的習俗 , 稱呼其他動物為「同志」, 但是以後這種行為將遭到禁止。以前還有一項怪異的習俗 , 也就是動物們每星期天早晨都要列隊行經一顆插在枯樹枝上的豬頭骨。這項行為也將遭到禁止 , 而且那顆頭骨也已經拿去埋了。還有 , 今天蒞臨的訪客大概也注意到旗桿上飄揚的綠旗了。如果他們仔細看的話 , 他們會發159

現原先旗子上所畫的蹄子和牛角也早已移除了。從今以後 , 那只會是一面綠色的旗子而已。拿破崙說 , 牠只有一點要批評 , 也就是對皮爾金頓那既精采和友善的演說。皮爾金頓先生從頭到尾都用「動物農莊」這個稱呼。當然他不知道 ( 這也是拿破崙第一次對外宣佈 )「動物農莊」這名稱已經禁用了。從現在開始 , 農莊的名稱改為「曼諾農莊」, 牠相信這是農莊最原始 , 也是最正確的名稱。「各位 ,」拿破崙準備結束演說 ,「我也舉杯向各位致意 , 可是我的方式不一樣。各位請倒酒 , 讓酒滿到杯緣而止。讓我們祝『曼諾農莊』繁榮興盛吧 !」接下來又是一陣歡呼喝采 , 他們喝到杯子都見底了。然而 , 當動物們看著這景象時 , 怪異的事情似乎發生了 , 好像有什東西正在改變豬的臉孔。克洛薇努力睜開那對昏花老眼一個一個掃視過去。他們之中有好多個的下巴開始變胖 , 有的長了五層肉 , 有的四層 , 有的三層。那正在融化改變的東西到底是什麼 ? 然後掌聲結束 , 他們繼續剛才中斷的牌局 , 看到這裡 , 動物們才安靜地離開。可是牠們才離開沒多遠就都停了下來。原來是房子裡傳來陣陣的咆哮聲。牠們又跑了回去 , 從窗外往裡面看。沒錯 , 那群豬和人起了嚴重的衝突。他們大聲吼叫 , 拍打桌子 , 彼此投以強烈懷疑的眼神 , 又急忙否認眼前發生的事。衝突好像是拿破崙和皮爾金頓同時為了打那張黑桃 A 所引起。十二種聲音憤怒嘶吼 , 但是聽起來全都一樣。現在 , 清楚無疑了 , 動物們終於看到豬的臉孔發生了什麼變化。外頭的動物先看著豬 , 再看著人 , 看著人 , 再看著豬 , 最後又回過頭看著豬 , 再看著人 ; 可是牠們再也分不清誰是誰了。160

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歐威爾《動物農莊》之新版中譯與評析 - 普通高級中學課程英文學科中心 ...

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