“物哀”视域下贾瑞形象的变异——岛崎藤村的《红楼梦》摘译研究
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摘要
岛崎藤村于20岁时,在日本明治时代的《红楼梦》风潮中,受森槐南的启发,选择摘译《红楼梦》。但他并未选择中国读者喜爱或感动的红楼故事,而是选择了比较不受中国读者欢迎的次要人物贾瑞正照风月宝鉴的故事。因为他从贾瑞故事中感受到了日本传统的"物哀";而且他与贾瑞同处于难以把控自身觉醒的情欲的年龄,对贾瑞有着了解之同情。加之当时以北村透谷为先锋、以《女学杂志》为阵地所掀起的纯爱之风的影响,使他在翻译时,淡化了原作"戒淫"的主题,而凸显了"物哀"的主题,使得贾瑞从贪淫好色的形象转变成一个痴情者的形象。而这种转变又是通过他对原文的取舍增删的处理以及物语风格的译笔来实现的。他在翻译时的"创造性叛逆"给译文的读者北村透谷带来了创造的刺激,从而产生了《宿魂镜》中"古镜"的构思,而这又反过来刺激到他自己在《春》里设计了"怀剑"的构思。可见贾瑞故事在日本经历了三度创造性叛逆。
Influenced by the popularity of A Dream of Red Mansions in the M eiji period and stimulated by M ori Kainan,Shimazaki Toson decided to translate one section of the novel at the age of tw enty. How ever,He chose the story of Jia Rui,a minor character w ho w as not w elcomed by Chinese readership instead of stories or characters favored by them.Because he felt"M ono No Aw are"from the story. He could understand and sympathize w ith Jia Rui of his ow n age w ho could not control the lust of arousal. In addition,the trend of "pure love"caused by Kitamura Tokoku as the pioneer in the Journal of Women's Studies also influenced him. All these factors resulted in his translation,diluted the original theme"bew are of sex",and highlighted the theme of "M ono No Aw are",so that Jia Rui has been changed from a lustful image into a romantic eccentric. And this variation in image has been realized by Toson's additions to and deletions of the original text and his translation style similar to that of M onogatari. The "creative treason"in his translation brought Kitamura Tokoku creative stimulation,w hich made the latter set up an ancient mirror in his w ork Soul Boarding Mirror. Not only that,Soul Boarding Mirror also brought Toson creative stimulation and made him set up a sw ord in his ow n w ork Spring. In conclusion,w e can say Jia Rui's story has experienced three degrees of creative treason in Japan.
Influenced by the popularity of A Dream of Red Mansions in the M eiji period and stimulated by M ori Kainan,Shimazaki Toson decided to translate one section of the novel at the age of tw enty. How ever,He chose the story of Jia Rui,a minor character w ho w as not w elcomed by Chinese readership instead of stories or characters favored by them.Because he felt"M ono No Aw are"from the story. He could understand and sympathize w ith Jia Rui of his ow n age w ho could not control the lust of arousal. In addition,the trend of "pure love"caused by Kitamura Tokoku as the pioneer in the Journal of Women's Studies also influenced him. All these factors resulted in his translation,diluted the original theme"bew are of sex",and highlighted the theme of "M ono No Aw are",so that Jia Rui has been changed from a lustful image into a romantic eccentric. And this variation in image has been realized by Toson's additions to and deletions of the original text and his translation style similar to that of M onogatari. The "creative treason"in his translation brought Kitamura Tokoku creative stimulation,w hich made the latter set up an ancient mirror in his w ork Soul Boarding Mirror. Not only that,Soul Boarding Mirror also brought Toson creative stimulation and made him set up a sw ord in his ow n w ork Spring. In conclusion,w e can say Jia Rui's story has experienced three degrees of creative treason in Japan.
引文
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黄建宏:“试论贾瑞形象的意义”,《红楼梦学刊》4(1983):215-228。[Huang,Jianhong.“On the Significance of Jia Rui’s Image”(shi lun jia rui xing xiang de yi yi). Studies on A Dream of Red M ansions 4(1983):215-228.]
船越达志:“试论《红楼梦》第12回在日本的早期传播及对日本文人的影响”,《红楼梦学刊》5(2008):150-166。[Hunaetu,Tatsushi.“On the Early Spread of the Twelfth Chapter of A Dream of Red Mansions in
Japan and Its Influence on Japanese Literati”(shi lun hong lou meng di shi er hui zai ri ben de zao qi chuan bo ji dui ri ben w en ren de ying xiang). Studies on A Dream of Red M ansions 5(2008):150-166.]
池间里代子:“藤村と『紅楼夢』”,《流通经济大学论集》47(2012):41-56。[Ikema,Riyoko.“Toson and A Dream of Red Mansions.”Analects of Ryutsu Keizai University 47(2012):41-56.]
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伊藤漱平:“日本における『紅楼夢』の流行――幕末から現代までの書誌的素描”,《伊藤漱平著作集(第三卷)》。东京:汲古书院,2008年。174-222。[Ito,Sohe.“The Spread of A Dream of Red Mansions in Japan:The Sketch from the End of the Shogunate to the M odern Times.”The Collection Works of Yito Sohe. Vol.3. Tokyo:Kyuko Publishing House,2008. 174-222.]
伊藤淑一:“島崎藤村の言文一致考”,《东海学园大学研究纪要》14(2009):29-41。[Ito,Toshiitsu.“Textual Research on Shimazaki Toson’s Genbun Itchi.”Journal of Tokai G akuen University 14(2009):29-41.]
龟井胜一郎:《島崎藤村一漂泊者の肖像》。东京:日本图书センター,1993年。[Kamei, Katsuichiro. Shimazaki Toson:A Portrait of a Drifter. Tokyo:Japan Book Center,1993.]
刘雨珍编校:《清代首届驻日公使馆员笔谈资料汇编》。天津:天津人民出版社,2010年。[Liu,Yuzhen ed. Collections of the Writing Data of the First Ambassadors to Japan in Qing Dynasty(qing dai shou jie zhu ri gong shi guan yuan bi tan zi liao hui bian). Tianjin:Tianjin People’s Publishing House,2010.]
三浦叶:《明治汉文学史》。东京:汲古书院,1998年。[Miura,Kano. The History of Meiji Classical Chinese Literature(ming zhi han wen xue shi). Tokyo:Kyuko Publishing House,1998.]
本居宣长:《日本物哀》,王向远译。长春:吉林出版集团有限责任公司,2010年。[Motoori,Norinaga. Mono No Aware of Japan(ri ben wu ai). Trans. Wang Xiangyuan. Changchun:Jilin Publishing Group Co. Ltd,2010.]
大野玉江:“『宿魂鏡』と漱石”,《解釈》12(1979):5-7。[Ono,Tamae.“Soul Boarding Mirror and Soseki”. Interpretation 12(1979):5-7.]
大塚幸男:《比较文学原理》,陈秋峰、杨国华译。西安:陕西人民出版社,1985年。[Otsuka,Sachio. Principles of Comparative Literature(bi jiao wen xue yuan li). Trans. Chen Qiufeng and Yang Guohua. Xi’an:Shaanxi People’s Publishing House,1985.]
朴承柱:“島崎藤村の『春』における“懐剣”の象徴性について”,《言語と文化》3(2002):245-262。[Park,Seongzoo.“Symbolism of the Swords in Shimazaki Toson’s Spring.”Language and Culture 3(2002):245-262.]
钱钟书:“中国诗与中国画”,《七缀集》。北京:三联书店,2002年。1-32。[Qian,Zhongshu.“Chinese Poetry and Chinese Painting”(zhong guo shi yu zhong guo hua).Seven Pieces Patched Together. Beijing:SDX Joint Publishing Company,2002. 1-32.]
笹渊友一:“透谷の『宿魂鏡』について”,《文学》23(1955):58-64。[Sasahuchi,Tomokazu.“On Tokoku’s Soul Boarding Mirror.”Literature 23(1955):58-64.]
佐藤三武郎:“藤村とシェイクスピア”,《论集島崎藤村》,岛崎藤村学会编。1999年。77-93。[Sato,Saburo.“Toson and Shakespeare”. A Collection of Studies on Shimazaki Toson,Ed.Shimazaki Toson Institute. 1999. 77-93.]
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島崎藤村:“紅楼夢の一節風月寶鑑の辞”,《女学杂志》321(1892):12-13。[Shimazaki,Toson.“A Chapter of A Dream of Red Mansions Precious Mirror of Love”. Journal of Women’s Studies 321(1892):12-13.]
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——:“年谱”,《藤村文库(第九卷)》。东京:新潮社,1938年。641-653。[---.“Chronology”. Toson Library Vol.9. Tokyo:Shinchosha,1938. 641-653.]
——:“言文一致の二流派”,《岛崎藤村全集(第十七卷)》。东京:新潮社,1952年。306-308。[---.“Two Genres of Genben Itchi”. The Collected Works of Shimazaki Toson Vol. 17. Tokyo:Shincosha,1952. 306-308.]
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(1)划线为笔者所加,译文未标出处者为笔者所译,下同。
(1)原文为繁体,为方便阅读,下文除版本考证外,统一改为简体。
(1)原文是“扌”与“卉”左右组合的一个字,乃“枿”的讹字。为便于理解,据他本更正。
(2)“骷”字原文作“枯”字,为便于理解,据他本更正。
(3)这4个本子的原文分别选自:《程甲本红楼梦(一)》(书目文献出版社,1992年,第357页);《东京大学东洋文化研究所藏程乙本红楼梦(上)》,汲古书院,2012年,第98页);《东观阁本新镌全部锈像红楼梦(一)》(广文书局,1977年,第300页);《双清仙馆本·新评绣像红楼梦全传(一)》(北京图书馆出版社,2004年,第602页)。
(1)池间里代子用伊藤漱平的译文和藤村的译文相比较,指出藤村将该故事末尾处跛足道人从外跑进中堂抢风月宝鉴的情节改编成风月宝鉴自身从空中飞出门后,被跛足道人抢走,她认为这是为了强调风月宝鉴是面“妖镜”,也有可能是藤村与老师田边莲舟商量的结果(45)。事实上,在藤村采用的王希廉评本中,风月宝鉴就是自己飞出屋外的(124);而伊藤漱平译本用的是俞平伯校订的《红楼梦八十回校本》,在该本中,是跛足道人跑到屋内抢镜的(603)。
(1)“迩”字原文作“还”字,为便于理解,据他本更正。
(1)《女学杂志》甲卷第323号,1892年7月。
曹顺庆:“东西方不同文明文学比较的合法性与比较文学变异学研究”,《外国文学研究》5(2013):54-60。[Cao,Shunqing.“The Legitimacy of Comparison between Eastern and Western Literatures and Proposal of Comparative Literary Variation”(dong xi fang bu tong w en ming w en xue bi jiao de he fa xing yu bi jiao w en xue bian yi xue yan jiu). Foreign Literature Studies 5(2013):54-60.]
曹雪芹:《红楼梦八十回校本》,俞平伯校订。北京:人民文学出版社,1963年。[Cao,Xueqin. The Collated Edition of Eighty Chapters of A Dream of Red Mansions(hong lou meng ba shi hui jiao ben). Ed. Yu Pingbo. Beijing:People’s Literature Publishing House,1963.]
——:《脂砚斋甲戌抄阅再评石头记》。上海:上海古籍出版社,1985年。[---. Zhiyanzhai Transcribed and Further Commented on The Story of the Stone in 1754.Shanghai:Shanghai Classics Publishing House,1985.]
曹雪芹、高鹗:《双清仙馆本·新评绣像红楼梦全传(一)》。北京:北京图书馆出版社,2004年。[Cao,Xueqin and Gao E. Shuangqingxianguan Version, A New Comment on A Dream of Red M ansions Illustrated Biography(shuang qing xian guan ben xin ping xiu xiang hong lou meng quan zhuan)Vol. 1. Beijing:Beijing Library Press,2004.]
黄建宏:“试论贾瑞形象的意义”,《红楼梦学刊》4(1983):215-228。[Huang,Jianhong.“On the Significance of Jia Rui’s Image”(shi lun jia rui xing xiang de yi yi). Studies on A Dream of Red M ansions 4(1983):215-228.]
船越达志:“试论《红楼梦》第12回在日本的早期传播及对日本文人的影响”,《红楼梦学刊》5(2008):150-166。[Hunaetu,Tatsushi.“On the Early Spread of the Twelfth Chapter of A Dream of Red Mansions in
Japan and Its Influence on Japanese Literati”(shi lun hong lou meng di shi er hui zai ri ben de zao qi chuan bo ji dui ri ben w en ren de ying xiang). Studies on A Dream of Red M ansions 5(2008):150-166.]
池间里代子:“藤村と『紅楼夢』”,《流通经济大学论集》47(2012):41-56。[Ikema,Riyoko.“Toson and A Dream of Red Mansions.”Analects of Ryutsu Keizai University 47(2012):41-56.]
伊东一夫:《岛崎藤村事典》。东京:明治书院,1971年。[Ito,Kazuo. The Events Dictionary of Shimazaki Toson. Tokyo:Meiji Publishing House,1971.]
伊藤漱平:“日本における『紅楼夢』の流行――幕末から現代までの書誌的素描”,《伊藤漱平著作集(第三卷)》。东京:汲古书院,2008年。174-222。[Ito,Sohe.“The Spread of A Dream of Red Mansions in Japan:The Sketch from the End of the Shogunate to the M odern Times.”The Collection Works of Yito Sohe. Vol.3. Tokyo:Kyuko Publishing House,2008. 174-222.]
伊藤淑一:“島崎藤村の言文一致考”,《东海学园大学研究纪要》14(2009):29-41。[Ito,Toshiitsu.“Textual Research on Shimazaki Toson’s Genbun Itchi.”Journal of Tokai G akuen University 14(2009):29-41.]
龟井胜一郎:《島崎藤村一漂泊者の肖像》。东京:日本图书センター,1993年。[Kamei, Katsuichiro. Shimazaki Toson:A Portrait of a Drifter. Tokyo:Japan Book Center,1993.]
刘雨珍编校:《清代首届驻日公使馆员笔谈资料汇编》。天津:天津人民出版社,2010年。[Liu,Yuzhen ed. Collections of the Writing Data of the First Ambassadors to Japan in Qing Dynasty(qing dai shou jie zhu ri gong shi guan yuan bi tan zi liao hui bian). Tianjin:Tianjin People’s Publishing House,2010.]
三浦叶:《明治汉文学史》。东京:汲古书院,1998年。[Miura,Kano. The History of Meiji Classical Chinese Literature(ming zhi han wen xue shi). Tokyo:Kyuko Publishing House,1998.]
本居宣长:《日本物哀》,王向远译。长春:吉林出版集团有限责任公司,2010年。[Motoori,Norinaga. Mono No Aware of Japan(ri ben wu ai). Trans. Wang Xiangyuan. Changchun:Jilin Publishing Group Co. Ltd,2010.]
大野玉江:“『宿魂鏡』と漱石”,《解釈》12(1979):5-7。[Ono,Tamae.“Soul Boarding Mirror and Soseki”. Interpretation 12(1979):5-7.]
大塚幸男:《比较文学原理》,陈秋峰、杨国华译。西安:陕西人民出版社,1985年。[Otsuka,Sachio. Principles of Comparative Literature(bi jiao wen xue yuan li). Trans. Chen Qiufeng and Yang Guohua. Xi’an:Shaanxi People’s Publishing House,1985.]
朴承柱:“島崎藤村の『春』における“懐剣”の象徴性について”,《言語と文化》3(2002):245-262。[Park,Seongzoo.“Symbolism of the Swords in Shimazaki Toson’s Spring.”Language and Culture 3(2002):245-262.]
钱钟书:“中国诗与中国画”,《七缀集》。北京:三联书店,2002年。1-32。[Qian,Zhongshu.“Chinese Poetry and Chinese Painting”(zhong guo shi yu zhong guo hua).Seven Pieces Patched Together. Beijing:SDX Joint Publishing Company,2002. 1-32.]
笹渊友一:“透谷の『宿魂鏡』について”,《文学》23(1955):58-64。[Sasahuchi,Tomokazu.“On Tokoku’s Soul Boarding Mirror.”Literature 23(1955):58-64.]
佐藤三武郎:“藤村とシェイクスピア”,《论集島崎藤村》,岛崎藤村学会编。1999年。77-93。[Sato,Saburo.“Toson and Shakespeare”. A Collection of Studies on Shimazaki Toson,Ed.Shimazaki Toson Institute. 1999. 77-93.]
岛崎蓊助:“‘初期藤村’に関する覚え”,《島崎藤村全集(第一卷)》。东京:新潮社,1950年。491-534。[Shimazaki,Osuke.“On the Memory of‘Early Toson’”. The Collected Works of Shimazaki Toson V ol.1. Tokyo:Shinchosha,1950. 491-534.]
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(1)划线为笔者所加,译文未标出处者为笔者所译,下同。
(1)原文为繁体,为方便阅读,下文除版本考证外,统一改为简体。
(1)原文是“扌”与“卉”左右组合的一个字,乃“枿”的讹字。为便于理解,据他本更正。
(2)“骷”字原文作“枯”字,为便于理解,据他本更正。
(3)这4个本子的原文分别选自:《程甲本红楼梦(一)》(书目文献出版社,1992年,第357页);《东京大学东洋文化研究所藏程乙本红楼梦(上)》,汲古书院,2012年,第98页);《东观阁本新镌全部锈像红楼梦(一)》(广文书局,1977年,第300页);《双清仙馆本·新评绣像红楼梦全传(一)》(北京图书馆出版社,2004年,第602页)。
(1)池间里代子用伊藤漱平的译文和藤村的译文相比较,指出藤村将该故事末尾处跛足道人从外跑进中堂抢风月宝鉴的情节改编成风月宝鉴自身从空中飞出门后,被跛足道人抢走,她认为这是为了强调风月宝鉴是面“妖镜”,也有可能是藤村与老师田边莲舟商量的结果(45)。事实上,在藤村采用的王希廉评本中,风月宝鉴就是自己飞出屋外的(124);而伊藤漱平译本用的是俞平伯校订的《红楼梦八十回校本》,在该本中,是跛足道人跑到屋内抢镜的(603)。
(1)“迩”字原文作“还”字,为便于理解,据他本更正。
(1)《女学杂志》甲卷第323号,1892年7月。