《古今和歌集》汉译中的歌体、歌意与“翻译度”

Form, Content and“Translation Degree”of the Chinese Translations of Kokin Wakashū

《古今和歌集》的汉译实践可以有效说明"译文学"理论体系建构中"翻译度"这一重要概念。和歌的"翻译度"体现在"歌体"(和歌体式)的呈现与"歌意"(和歌意蕴)的传达这两个方面。以往的《古今和歌集》翻译表明,汉诗型的种种归化译案,难以呈现和歌独特的"五七"调、不对称诗型及奇数音节,会使和歌的歌体面目全非,也难以将歌意完整正确地传达出来,要么翻译度不足,要么翻译过度,译文往往暧昧模糊、不知所云。通过对不同译案的比较分析可以看出,三句"五七调"的译案不仅可以在外形上保留歌体的基本特征,而且在内容的容量上也与和歌大致相当,使歌意得以完整有效的传达,不失为和歌及《古今和歌集》翻译的最佳方案之一。

Different Chinese translations of Kokin Wakashu over the years are effective examples of the ＂translation degree＂, an important concept in the theoretical system of ＂translated literature studies＂. The ＂translation degree＂ in the Chinese renderings of Waka can be identified in terms of both the poetic form and content. The previous translations suggest that those attempts to domesticate the form of Waka have not only lost the original pattern and rhythm but also failed in reproducing the meanings or contents. The poems have been either over-translated or under-translated. The author applies a different approach to translating Kokin Wakashu： reducing the original five lines to three, with the first and third line containing five words and the second line seven words. This approach is an effort to keep the basic formal features of Waka at no cost of meaning.