从希腊公主到中国公主——图兰朵公主的中国之路再探究

How Turandot Becomes a Chinese Princess

本文探讨的是图兰朵题材从波斯起源、经土耳其传播、成型于法国的阶段和在此阶段中国化的过程。图兰朵题材源自波斯,较之于广为流传的内扎米《七美图》中的“俄罗斯公主”,欧非《逸闻集锦》中的“希腊公主”的故事因其母题上的相似性更适合作为图兰朵的直接原型。图兰朵题材中国化的第一步,即故事女主人公从“希腊公主”演变为“中国公主”的过程,应当发生在13到15世纪之间,以波斯文学为来源的土耳其故事集《苦后之乐》的相应故事中已经出现了“中国公主”。图兰朵题材中国化的第二步,即拉克洛瓦以《苦后之乐》为素材编译《一千零一日》时加入大量包括中国在内的亚洲元素,并为中国公主起名“图兰朵”。拉克洛瓦添加的关于中亚和西亚的历史、地理元素,应当来自他翻译的《帖木尔史》;谜语部分中“大海”的谜语来自《苦后之乐》;他植入的大量中国元素中,包括中国人的信仰问题,其中不乏误解,反映出当时“中国礼仪之争”的历史背景。

This Paper focuses on the subject matter of Turandot originated from Persia, spread through Turkey, formed in France along with the process of its sinicization in this period. Rather than the widely-spread “Russian princess” in Nezami’s Haft Paikar, the “Greek princess” in Awfi’s Jawāmi ul-Hikāyāt might be closer to be the direct prototype of Turandot regarding its higher consistency in motifs. This story took its first step of absorbing Chinese elements from 13 th to 15 th century, when the princess became a Chinese in its development, since in the Turkish story collection Relief after Hardship derived from the Persian literature, the princess has been a Chinese. The second step is mainly completed by French author la Croix, who adapted the story from the Turkish collection into the famous French story collection The Thousand and One Days. He added a lot of Asian elements including Chinese ones, and named the Chinese princess “Turandot”. The history and geography elements of the middle and western Asia he used might be based on The History of Timur, one of his translation works. The riddle of sea comes from The Relief after Hardship. The large number of Chinese elements he implanted includes the issue of religious beliefs of Chinese, not without misunderstandings, which reflects the historical context of “The Chinese Rites Controversy” at the time.