论训读法与汉诗的文学翻译

发布时间：2018-05-14 21:32

本文选题：论训 + 读法　；参考：《华东师范大学》2004年硕士论文

【摘要】：关于诗歌“可译”与“不可译”的争议由来已久。尽管理论上这一问题至今尚无定论，但实践上却始终不乏向“不可译”论的挑战者；这种理论与实践的互动和反动已经成为译坛的热点之一。与之相比，汉诗日译领域却显得过于风平浪静。一千多年来，汉诗的日译几乎完全被训读法垄断，已成为一种定型化的、很难体现译者存在及其风格特征的“翻砂工艺”。由此，笔者对训读法进行了初步的考证与研究。训读法产生于公元六、七世纪，随着佛经的传入而由僧侣率先使用。它的产生除了此前的“音读法再也不能满足阅读汉文(汉诗)的全部需要”这一内因作用之外，还有朝鲜的“直读法”和“吏读法”等外来因素的影响。此后，大量的汉诗、汉文得以在日本广为流传，日本人在学习汉诗精髓的同时也尝试着创作了许多汉诗作品。然而，当我们从译诗的角度重新审视训读法的时候，还是不难发现它有许多不尽如人意的地方，离译学所上讨论的译诗还有很大的距离。训读法对许多汉诗的转达都存有偏失之处；误译和误读被定型化，以至于造成了绝大多数日本人的“集体无意识”。作为一种译法，与英译本相对照，训读文本显得千篇一律、少有新意，几乎不存在不同版本或译者之间的差别。机械照搬的同形汉字往往由于中日文意义范畴的微妙差别而失去了传神之妙，有时甚至会把话说反说错。在押韵方面训读法也难有作为，使用只讲节奏不识韵律的日语对汉诗进行训读式翻译时，押韵的可能性就几乎不复存在，甚至可以说训读者就没有押韵的意识。训读法“一刀切”地制定了许多“配对”的规定，对于汉诗中涉及的包括典故、历史背景在内的语境既不作相应的表述，也不根据词语的感情色彩选择适当的译词。结果，既剥夺译者选词造句的审美追求，又容易导致译文自相矛盾或与史实相悖。在“只可意会不可言传”的句法层面上，时常暴露出对隐性关系的理解不足，如对于不出现关联词的上下句之间的逻辑关系往往无法正确转述，，对间接引语的范围、因果分句的划分等更是经常把握不住。训读法在古音和多音词语的传达上也时常束手无策，因为它给每个汉字加注的训通常都只有一个而已。这就造成汉诗中汉字读音的多样化和可变性这一事实在某种程度上被忽视、被遗忘。同样，训的单一性特点也给词性活用的诗歌的翻译带来负面影响，比如，原作名词的词语被诗人活用为动词时，训读法常常还是按照原先的词性进行训读，结果跟原诗产生偏离。此外，训读法对通假字往往不做辨析，直接加训，使得“通假字”在日文里变成货真价实的日语汉字，改变了原诗的意义。对于特定的数词和较难理解的虚词，训读法也习惯于照字读音，时有把基数词读成序数词，把虚词读成实词的情况。从汉诗的译介角度看，训读法并非如人们想象的那般完美，它的缺憾之处很少有人注意，即便在今天，带有硬伤的训读汉诗仍频频出现在日本初高中语文教科书上，成为年轻人学习并传诵的重要来源。这无疑造成了很大的负面影响，需要引起人们的警戒和重视。研究日本人创作的汉诗，同样也能看到训读法带给诗人们的不良影响，所作汉诗总带有一点训读的痕迹，在押韵、平仄、音步、虚词的使用等方面存在着或大或小的问题。综上所述，本文从译诗的角度讨论了训读法中的不合理之处，意在盼望日本译坛能够真正打破训读法一统汉诗翻译的局面，早日使汉诗的日译呈现出百家争鸣、百花盛开的新景象。
[Abstract]:The controversy over the "translatable" and "untranslatability" of poetry has a long history. Although this question is still unsettled in theory, it has always been a challenger to the "untranslatable" theory in practice, and the interaction and reactionary theory and practice have become one of the hotspots in the translation field. For more than one thousand years, the Japanese translation of Chinese poetry has almost been monopolized by the training method, and it has become a stereotyped one. It is difficult to embody the "process of sand turning" of the translator's existence and its style. The author has made a preliminary examination and study of the training and reading method.
The method of training reading was produced in six and seventh Century, with the introduction of the Buddhist scriptures, which was first used by the monks. It was produced in addition to the effect of the previous "sound reading method that can not satisfy all the needs of reading Chinese (Han Shi)", as well as the influence of foreign factors such as "direct reading" and "official reading" of the North Korea. After that, a large number of Han Shi In Japan, the Japanese have been widely spread in Japan. While the Japanese are learning the essence of Chinese poetry, they also try to create a lot of Chinese poetry. However, when we reexamine the method of reading from the angle of translation, it is still not difficult to find that there are many unsatisfactory places, and there is a great distance from the translated poetry. Many Chinese poetry conveys some misunderstandings; mistranslation and misreading are stereotyped, resulting in the overwhelming majority of Japanese "collective unconsciousness".
As a kind of translation, in contrast to the English version, the text of the lecture appears to be monotonous, less new, and almost no difference between the different versions or translators. The possibility of rhyming in Japanese, which is difficult to use, is almost impossible when it is translated from Japanese to Chinese poetry with a rhythmic non rhyme. The context neither makes the corresponding expression nor chooses the proper translation of words according to the emotional color of the words. As a result, it can not only deprive the translator's aesthetic pursuit of the sentence, but also easily lead to the contradiction between the translation and the history. The logical relationship between the upper and lower sentences of the associated words often fails to be correctly reported, and it is often unable to grasp the scope of indirect speech, the division of causal clauses and so on.
The training and reading method is often helpless in the transmission of the ancient and multitone words, because the training of each Chinese character is usually only one. This leads to the fact that the diversity and variability of the pronunciation of Chinese characters in Chinese poetry is ignored and forgotten. Translation has negative effects. For example, when the words of the original noun are used as verbs by the poets, the training reading method is often adacted according to the original word, and the result deviates from the original poem. In addition, the training reading method often does not differentiate and analyze the false words and directly adds the training to the Japanese characters in Japanese. The meaning of the original poem. For a particular number of numerals and the more difficult words to understand, the training method is also used to read the pronunciation, when the cardinal words are read into the ordinal words, and the function words are read into the facts.
From the point of view of the translation of Chinese poetry, the training reading method is not as perfect as people think, and its shortcomings are seldom noticed. Even today, the hard injured Chinese poetry still appears frequently in the Japanese primary and middle school Chinese textbooks, which has become an important source of learning and recite for young people. This has undoubtedly caused great negative effects. The study of Chinese poetry created by Japanese can also see the bad influence of the training and reading method on the poetry. There is always a trace of training in the Chinese poetry. There are many problems in rhyme, level, tone, and the use of function words.
To sum up, this article discusses the unreasonable points in the reading method from the perspective of the translation of poetry. It is intended to hope that the Japanese translation circle can truly break the situation of the translation of Chinese poetry through the practice of training and reading, and make the Japanese translation of the Chinese poetry present a new scene of a hundred schools of contention and a hundred flowers in full bloom.

【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I046

【共引文献】