亦譯亦批：伍光建的譯者批註與評點傳統

Translator as Commentator: On the Translator's Notes by Woo Kuang Kien

本論文探討伍光建（1866－1943） 譯作中譯者註與評點傳統的關係。傳統中國小說及戲曲的批評以評點為主要形式：評語和文本緊密結合，評者與作者雙聲發言，是極具特色的批評形式。翻譯作品中的譯者註雖然常見，卻鮮少有類似評點的作用。但二十世紀前半的譯者伍光建，卻採用了評點法的序、 總評、夾批、眉批、總批等形式，在與讀者互動、解說、評論作者風格、甚至揭密，猶如傳統的評點家。在這類譯註中，伍光建可說是繼承了金聖嘆、脂硯齋等傳統批評家的手法，充分展現他作為文學批評家的眼光。除了傳統評點家的評論之外，伍光建也屢屢說明翻譯版本及翻譯方法，如「此處借用」，「歌不譯」等後設語言，不斷提醒讀者譯者的存在。伍光建因此不是隱身的譯者，反而以批評家的身分頻頻發言，現身在譯註中與作者和讀者對話，充分展現譯者的個人風格與品味。讀者接受的版本也因此比原著更為豐富。

This paper discusses the relation between the translator's notes written by Woo Kuang Kien (1867-1943) and the novel commentary tradition in China. Traditionally, the main form of criticism of Chinese novels and dramas is Pingdian or Commentary within the text. These commentaries were published within the novel or drama, so that readers could see both the author's and the commentator's views. Interestingly, the translator's notes by Woo Kuang Kien functioned as commentaries in traditional novels. Through his notes, Woo criticized the general style of the authors, explained the backgrounds of some plots and his own translation strategy, analyzed the use of literary devices, reminded his readers of the crucial parts, and expressed his own feelings. This paper argues that Woo inherited his method from well-known commentators such as Jin Shengtan and Rouge Inkstone, and expressed his views on the contemporary society and literature quite freely. Woo was then not at all an invisible but a rather “talkative” translator. His translations are sometimes even richer than the original since readers could read at the same time both the author and the translator/ commentator.