浪漫愛的翻譯－－由「茶花女」到珍.奧斯汀

The Translation of Romantic Love - From La dame aux camellias to Jane Austen

浪漫愛做為一個從西方、翻譯進入中文世界的概念，在民初與五四時期往往成為前進知識子的革命思想手段，是一種公共、集體性的意識形態。其中，《茶花女》不僅是首部在中國產生影響力的翻譯小說，也是首部產生重要影響的愛情小說，甚至影響了鴛鴦蝴蝶派的興起。易卜生的《玩偶之家》則是一實質為反浪漫愛的戲劇，被挪用來以浪漫愛為名，反抗父權的壓迫，開啟了一波女性娜拉的出走潮。相較下，被喻為近代羅曼史的原型，較晚於三、四十年代譯出的《簡愛》與珍‧奧斯汀的小說，則是賦予較大的女性自主與私人領域的論述空間；台灣於60年代以後流行的翻譯言情小說，亦承續此一脈絡。本論文擬由翻譯史的角度，比較民初被男性知識份子挪用的、泛政治化的浪漫愛論述（如《茶花女》與《玩偶之家》，與《簡愛》和珍‧奧斯汀的小說（包括承續其脈絡的言情翻譯小說）裡，去政治化的，私人世界中的感情流露，探討在這些翻譯的愛情小說裡，浪漫愛觀念的引入和流變。It is generally agreed that romantic love, as a concept translated and introduced into Chinese world from the Western world, was appropriated by the Chinese intellectuals in the New Literature Movement in the early Republic of China. At that time, it was invested with the revolutionary ideology and became a public discourse. It should be pointed out that 'La dame aux camellias', translated by Lin Shu in 1899, was the first translated novel on romantic love which would not only have a great influence on Chinese literature but also lead to the rise of the Mandarin Duck and Butterfly School. On the other hand, 'The Doll's House' written by Ibsen was indeed an anti-romantic play appropriated in the name of love in the Chinese world. Whereas the heroine, Nora, rebelled against her husband's dominance of love in the original play, the sinicized New Nora would leave the Father's house with her lover instead. In comparison, Jane Eyre and works by Jane Austen translated in the 1930-40s, were basically left intact as the private discourses of women on romantic love and women independence. It should be noted that as the archetypes of modern romances, these would be followed by similar discourses of romantic love in Taiwan after 1960s as seen in Qiong Yao's works and the popular translated romances. Tracing the mutation of the discourses of romantic love, this article aims to explore the politicalized discourses of romantic love appropriated by the Chinese intellectuals in early Republic as exemplified in 'La dame aux camellias' and 'The Doll's House', and the de-politicalized discourses of private emotional display in 'Jane Eyre', Austen's works and their followers in the perspective of the Chinese translation history.