關於1930、1940年代佐藤春夫《女誡扇綺譚》的中譯及改寫──兼論「女誡扇」之意涵

On the Chinese Translations and Adaptations of Haruo Sato's Nu Jie Shan Qi Tan in the 1930s and 1940s, and the significance of Nu Jie Shan

1920年佐藤春夫來臺旅行，1925年5月《女誡扇綺譚》發表在雜誌《女性》，1926年出版單行本，1936年收錄到作品集《霧社》中。其中文譯本在1930年由蕭林翻譯後，連續五期刊載在《學生雜誌》，這可能是目前最早見到的中譯本，至1940年代末，二戰結束，《女誡扇綺譚》為徐卓呆改寫成〈赤嵌鬼語〉，且擬改編為電影拍攝。佐藤春夫將旅行臺灣途中所聽聞故事予以改寫，深化了作品的浪漫要素及社會要素，而他本人對中國、臺灣的認識，從文學足跡可追尋其各個時期對中臺文學的理解，以及產生這種理解的原因，尤其戰爭期的佐藤對中國的認知、批評與之前的態度，呈現出相當巨大的反差，中國文壇作家也普遍認為佐藤春夫已成為狂熱的軍國主義歌頌者。然而戰爭結束兩年多時光，其小說《女誡扇綺譚》卻為徐卓呆改寫為小說〈赤嵌鬼語〉，不能說不是個異數。緣此本文擬探討蕭林中譯本及徐卓呆改寫本出現的背景，以及譯寫成就如何？而改寫本進行了什麼樣的改寫？此外，延伸交代二戰後，該作影響力仍持續未歇，邱永漢、賴傳鑑閱讀興味濃厚，並從中獲致啟發，此後，又有林水福、邱若山之譯文。最後，本文進一步討論與小說密切關聯而迄今仍被忽視的「扇子」，以見小說緊密精緻的融合貫串作用。

Haruo Sato travelled to Taiwan in 1920. His Nu Jie Shan Qi Tan was published in the magazine Nu Xing in May, 1925, and then published in a single book the next year. In 1936, it was reprinted in the collection Wu She. With regard to its Chinese translations, the first of its kind is probably Xiao Lin's version in 1930, which was published separately in five consecutive volumes of The Students' Magazine. After the Second World War, in the latter part of the 1940s, another Chinese adaptation by Xu Zhuo-Dai appeared under the title Chi Kan Gui Yu, which served at the same time as the basis for adapting the original work to motion pictures. The themes of Nu Jie Shan Qi Tan have their origin in the stories heard by Haruo Sato during his stay in Taiwan, which deepens its eroticism and social critique. From his literary works we can also trace and understand his changes of attitudes towards Chinese and Taiwan literature at different stages of his life. The contrast between his pre-war and post-war knowledge and critique of China is especially stark; in particular, Chinese writers had generally regarded Haruo Sato as a zealous supporter of nationalist militarism, but it is really unexpected that, within two years or so after the War, his Nu Jie Shan Qi Tan had already been translated and adapted by Xu Zhuo-Dai as a novel entitled Chi Kan Gui Yu. As such, this article sets out to examine the historical background against which Chinese translations and adaptations by Xiao Lin and Xu Zhuo-Dai, respectively, were published. Then, their achievements are evaluated in terms of literary standards, taking into account the extent to which the original work was adapted, rewritten, and altered. Furthermore, after the Second World War, this novel exerted its continuing influence. Qiu Yong-Han's and Lai Chuan-Jian's comments on the inspiration this novel gave to them in the post-war period, is essential to this evaluation, as are the new translations completed in the hands of Lin Shui-Fu and Qiu Ruo-Shan, respectively. Finally, the symbol of ＂fan＂, closely related to the title and themes of the novel, yet until now still largely ignored by modern commentators, will also be addressed. This could help us appreciate the holistic approach of this novel which delicately interlocks various motifs into a coherent whole.