譯者即作者－－論作家雅可對泰譯《金瓶梅》的操縱

The Writer as Translator: An Analysis of the Novelist Jacob's Manipulations in the Thai Translation of Jin Ping Mei

與《三國演義》、《水滸傳》等明代小說相比，蘭陵笑笑生的白話市井小說《金瓶梅》在泰國的接受史相對較短。中國文學作品之泰譯活動始於18 世紀末期曼谷王朝拉瑪一世時期，而《金瓶梅》卻直到1954 年才由著名作家雅可（Jacob）編譯出版，書名為Buppha Nai Kunthi Thong，意思是金瓶中之花。Buppha Nai Kunthi Thong 是一部特殊的譯著。它經過多手轉譯而成，1930 年由庫恩（Franz Kuhn）從張竹坡點評本《皋鶴堂批評第一奇書金瓶梅》譯成德文，1939 年再由米奧爾（Bernard Miall）從德文譯為英文，到了1954 年，才由病危中的雅可從英文譯成泰文。由於雅可的離世，泰譯本《金瓶梅》的內容僅處理了英譯本大約一半的篇幅，故事到宋惠蓮上吊自殺便嘎然而止。這部譯作最值得討論之處便是作家雅可所做的諸多改寫與操縱。勒菲弗爾（André Lefevere）在《翻譯、改寫以及對文學名聲的控制》（Translation, Rewriting and the Manipulation of Literary Fame）一書中指出，意識形態、贊助人和詩學是影響譯者的重要因素。雅可對Buppha Nai Kunthi Thong 所作的改寫，適合透過勒菲弗爾的理論進行分析。本文試圖分析與闡述作家雅可在《金瓶梅》泰譯本中的改寫與操縱。透過英譯本和泰譯本的對比，共發現五種改寫和操縱現象，包括重新分章及調動故事順序、改動性愛內容、增刪與改寫內容、保留英文原文，以及強調突顯自身的措辭風格。本論文分析其譯作後發現，作家雅可對於自己作為譯者應扮演的角色及其對文學作品中性描寫的意識形態，是引發這些改寫與操縱的主因。

Unlike some well-known Ming era novels such as Sanguo Yanyi or Shui Hu Zhuan, Lanling Xiaoxiaosheng's Jin Ping Mei has only recently become recognized in Thailand. Although translations of Chinese literature into Thai had first appeared in the late 18th century, it was not until 1954 that the first Thai translation of Jin Ping Mei, titled Buppha Nai Kunthi Thong, or ＂Flowers in a Golden Vase,＂ by the famous novelist Jacob, was finally published. Buppha Nai Kunthi Thong is a unique work of translation. We will find that Jacob’s source text can be traced back to the 1930 German version by Franz Kuhn. This version later appeared with a commentary by Zhang Zhupo, then appeared in 1939 in an English translation by Bernard Miall before being finally translated into Thai in 1954 by Jacob, who had been critically ill and died before he completed his translation. On the other hand, Jin Ping Mei's Thai translation remains unfinished to this day. Thus for Thai readers the story ends when Song Huilian hangs herself just halfway through the novel. This article thus argues that the most noteworthy qualities of Buppha Nai Kunthi Thong arise from the artistic liberties the translator had taken in rewriting and manipulating the text. André Lefevere argues in his book Translation, Rewriting and the Manipulation of Literary Fame that various factors may influence the choices made be the translator as he/she translates a text, including ideology, patrons and poetics. This paper applies Lefevere's theory to an analysis of how Jacob had translated the Thai version of Jin Ping Mei. Comparing Jacob's translation to the English version, the author found five different types of changes: the rearrangement of chapters; a change in the form of the sexual narration; the addition, deletion and rewriting of contents; the appearance of the English source text and the showcasing of the translator's distinctive writing style. These choices, in the author's opinion, arose from the translator-writer's ideology regarding his (her) own role in ＂performing＂ the translation and on the role in general of ＂sexual narrations＂ in literary works.