《和訓三体詩》之漢詩俳譯技巧初探：詩體之法

A Preliminary Study on the Techniques of Translating Chinese Poetry into haibun in Wakun Santaishi: The Versification of Chinese Poetry

《和訓三体詩》（正德四（1714）年自序）於森川許六逝世前兩年完成，主要採用《三體詩法》第一卷七言絕句的漢詩，並參照《三体詩素隱抄》（元和八（1622）年成）的解釋，逐詩依序進行和譯，其序文闡述和譯之目的。全卷收錄174首漢詩，分成七卷，並逐詩譯成俳文。
至今《和訓三体詩》的研究中，討論的焦點主要放在許六於俳文的創意（手法），未曾以「翻譯」的面相分析，故對於《和訓三体詩》的研究主要停留在許六個人的暢想，而尚未發現許六如何使用新創生的俳文體譯出詩意，並轉換詩體。本研究主要以「翻譯」的角度，從認識輪廓起步，聚焦許六於本書〈序文〉中對翻譯成俳文體的見解，採用《和訓三体詩》〈第一～二卷〉的俳譯文，初探許六如何將各漢詩轉譯成俳文，從中釐清漢詩俳譯的第一項重要轉換技巧：詩體之法，以能釐清俳文的構文原則。
總結而言，自許六的俳譯中，可歸納出四種轉體的模式，並可見得其對照詩體的結構，加入俳諧的元素與特色，來完成俳譯。與此同時，本次研究間接發現許六創新的修辭，因此該書的俳文創作與俳譯文，尚有許多值得探討的空間。

The Wakun Santaishi (1714) is a collection of translated poetry that uses Santaishi by Soin (1622) as the basis for its interpretation, and was completed two years prior to Kyoriku's death. The translated collection, written in Japanese, consists of 174 poems originally written in Chinese.
Research discussions of the Wakun Santaishi thus far have only revolved around Kyoriku’s imagination while writing haibun, never analyzing the collection of poetry from a perspective of translation. In other words, current studies of the Wakun Santaishi focus on Kyoriku’s imagination, not realizing his creativity in giving new meaning to the poems with new forms of haibun. This study integrates empirical research methods into the main perspective of translation. Kyoriku’s methods of translating Chinese poems into haibun in the Wakun Santaishi (volumes 1 and 2) are specifically analyzed, identifying the first important conversion technique for translating Chinese poems into haibun—changing the structure of poetry.
Roughly categorized, there are four methods of style-conversion, and it can also be observed that Kyoriku translates the poems into haibun according to their structure, and add the features of haibun style. Moreover, much of Kyoriku’s originality regarding rhetorical devices in haibun are worth further study and critique.