有意味的形式──從戴望舒譯詩〈淚珠飄落縈心曲〉看詞體的格律與抒情特質

Significant Form─Inspection on Metrical Patterns and Lyrical Trait of Ci through Dai Wangshu’s Interpretation of Poem Il pleut doucement sur la ville

〈淚珠飄落縈心曲〉為戴望舒（1905-1950）翻譯法國象徵派詩人魏爾倫（Paul Verlaine, 1844-1896）的作品Il pleut doucement sur la ville，此譯詩最初發表於《瓔珞》旬刊（1926.4），用文言詞調〈菩薩蠻〉之體裁。歷來對於戴望舒在風格、精神等層面，受西方象徵派及中國晚唐詩詞的影響討論頗多，亦時有舉出這首譯詩為例，然而鮮少有人注意到它的特殊性：翻譯雖是一種再創作，內容卻須受到原作的限制，而戴望舒在這樣的限制上又選擇了一個格律更為嚴格的形式，等於是「雙重限制」，如此創作出的作品可謂中、西結合的極端。於是我們不禁要問：何以他要採取這樣的嘗試？這樣的嘗試又能達到什麼效果？另一方面，詞體的文體特質也是詞學上討論不休的話題，過往多從詩、詞、曲三方面的辨體劃出詞體的風格界線，然而此三者原本就有互相傳承之關係，且彼此影響甚深，而今透過這樣一個「他者」的介入，反而更突顯出詞體本身的特質。故此，本文主要站在詞學的角度，結合當時象徵派對新詩內容與形式等問題的討論，經由詞（文體）─〈菩薩蠻〉（詞調）─文言構詞（文字）這三層形式，由大到小層層剝離，藉著這首譯詩表現出的藝術性，以對詞體的格律與抒情特質有一番更深的體會。

Dai Wangshu (1905-1950) had translated French symbolic poet Paul Verlaine (1844-1896)’s poem Il pleut doucement sur la ville into “Pusa Man” form of Ci, and published on Yingluo journal. There are many studies on the influence of western symbolism and Chinese late Tong poems on Dai Wangshu. Some of those articles also take this interpretation as an example. But it seems that no one pays attention to its particularity. It is usually ignored that the interpretation, although as a re-write work, is limited to its content. On this condition, Dai Wangshu chooses a stricter form of translation, from which the work obtains a “double-limit” and achieves an extreme of combination of both Chinese and western tradition. The question shows up that why he took this attempt and what result would this attempt lead to. In addition, the features of Ci genre also arouse many debates. Scholars usually categorize different styles among Shi, Ci, and Qu, to inspect how Ci should be. However, the three genres are inheritably entangled and well affected by each other. Now, by inspection on “the other”, the features of Ci are highlighted. Therefore, this article analyses from the angle of Ci, combining with the discussion of content and form of modern symbolic poetry in China, to reach for three levels, which comprise of Ci (genre), PuSa Man (form), and literal structure (word). Through the artistic preference embodied in this interpretation, we might experience the metrical patterns and lyrical trait of Ci deeper.