葉珊與羅卡的抒情共振──以《西班牙浪人吟》為本的跨文化研究

The Lyrical Resonance Between Yeh Shan and Federico García Lorca:A Cross-Cultural Study Based on Romancero gitano

《西班牙浪人吟》是楊牧第一本出版的譯詩，這時的楊牧以葉珊為筆名。他在年約25歲結集的《葉珊散文集》，是他在葉珊時期的感情和思想的養成，書中提及開始閱讀及翻譯羅卡（Federico García Lorca）的《西班牙浪人吟》（Romancero Gitano）。因此分析葉珊的譯本，不僅可以檢視羅卡之於「楊牧」的詩文啟迪，也是溯源葉珊風格形構的線索，更是一次尋索台灣文學中的西班牙經驗。
本文將藉由葉珊創作上的抒情性聯繫至羅卡，再從原作和譯作的分析比較，探究葉珊之於譯本，有其對西班牙或者羅卡在政治、文化和美學上的同理；之於譯文，將從增譯的美學、情感抒發與感官交融之方向，思考葉珊所採取的修辭策略，以及跨文化的語意嫁接等，希望能夠進入葉珊時期的話語建構，追索詩人與時代的對話。

Romancero gitano (西班牙浪人吟) is Yang Mu’s first published translation of poetry, who at the time used Yeh Shan as his pen name. First Essays (葉珊散文集), which he compiled at around the age of 25, reveals the development of his feelings and thoughts during his Yeh Shan period. In this book, he mentions that he started reading and translating Federico García Lorca’s Romancero gitano; therefore, analyzing Yeh Shan’s translation is not only a way to examine the inspiration of Lorca’s poetry to“Yang Mu”, but also a way to trace the formation of Yeh Shan’s writing styles, and also search for the Spanish experience in Taiwanese literature.
This paper connects the lyricism in Yeh Shan’s literary creation to Lorca, analyzing and comparing the original and translated works to probe into the political, cultural, and aesthetic empathy between Yeh Shan and Spain or Lorca. With regards to translation, from amplification aesthetics as well as emotional expression and sensory integration, this study ponders both the rhetorical strategies adopted by Yeh Shan and cross-cultural semantic grafting in order to gain an understanding of Yang Mu’s construction of discourse　during the Yeh Shan period and investigate how he entered into dialogue with the times.