《和訓三体詩》之翻譯技巧：和漢轉換之法

Translation Strategies in Wakun Santai Shi: Transforming Chinese Verse Into Japanese Haibun

至今，大部分的研究成果對於《和訓三体詩》的認識上主要停留在許六的意想，認為《和訓三体詩》僅是使用俳諧的文體譯出漢詩的結果，其內容主體皆是許六的隨創。本研究主要以《和訓三体詩》第三～五卷的作品為例，自許六譯出的俳文中，找出傳承古今以及不同於古今之其獨有的和漢轉換原理。仔細分析其譯文，可發現其和漢轉換不同於所謂「改編」，許六所採用的對譯題材，是實際發生在日本且有記載的著名「地方風景」、「習俗」或「典故」（包含許六親身的經歷或歷史人事物），非許六自身虛構。同時，在俳諧主要採用詩語來創新文辭的目的下，許六盡可能在譯出的俳文中沿用詩語。即許六發揮「訓讀」法吸納漢字的原理，在俳文中交錯詩語，使讀者能夠在俳文間同時習得和文與詩語，達到提昇跨文化涵養與文辭造詣的目的，在當時可說是獨樹一格的譯法。由此可歸納出許六在進行和漢轉換時的主要三法：首先，以和漢相通的意涵為基軸進行釋義，若無相通或無詩意則選擇不譯；其次，轉換文體、場景與文字，但不改變原詩主題或加入虛構劇情；最後，在修辭上融合詩語與俳語，擴增詞彙量，並發展創新的描寫方式。而此翻譯的手法是否源自蕉門俳論的精神，值得未來深究。

To date, understanding of Wakun Santai Shi has relied primarily on KyoRiku’s translation, which is often viewed as a straightforward adaptation of Chinese verse into the haibun style, presumed to consist mainly of KyoRiku’s original writings. This study, focusing on volumes three to five of Wakun Santai Shi, aims to analyze KyoRiku’s Japanese-Chinese translation strategies to identify both conventional and distinctive techniques unique to his works. Careful analysis reveals that KyoRiku’s haibun translations, rather than mere adaptations, incorporate references to renowned local landscapes, customs, or historical events (including KyoRiku’s own personal experiences), all of which are factual rather than fictional. Moreover, given that haibun primarily employs poetic language to innovate expressions, KyoRiku strove to retain this poetic essence in his translations. He skillfully interwove prose and verse within the haiku texts, creating a hybrid form that allows readers to engage with both literary styles simultaneously, thereby enhancing their cross-cultural understanding and literary proficiency. Three key strategies are identified in KyoRiku’s Chinese-to-Japanese translations. Firstly, KyoRiku’s translations are grounded in equivalence. If no equivalent or poetic expressions exist, he would choose not to translate. Secondly, KyoRiku would modify the genre, setting, and language as long as the major themes remain intact and no fictional plotlines are introduced. Lastly, the poetic verse is blended with haibun, resulting in the creation of new diction and new descriptive methods. Whether such translation techniques stem from the spirit of Matsuo Bashō’s haiku theory awaits further investigation.