현철의 『하믈레트』에 보이는 「Lord」의 호칭번역에 대해서

Abstract

This study aims to identify the translation practices of “Lord” in Hyun Chul Hyun’s “Hamlet”. I found that Hyun-chul’s translation was based on Kume’s and Tsubuchi’s translations on a sentence-by-sentence basis, but this time, I wanted to take a different approach and look at the whole word “Lord” as a representative of courtly terminology. In doing so, I also examined whether Hyun-chul was addressed according to the Korean context. First, there are many honorifics for Hamlet, such as “皇子･殿下” in 久米, “御前･王子” in 坪内, “殿下” in Hyuncheol, and “殿下･君” in 戸沢. The translations for “crown prince” show a wide variety. Kume, Hyun-chul, and Tozawa translate the king as “陛下,” while Tsubouchi omits most of them, with only one instance of “陛下･王” appearing. Kume and Tozawa tend to be the most faithful translators of the king. Finally, when it comes to Polonius, the merchant, Hamlet addresses him as “Polonius” in the Japanese version and “Polonius” in the Korean version. When Ophelia or Leatis, the children, are addressed as “父上” in Japanese and “아버지” in Korean, and when Reynaldo, the servant, is addressed as “旦那.” in Kume, he is usually addressed as “旦那” in Japanese and “大監” in Korean. The characteristic of Hyeon-cheol is that the aspect varies depending on whether he takes 久米 or 坪内. In particular, when taking 坪内, the name was often omitted. As I was playing Western roles, it was more than 坪内 and less than 久米. Very occasionally, it coincided with 戸沢. However, it cannot be denied that the Japanese language was faithfully reflected. In other words, even if there was a time of the Korean Empire, there is a sense of incompatibility in that it used a term that is far from the title of the dynasty era that had its roots in the past.