欲拭安可得 劉希武譯《第六世達賴倉央嘉措情歌六十首》探賾
On Liu Xiwu’s Translation of the Love Songs of Tsangyang Gyatso
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六世達賴喇嘛倉央嘉措（1683-1706?）為西藏著名詩人。 1930年，于道泉（1901-1992）以白話漢文及英文翻譯六世達賴詩歌六十二首，被列為中研院史語所單刊之一。于氏譯本於藏文原文甚為忠實，然辭采稍遜。1939年1月，劉希武（1901-1956）以于本為據，用五絕體式重譯成〈第六世達賴倉央嘉措情歌六十首〉，1939年6月發表於《康導月刊》，為最早之舊體改譯本。同年2月，曾緘（1892-1968）也投入了改譯工作，其七絕體式，膾炙人口。本文以于本為基礎，曾本為參照，輔以P.K. Sørensen校註本等，逐一析論劉希武改譯過程與策略、文體選擇、句式存變與文義傳遞、文化符碼的歸化等方面，以考察其譯本之特色。
Abstract
Tsangyang Gyatso, also known as the Sixth Dalai Lama (1683-1706?), had a double identity of a spiritual leader and a love song writer in Tibet. Translated into Chinese and English for the first time by Yu Daoquan (1901-1992) in 1930, Tsangyang’s 66 love songs have ever since become more and more popular among the Han Chinese. In the following score of years, his story was retold and his songs were rewritten by a few classical Chinese poets. In January 1939, Liu Xiwu (1901-1956), an official in the Mongolian and Tibetan Affairs Commission in Xikang Province, selected 60 of Tsangyang’s works and translated them in the form of five-character quatrains, and this marks the earliest try of rewriting in old-style Chinese poetry. Only one month later, Zeng Jian (1892-1968) translated the whole suite of 66 songs in the form of seven-character quatrains. One the basis of the translations of Yu and Zeng and the annotations of the Danish Tibetologist P. K. Sørensen, this article explores Liu’s edition in the aspects including: Liu’s process and strategy of translation, the choice of genre, the syntactic changes between the translated and original texts, as well as the domestication of the cultural symbols.
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