音步譯趨/趣：方平之《羅密歐與朱麗葉》探討

Abstract

《羅密歐與朱麗葉》一劇可說家喻戶曉，然而其翻譯史卻少有人探究，故本文一方面整理《羅》劇之翻譯史，勾勒自林紓以降各譯者之風格。 另一方面，多年來，中文莎士比亞以梁實秋與朱生豪的散文版本最為流通，然而不少學者與研究都認為應該以詩譯詩，且劇本翻譯應以「可演」與否為最主要的考量。2000年，方平以「音組」的原則翻譯《新莎士比亞全集》，號稱以詩譯詩並以「可演」為目標，為有心探究莎劇翻譯者提供了新的素材。 然而在探究《羅》之相關問題時，不免遇到意識形態之問題，其一是「可演性」一詞過於空泛，其二是《羅》劇中，主角刻骨銘心的愛情，實則牽涉了未成年人偷嚐禁果的禁忌、挑戰了傳統社會的價值。故本文亦從意識形態出發，以比利時學者 Lefevere 之操縱理論，及以 Susan Bassnett 對「可演性」之質疑為基礎，檢視方平之意識形態，及其在詩學、論述系統方面之操縱。 檢視研究結果，方平雖不斷強調劇本演出之可能，然而卻忽略演出仍牽涉演員、導演與其他非語言因素，在添加舞台指示時顯得畫蛇添足，且許多典故也因為字數限制而丟失。然而音組翻譯之短句結構，的確使節奏較為突出，不失為一項有意義的實驗。For almost half a century, Liang Shih-chiu and Chu Shang-hao’s prose renditions have remained the two most popular Shakespeare Chinese translations. However, quite a few scholars argue that Shakespeare should be rendered in verse, while also maintaining its potential performability. It is therefore one of the aims of this thesis to delve into a work that applies such a translation strategy, rather Liang’s and Chu’s approach. In 2000, the Shanghai-based translator Fang Ping published his New Oeuvre of Shakespeare using yingzou, a technique whereby verses are generally restricted to about ten characters. It is also claimed that this rendition pays a lot of attention to performability. However, this thesis explores whether performability really is the goal that every translator should strive for. As Belgium theorist André Lefevere argues, translation is about ideology and manipulation. Therefore, Fang Ping’s manipulation and ideology, and his usage of the yingzou technique are analyzed. Also, in order to better examine the idea of performability being ideological, Romeo and Juliet, which is full of taboos concerning family and love, is one of the focuses of this thesis. Its translation history has been discussed, including the rendition of the classical writers Lin Shu and the playwright Tsao Yu. The conclusion is that the concerns of performability often seem superfluous, nevertheless, the short structure of yingzou does make the rendition more rhythmic.