印度梵剧《沙恭达罗》英汉译本变异研究

【作者】 刘建树；

【导师】 李强；

【作者基本信息】 陕西师范大学 ， 比较文学与世界文学， 2013， 博士

【摘要】 迦梨陀娑(Kalidasa)是印度古代梵语文学黄金时期的文学大师,《沙恭达罗》是迦梨陀娑享誉世界的戏剧名作。英国东方学家威廉·琼斯称迦梨陀娑为“印度的莎士比亚”；德国大文豪歌德说一部《沙恭达罗》尽显四季色彩、人生精华；佛门诗人苏曼殊对《沙恭达罗》极尽赞誉之词。对这样一部享誉世界的戏剧经典,虽然中外学界已进行长时间研究,却鲜见在印、英、中三种文化、英汉两种语言语境下译本研究的文学研究成果。《印度梵剧<沙恭达罗)英汉译本变异研究》就是通过运用译介学、文本细读法、文学接受学、形象学以及文学变异学等相关研究方法,在对《沙恭达罗》英汉经典译本历时梳理的同时,以文本与副文本为主要研究对象,选择剖析《沙恭达罗》英汉经典译本变异中的典型案例,在着重分析不同文化语境下各种译本变异历程的同时,也试图借重印度梵语戏剧理论解读《沙恭达罗》的艺术魅力。绪论部分主要通过对《沙恭达罗》的作者及其作品的相关研究及国内外《沙恭达罗》英汉译本研究现状的梳理,对《沙恭达罗》英汉译本研究方法进行探索,包括对文中核心概念的阐释。迦梨陀娑虽然不像莎士比亚那样给后世留下丰富的戏剧和诗歌作品,但他同样是印度梵语文学史上戏剧与诗歌创作方面首屈一指的文学巨匠,《沙恭达罗》则是他最杰出的剧作。就《沙恭达罗》英汉译本研究而言,汉语的《沙恭达罗》研究成果更多的是依托译本的文本评价研究,极少涉及译本研究。综观国内外《沙恭达罗》研究现状,通过《印度梵剧(沙恭达罗>英汉译本变异研究》,不仅有望进一步更好地从戏剧内部理解中印戏剧关系,更有望创造与英语世界《沙恭达罗》研究对话交流的机会；从不同的审美视角出发,逐步实现文化认同和文化之间的相互肯定,从而促成不同文化之间更好的交流与理解。正是在跨文化的视角下,本文以梳理译本变异为主线,通过对各种译本内外因素变异过程的梳理以及变异内外因的分析与探索,试图部分地揭示《沙恭达罗》作为世界文学经典的艺术魅力。第一章在分析研究现状的基础上,主要围绕《沙恭达罗》原本在印度本土文化中的创生与衍变展开。《沙恭达罗》在印度本土文化中的衍变主要表现为《沙恭达罗》以《摩诃婆罗多》史诗插话为基础的剧本创生过程,与剧本的英汉译本变异几乎形成逆向衍生。本章主要考察了剧本与插话的异同关系,迦梨陀娑创作《沙恭达罗》对于本土文化营养的吸收,《沙恭达罗》对于剧作家其他剧作的超越,以及由此而衍生的《沙恭达罗》变异中的多种传本。《沙恭达罗》剧情的生成过程是在史诗插话基础上不断变异的过程。从《摩诃婆罗多》插话故事到《沙恭达罗》剧本,主要发生了戏剧情节与人物形象的变异。《舞论》、《爱经》、《摩奴法论》等理论著作与社会风情的记录文献等,也都是迦梨陀娑发挥艺术创造力创作《沙恭达罗》时运用的重要素材。在《沙恭达罗》剧作成长的过程中,前代作家以及迦梨陀娑本人的戏剧创作也是《沙恭达罗》剧作赖以诞生的重要艺术资源。而《沙恭达罗》在流传后世的过程中,它的变异集中体现为《沙恭达罗》以“天城体传本”与“孟加拉传本”等为代表的四种传本的出现；它们对后来的译本选择产生了重要影响。后世《沙恭达罗》翻译有关不同传本选择之争成为译本研究的重要内容。第二章是《沙恭达罗》英语译本变异的梳理与剖析。《沙恭达罗》在英语世界的变异,经历了东方主义、殖民主义、印度民族主义等不同思潮的影响,以及几种思潮的更替与彼此间的抗衡。威廉·琼斯译本的产生是英国在印度殖民统治早期文化殖民的副产品。该译本及其副文本都流露出东方主义的痕迹,但威廉·琼斯译本客观上对英国乃至欧洲文学思潮产生了重要影响；威廉姆斯译本产生时正值英国殖民统治转型期,英国对印度文化的态度也从对异国色彩的欣赏过渡到以实用主义为主导、利用文化进行统治的阶段,因此他的译本更多地表现了宗主国成员面对殖民地文化的高傲。印度本民族《沙恭达罗》英译本部分地纠正了这一文化取向,奠定了印度英译本《沙恭达罗》抗衡宗主国译本的基础。早期的印度英译本《沙恭达罗》,即使在印度民族独立之后的曲折翻译进程中仍然占有重要地位。印度译者的民族情结直接、间接地反映在不断涌现的各种译本及其副文本之中。《沙恭达罗》作为印度民族文化的代表之一来争取自己在宗主国文化中的地位的抗争行为,集中地反映在作为译本变异延续部分的《沙恭达罗》在英美舞台的搬演进程中。第三章主要围绕《沙恭达罗》的汉译本变异中编译者主体、时代更替等对《沙恭达罗》变异的介入展开论述。卢前、糜文开等人的译本从一开始就承载着编译者自身比较戏剧研究的愿望,以及借戏剧研究促进中印文化交流的实用主义目的。而王维克译本虽然脱离时代的政治色彩与文化制约,沿着追求艺术价值的道路发展,却不可避免地因为编译者个人的社会角色而赋予文本浓重的编译色彩。以上几种转译本都不同程度地表现了《沙恭达罗》的艺术魅力。季羡林的梵汉直译本在背负沉重历史使命的同时,首次实现了非佛教内容的印度戏剧进入中国读者视野的历史性突破,具有特殊的历史意义。第四章在英汉《沙恭达罗》译本变异平行比较的框架内,通过对两种文化语境下文本、舞台两个层次的差异比较,在分析翻译者主体和客观环境对于文本变异影响的基础上,揭示了英汉两种文化在与印度文化碰撞中两种不同的价值取向。英语世界中,英美文化对印度文化采取疏离的态度,因而在文本与舞台变异中客观上表现出对文本去印度化处理的价值取向,异化的色彩更强烈。《沙恭达罗》的各种汉译本和舞台搬演,在表现中国文化特色的同时,尽力保留《沙恭达罗》的印度文化色彩,同时也特别关注了泰戈尔在《沙恭达罗》英汉变异中的重要角色。囿于东西方文化的客观差异,以及文化交流的不同取向,《沙恭达罗》的英汉译本,与《舞论》等印度经典文论观照下的《沙恭达罗》,在主题、情节、文化、情味等方面都产生了不同程度的变异。本文通过两种语言、三种文化的《沙恭达罗》译本研究,不仅在时空上比较全面地把握了《沙恭达罗》英汉译本变异的过程及外部特征,而且通过多维视角、多文本比较,结合不同的戏剧传统以及不同的变异语境,从戏剧艺术层面对《沙恭达罗》进行了研究。在对经典多义性的阐释中,一方面,不同的文化具有各自的立场,各自的戏剧艺术传统,以及具体的文本变异环境,对源文化的理解水平都在不同程度上影响着各个阶段的英汉《沙恭达罗》译本变异过程；另一方面,国内外对印度文化、印度文论研究的深入,使得《沙恭达罗》经典阐释有了更可靠的理论工具。必须指出的是,在《沙恭达罗》英汉译本变异中,印度英译本在主观意向上突出印度民族文化独立思想的同时,客观上更充分地展现了剧本的文化内涵及其艺术魅力。本文通过对《沙恭达罗》英汉译本变异的历时梳理,第一次全面性梳理国内三个《沙恭达罗》英语转译本,梵语直译本,以及国外《沙恭达罗》的经典英译本。研究所涉猎文本的丰富性是国内同类研究所未及的；本文在注重译本变异过程梳理的同时,特别注意纠正与梳理以往译本研究中疏漏的译本过滤与译本变异,从而赋予文章以文本细读为主、宏观与微观并重的品质；本文所采用的比较研究中的第三种视角将《沙恭达罗》置于英、印、中三种文化,英汉两种语言的语境下,在多重视野下考察《沙恭达罗》的译本变异,也更有利于解读作品的艺术魅力；本文不仅关注了译本的变异,还在比较视野下对译本的舞台搬演与舞台变异予以了充分的研究。本文是对国内有关印度文学的世界影响研究的进一步充实,是对促进中印文化交流的学术传统的继承与发扬,是为促进文学之间、文明之间理解与交流,进而促进多元化全球语境下不同文学背景、不同文化传统的人们之间的理解、交流、和谐共处的一份贡献。更多还原

【Abstract】 Kalidasa, the brightest star in the sky of the ancient Sanskrit literature, has been well known for his masterpiece Sakuntala. William Jones, the long-remembered British Orientalist, first called Kalidasa the "Indian Shakespeare"; German literary figure Goethe eulogized Sakuntala saying that the piece embraced the essence of the time and the life; Mandju in modern China communicated fully and aesthetically what Goethe has said about Sakuntala in Chinese. Great as it is, no due importance has been attached to the exploration of the text, still less has a comparative study of different translations of the piece been undertaken, as I have endeavoured to do by reading the available translations from Sanskrit into Chinese and English, and placing them in the perspective of Indian culture, Chinese Culture, and English culture. Thus I have endeavoured to show the interactions between source and target cultures through translation, where the source language is Sanskrit, and English and Chinese are the media of communication. My thesis, entitled On Transformed Translations Of Sakuntala In English And Chinese Worlds is developed following the lines of chronological variations of Sakuntala translations in both English-speaking and Chinese-speaking worlds, in Britain, America, India and China, to be specific. The keys to the secret of the variations of the translations are the texts and paratexts attached to them, which reveal the hints of variation trend for a specific case. Medio-translatology, close-reading of the text, literary reception theory, imagology and the theory of variation drawn from the theory of comparative literature have been used in close reading of the text and the paratext of the translations for tracing the flow of variation and, beyond that, for the exploration of Sakuntala as a masterpiece of Kalidasa in the context of’world literature’.In the Introduction, we start with discussion on the author of Sakuntala and his writings, a literature review of Sakuntala study in English and Chinese worlds, and a brief exposition of the significance and methodology of the present research, including clarification of some key words. Although Kalidasa was not so prolific compared with Shakespeare, he is still the best-known in poetic and dramatic creations in that particular period of Sanskrit literature, Sakuntala being known as the best ofin all of his creations. In both English and Chinese literature reviews, it has been identified that Sakuntala has been evaluated and judged through different translations and the focus is always solely on artistic appreciation while little effort has been made to analyse it from the perspective of translation studies. In China, Shakespeare study outweighs Kalidasa study, which has not been equal to his fame as a dramatist of world-fame. And much more has been done concerning Sakuntala in the English-speaking world than in China, which is a fact to be recognized and a gap to be filled. As far as the significance of the research is concerned, it has to be admitted that Kalidasa is not only a dramatist of world fame, but also a cultural scholar of the broadest view. He has mirrored in his writings not only the culture and people of India, but also the attributes of the human being. In other words, he has left a heritage which belongs to the whole world. This is why the present paper is a part of the effort in cultivating the classic. In combing different translations of Sakuntala, either synchronically or diachronically, we have not only been furthering the study of Sakuntala as a text, but also addressing some gaps and anomalies of cross-cultural reception identified in the literature review. The present research will not only help to understand the workings of Sanskrit drama and Chinese drama in a comparative framework, but also expects to prepare a conversation between Chinese and English scholars through Sakuntala study. Researchers of different cultural and aesthetic backgrounds will come to identify themselves in the study and recognize the diversity and universality of human culture. This will contribute to better understanding and better communication between peoples of different cultural backgrounds. And it is from the intercultural perspective that the paper, following the traces of different translations, in analyzing different factors effecting variations in different translations, attempts to recognize the charm of the dramatic and aesthetic value of Sakuntala.The body of the present paper is composed of four chapters. Chapter One, supported by the literature review, mainly discusses the evolution of Sakuntala in ancient Indian culture. While a study of the variation in translations traces how the dramatic piece has been differently represented from one translation to another, the evolution of Sakuntala in ancient Indian culture focuses on what has contributed to the birth of Sakuntala. Kalidasa’s Sakuntala was based on the story from Mahabharata but varies a lot from it in characterization and theme and other aspects. The Kamasutra, The Manu Law, and The Natyashastra can be traced to have been used in composing Sakuntala and the dramatic piece reveals the dynamics of ancient Indian culture in these aspects. Also from the perspective of artistic treatise and tradition, Kalidasa has been identified to have learned from his predecessors. In the transmission of Sakuntala, the variation is best illustrated by the variations between the four recensions, exemplified by the Devanagari and the Bengali recensions.Chapter Two focuses on the study of classic Sakuntala translations in a chronological order in the English-Speaking world, in which Orientalism, colonialism, and Indian nationalism were all given play in both texts and paratexts, sometimes mixed, sometimes confronted and sometimes succeeded, which can only be revealed through close reading of the texts.Chapter Three explores how the historic factors and the subjective preferences, which are partially cultural codes and demands, are interfering with the text variations of Sakuntala translations in Chinese-speaking world, especially in China (mainland). Lu Qian, Mi Wenkai, and Ji Xianlin were all concerned either with seeking the roots of Chinese dramatic art or the mending the widening fissure between Chinese and Indian Culture which were neighbors and once shared a long history of communication. Their efforts and ambitions are woven into the text variations of Sakuntala in China while Wang Weike, working on compiling staff with the press, worked too freely with the texts and altered more than prudent. But they all give some credit to the masterpiece of Kalidasa. The Sanskrit-Chinese translation of Sakuntala by Ji Xianlin, with promoting India-China friendship as its prior motive, has brought non-Buddhist dramatic art piece into the literary discussion in China and therefore has found its due significance.Chapter Four comes to the in-depth analysis of differences in text and stage variations between the two worlds, supported by the preceding factual analysis. Chinese and English variations in translations reveal their respective approaches to Sakuntala: While Chinese texts tend to approach it as it was with Indian colors, English-speaking worlds tend to decolorize the ’Indian’ hues. A look into Indian culture through the drama helps to understand the details of this variation.On Transformed Translations Of Sakuntala In English And Chinese Worlds has attempted to capture a global picture of the long history and varied lives of Sakuntala translations, after a multi-dimensional examination of the play, with bilingual resources through a cross-cultural examination involving English, Chinese and Indian cultures.Different dramatic traditions and different approaches by the individual interpreters from different backgrounds to Sakuntala, help to unveil the true image of Sakuntala as a world classic. In the open interpretations of the work, all the factors have been giving their due contribution to result in a dynamic process.Besides, in a chronological close reading of the variations in English and Chinese translations of Sakuntala, the paper here has covered four Chinese translations of Sakuntala, with three versions partially or fully being indirect translations from English and one direct translation from Sanskrit, and six translations of Sakuntala from Sanskrit into English. This attempt has no precedence literary scholarship. In tracing the variation course of Sakuntala translations, the paper attaches special importance to identifying any filtering effect and variations escaping the past examination and correcting and confirming what has been mistaken, thus entitling the paper to the claim of a combination of macro and micro research, the latter in close-reading being the priority. The paper has, for the first time, examined the variations of Sakuntala from the perspective of British, Chinese and Indian culture when English and Chinese are the media of translation, and this reveals more than what has been unveiled of the mystery of Sakuntala, whose adaptations on British, American stages and Chinese Spoken Opera stage reveal more than what the translations can tell. What has been done here is a part of what predecessors like Ji Xianlin had been doing in furthering the inquiry into the impact of Indian literature in the world, in promoting further development of cultural interaction between India and China, and in promoting better understanding and communication between literatures and civilizations and among those who live in and enjoy it. Facing a shrinking world and accelerating pace of multi-polarization in world culture, the author of the paper is also presenting what he has written to a more harmonious future where difference is respected, but unity is aspired for among human beings.更多还原