变形与重现——德庇时译介元杂剧述论  

Metamorphosis and Reappearance:An Opinion on John Francis Davis Translates za ju of Yuan Dynasty

作　　者：侯梦琰 Hou Mengyan

机构地区：[1]信阳师范大学文学院

出　　处：《中国文化研究》2025年第1期142-153,共12页Chinese Culture Research

基　　金：国家社科基金重大项目“中国古典小说早期西译史及文献数据化整理(1714—1911)”(23&ZD298)的阶段性成果。

摘　　要：德庇时译介的《老生儿》《汉宫秋》缺失了元杂剧的部分体式特色,加之其对“SCENE”的翻译,能看出德庇时在努力贴近西方戏剧的表现形式。德庇时对杂剧曲词的翻译,经历了从“省略、唱宾混合”到“独立、曲白相生”的过程,并向西方传递了家庭喜剧和历史爱情悲剧类元杂剧题材,打破了《赵氏孤儿》在西方的“垄断”局面。德庇时译介《老生儿》《汉宫秋》的文化意义在于,重现了元杂剧曲白相生、戏剧题材多样的特色,向西方展示了更真实全面的元杂剧体式。Davis’s translation of Lao Sheng Er and Han Gong Qiu from the Yuan Dynasty lacks some of the original characteristics of za ju,and through his translation of“SCENE”,we can observe his attempt to approximate the expressive form of western drama.Regarding Davis’s translations of“lyrics,”there is a process from“omission”and“mixing of lyrics and Binbai”to“independence”and“mutual enhancement of lyrics and Binbai.”Davis’s translation also introduced the family comedy and historical love tragedy types of Yunn zu ju to the West,breaking the“monopoly”situation of The Orphan of Zhao.From the perspective of the transformation and selection of za ju from the Yuan Dynasty,the significance of Davis’s translation of Lao Sheng Er and Han Gong Qiu is reappearance of the true feature of“lyrics and Binbai are living on each other,”and the diversity of theme types of za ju of Yuan Dynasty.

关 键 词：德庇时 《老生儿》 《汉宫秋》 《赵氏孤儿》 

分 类 号：I237[文学—中国文学] H059[语言文字—语言学]