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『アイヌ神謡集』を中国語に翻訳する際の諸問題および対応方法 : 日本語訳との対照 その1
馬, 長城
Permalink : http://hdl.handle.net/2115/91268
JaLCDOI : 10.14943/Jais.4.033
KEYWORDS : アイヌ神謡集;日本語訳と中国語訳;サケへ;格律;修辞;Ainu Kamuy Yukar;Japanese and Chinese translation;Sakehe (the refrain of epic chants);prosody;rhetoric
Abstract
本稿では、『アイヌ神謡集』を事例に取り上げ、日本語訳と対照しつつ、アイヌの韻文を中国語に翻訳する際の文体、サケへ、格律、アクセント、押韻、対句と繰り返しの対応方法を提案した。文体に関しては、日常語を使う場合、神謡の特徴をできる限り保持して翻訳するのがよい。サケへについては、意味が理解できるサケへはその意味通りに翻訳し、意味が不明なサケへについては、「アイヌ語―中国語音節対応表」および『世界人名翻译大辞典』に掲載されている「音節-漢字対応表」に従って対訳する。音節数に関しては、アイヌの韻文が主に「5音節」と「4音節」を中心としていることから、中国語訳文では伝統的な韻律の「5文字」と「7文字」を中心とした句で対応させる。アクセントについては、『アイヌ神謡集』における神謡の朗読において、アクセントがどのように整えられていたかは不明であるため、現時点では中国語の韻律の「平仄」で対応することができない。押韻に関しては、アイヌの韻文における押韻方法を一つずつ対応させることはできないが、中国語の「脚韻」を踏みながら翻訳することは可能である。アイヌ語の「対句」と「繰り返し」については、基本的にそれぞれ中国語の「对偶」と「顶真」で対応すればよい。
This paper takes the 'Ainu Kamuy Yukar' as a case study and proposes methods for translating Ainu poetry into Chinese, while comparing it with Japanese translations. We present approaches for style, Sakehe (the refrain of epic chants), prosody, accentuation, rhyme, as well as parallelism and repetition when translating Ainu poetic forms into Chinese. Regarding style, it is advisable to maintain the characteristics of Ainu Kamuy Yukar while using everyday language in the translation. For 'Sakehe,' we translate those with discernible meanings according to their intended meanings, while for those with unclear meanings, we follow the 'Ainu-Chinese Syllable Correspondence Table' and the 'World Biographical Dictionary of Translation' for syllable-to-character correspondence. Concerning syllable count, since Ainu poetry mainly centers on '5 syllables' and '4 syllables,' we align the Chinese translation with traditional Chinese poetic forms of '5 characters' and '7 characters.' As for accentuation, it is currently impossible to align it with Chinese prosody's '平仄' (flat and oblique tones) due to the uncertainty of how accentuation was utilized during the recitation of Ainu Kamuy Yukar. Regarding rhyme, while it's impossible to correspond to each rhyme scheme in Ainu poetry, we can translate while adhering to Chinese foot rhymes. For Ainu poetic elements like 'parallelism' and 'repetition,' it's generally suitable to match them with Chinese '对偶' (parallelism) and '顶真' (repetition).
This paper takes the 'Ainu Kamuy Yukar' as a case study and proposes methods for translating Ainu poetry into Chinese, while comparing it with Japanese translations. We present approaches for style, Sakehe (the refrain of epic chants), prosody, accentuation, rhyme, as well as parallelism and repetition when translating Ainu poetic forms into Chinese. Regarding style, it is advisable to maintain the characteristics of Ainu Kamuy Yukar while using everyday language in the translation. For 'Sakehe,' we translate those with discernible meanings according to their intended meanings, while for those with unclear meanings, we follow the 'Ainu-Chinese Syllable Correspondence Table' and the 'World Biographical Dictionary of Translation' for syllable-to-character correspondence. Concerning syllable count, since Ainu poetry mainly centers on '5 syllables' and '4 syllables,' we align the Chinese translation with traditional Chinese poetic forms of '5 characters' and '7 characters.' As for accentuation, it is currently impossible to align it with Chinese prosody's '平仄' (flat and oblique tones) due to the uncertainty of how accentuation was utilized during the recitation of Ainu Kamuy Yukar. Regarding rhyme, while it's impossible to correspond to each rhyme scheme in Ainu poetry, we can translate while adhering to Chinese foot rhymes. For Ainu poetic elements like 'parallelism' and 'repetition,' it's generally suitable to match them with Chinese '对偶' (parallelism) and '顶真' (repetition).
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