《小孩月報》（1875-1881）動物寓言研究

晚清同、光以降，約1870年代開始，為晚清報刊載錄伊索寓言的繁盛期，在《萬國公報》（The Chinese Globe Magazine）、《中西聞見錄》（The Peking Magazine）及《小孩月報》（The Child’s Paper）皆刊登為數不少的伊索寓言譯作。本論文所研究的《小孩月報》，於光緒元年（1875）由美國傳教士范約翰（John Marshall Willoughby Farnham,1829-1917）所創辦。該報刊以淺顯文字搭配雕版圖畫，內容主要是遊歷見聞、聖經故事、教會近聞、寓言故事、天文科學、動植物認識等。由於《小孩月報》所刊登的伊索寓言譯作，不同於《萬國公報》僅轉錄羅伯聃（Robert Thom,1807-1846）與蒙昧先生（Mun Mooy Seen-shang,?-?）合譯的《意拾喻言》（Esop’s Fables）之內容，並且《小孩月報》還大量使用Thomas James（1809-1863）所編著的英譯版伊索寓言中由John Tenniel（1820-1914）所繪製的插圖，再者《小孩月報》刊登33篇未具名的伊索寓言譯作，值得藉由比對這些譯作與《意拾喻言》、《意拾喻言》之底本（Sir Roger L’Estrange Kt.所譯、1738年出版的Fables of Aesop and Other Eminent Mythologists: With Morals and Reflections）及Thomas James版伊索寓言（1872年版的Aesop’s Fables:A New Version,Chiefly From Original Sources）之間的用語習慣異同，來確認該報刊所刊登的伊索寓言譯作的翻譯模式及可能的作者，並藉由同報刊相關的動物寓言創作作品分析，以確知來稿者創作受伊索寓言之影響程度。　　為探討《小孩月報》所刊登之伊索寓言譯作及同報刊與之相仿的動物寓言，筆者以布赫迪厄（Pierre Bourdieu,1930-2002）探討「媒體與文化生產」的角度，將范約翰創辦的報刊《小孩月報》視為一種「媒體」，且作為文化生產的「文學場（literary field）」，透過報刊文本可反映文學場中作者群體之間的活動與交流，並藉由其所發展特定用語習慣之歸納，來確認作者身分，冀能填補伊索寓言在華傳播的歷史。本論文更進一步藉由分析來稿創作、仿寫及改寫之動物寓言，由此考察伊索寓言譯作之影響。

關鍵字

《小孩月報》；《意拾喻言》；伊索寓言；動物寓言；文學場；晚清文學翻譯

並列摘要

In the 1870s, during the reign of emperor Tongzhi and Guangxu of the latter half of the Qing Dynasty, articles featuring entries from Aesop’s Fables on Qing news publications is at its height. The Chinese Globe Magazine,The Peking Magazine and The Child’s Paper all posted numerous translated stories from Aesop’s Fables. This thesis focuses on The Child’s paper, founded by American missionary John Marshall Willoughby Farnham (1829-1917). The Child’s Paper uses easy to understand language alongside pictorial illustrations to showcase many topics including: traveling logs, Bible entries, church communications, fables, astronomy, botany and zoology. The translated work of Aesop’s Fables on The Child’s Paper differs from that on The Chinese Globe Magazine, in which the latter only included the work by Robert Thom (1807-1846) and Mun Mooy Seen-shang(?-?) in Esop’s Fables, the Child’s Paper adopts a great portion of the illustrations by John Tenniel（1820-1914）from the English language translation collection edited by Thomas James（1809-1863）. In addition, The Child’s Paper features 33 entries of Aesop’s Fables from unnamed translators, it is worthwhile to compare the language use between them to Esop’s Fables, their original text (Translated work by Sir Roger L’Estrange, published in 1738 Fables of Aesop and Other Eminent Mythologists: With Morals and Reflections), and Thomas James’ edition of Aesop’s Fables (1872 edition of Aesop’s Fables: A New Version, Chiefly From Original Sources), in order to trace the method of translation, possible translators. In addition, by analyzing relevant new works of animal fables submitted within the same publication, one can discern how the contributors were influenced by Aesop’s Fables. To discuss the Aesop’s Fables entries on The Child’s Paper and the new works of similar animal fables within the same publication, the author of this thesis adopts the views of Pierre Bourdieu (1930-2002) of “the media and cultural production” , and view The Child’s Paper as a form of “media” which generated a “literary field”. The articles in the publication reflect the interactions of the authors within the literary field, and from it one can deduce the identity of the translator through habitual language use, therefore filling a void in the history of Aesop’s Fables’ spread in the Chinese language. This thesis further analyzes the submitted articles of new works, mimicked stories, and adapted forms animal fables to investigate the influence of the translated works of Aesop’s Fables’.