從東方出版社三本「世界少年文學選集」作品看譯者的操縱

1962年，東方出版社陸續出版「世界少年文學選集」系列，這套經過改寫的世界文學名著經歷數度改版、再版，不僅曾獲新聞局推薦為中小學生優良課外讀物、臺北市政府評選為優良兒童讀物，1990年推出重新包裝的「革新版」至今仍在市面銷售，1996年甚至推出簡體字版，其影響力可見一斑，若說這套讀物形塑了一代臺灣兒童對外國文學的認知也不為過。這套名著改寫作品的版權頁及序文都署有「改寫者」的姓名，但其實並不是由「改寫者」由原著改寫為兒童讀物，而是從日文已經改寫完畢的出版品直接翻譯而來。目前可見的研究多遵從東方出版社的標示，將這套讀物對原作的更動視為中文「改寫者」所做的更動，忽略了日文來源本的存在；亦有研究雖意識到日文來源本的問題，卻無法釐清確切來源版本，因此造成研究上的困難。　　另一方面，「世界少年文學選集」中包含不少一般文學作品，這些作品一開始的目標讀者並非兒童，因此在改寫為兒童讀物的過程中，勢必經過不少操縱。本研究挑選《茶花女》、《埃及艷后》、《王子復仇記》三部作品為研究對象，這三部作品的共通點除了都含有明顯的「兒童不宜」要素外，也都對女性角色有明顯的操縱。本研究透過詳細的文本比對，找出當年根據的日文來源本，檢視這些作品在轉化為兒童讀物的過程中經歷了何種操縱，並釐清究竟有哪些操縱來自日文改寫者，又有哪些操縱源於中文譯者。研究結果發現，東方改寫本的主要結構與日文改寫本幾乎相同，因此主要操縱大多源於日文改寫者；但三位中譯者的處理策略各有特色，對於日文改寫者的操縱並未照單全收。

關鍵字

東方出版社；兒童文學；改寫；翻譯

並列摘要

In 1962, Taipei-based Eastern Publishing Company (東方出版社) started publishing a series of adapted world literature for children titled World Literature for Young Readers (世界少年文學選集). The series has been revised and reprinted for several times, and was also listed by the Government Information Office as recommended reading materials. In 1990, the series was newly published as the “renewed version” (革新版), and in 1996 the simplified Chinese version of the series was published in China. The series was read across several generations, and therefore affected countless Taiwanese children’s perspectives towards foreign literature. Since the adaptor was the only author credited on the copyright page of the series, it is long believed that the stories were adapted by Taiwanese adaptors into Chinese, but actually the series was translated from the Japanese adaptations. Few related research acknowledge the Japanese adaptations, and this has become a research gap regarding Taiwan’s children’s literature. On the other hand, many literary works included in World Literature for Young Readers was not originally targeted for children, and therefore the original works went through considerable manipulations in the process of becoming children’s literature. This research focuses on three works in the series: The Lady of the Camellias (茶花女), Antony and Cleopatra (埃及艷后), and Hamlet (王子復仇記), all of which possess strong “inappropriate” characteristics as children’s literature, and in all of which female characters are clearly manipulated. Through textual analysis, this research aims to find out on which Japanese adaptation that the three books are respectively based, and to explore the manipulations by the Japanese adaptors and Taiwanese translators. It is discovered that the structure of all three books examined in this research followed their Japanese counterparts, and therefore the most obvious manipulations originated from the Japanese adaptors rather than the Taiwanese translators. However, the three translator’s strategy differs, and it is found that they did not accept every change that the Japanese adaptors made.