Wendong Cui

内容提要：青年鲁迅留学日本期间，大量阅读日文书刊，为其文艺活动奠定坚实根基。这些思想资源在《摩罗诗力说》中留下最为清晰的印记。以往学者仔细考证出文章分论的材源，本文则全面调查出总论参照的九种日文著作。《摩罗诗力说》具有文学理论性质，总论直接摘译关涉“国民文学”、“纯文学”概念的三种日文文学理论；与此同时，文章饱含文学批评色彩，总论从六种日文世界文学史、国民文学史和国民诗人传记中引述资料，以证成其观点。在全面把握《摩罗诗力说》材源的基础上，我们能够洞察鲁迅如何含英咀华，创成其独具特色的文学论述。

青年鲁迅“别求新声于异邦”，借鉴域外文化资源，创成其独特的思想论述，《摩罗诗力说》就是典型的例子。以往的研究揭示了日文、英文材源形塑《摩罗诗力说》的关键作用，本文则强调以舍尔《世界文学图史》为代表的德语世界文学史为鲁迅的书写思路提供了参照。一方面，《世界文学图史》糅合了赫尔德与黑格尔两种关于世界与民族的论述，鲁迅以章太炎的“不齐而齐”“文学复古”思路为中介，接受了赫尔德尊重民族特殊性、复兴民族传统的立场，借助重构世界文学体系催生民族自觉。另一方面，《世界文学图史》浸透浪漫民族主义文学观，张扬想象力与民族性，推崇拜伦主义诗人。鲁迅既标举“神思”“心声”，借文学贯通个体与民族，又以“反抗”“复仇”为依归，建构摩罗诗人谱系及
形象，着力激发中国文学的“自觉之声”。
Acclaimed as the founder of modern Chinese literature, Lu Xun has received sustained attention from academics around the world. As he spent his entire life “searching for new voices from alien lands,” generations of scholars have explored how he “transculturated” foreign literature and culture, particularly using Japanese sources. Nevertheless, although it is well known that Lu Xun also relied on German sources, his connection to them remains unclear. This article attempts to examine how Lu Xun drew on German Weltliteratur sources by focusing on his appropriation of Johannes Scherr's Illustrierte Geschichte der Weltliteratur (Illustrated History of World Literature). In his essay “On the Power of Mara Poetry”, Lu Xun absorbed Scherr's framework, while transforming his ideas creatively. On the one hand, Scherr integrated Hegel’s and Herder’s discourses on the world and the nation, and Lu Xun took Zhang Taiyan’s ideas as intermediaries, accepting Herder’s position of respecting national particularities and reviving national traditions in a world literary system. On the other hand, Scherr’s book was featured by a romantic nationalist view of literature, promoting imagination and nationality exemplified by the Byronic poets. Lu Xun not only combined various sources to forge his own theory on imagination and nationality, but used “resistance” and “revenge” as a basis for reconstructing the genealogy and image of the “Mara poets” and striving to stimulate the “self-conscious voice” among Chinese people.

梁啟超取法明治日本政治小說，倡導小說界革命，已是學界常識。 但迄今為止，學者尚未發現梁啟超翻譯史傳其實也深受政治小說影響。本 文旨在考察梁啟超如何化用明治日本政治小說《(齊武名士)經國美談》、 《佳人之奇遇》，塑造《意大利建國三傑傳》。就敘事結構而言，《(齊 武名士)經國美談》以歷史演義體講述三位希臘英雄的故事，引導梁啟超 交錯敘述三傑事蹟。就人物形象而言，《佳人之奇遇》中的加里波的略傳 著力渲染大俠氣概，梁啟超對此心有戚戚，譯筆明顯受其牽引。《意大利 建國三傑傳》之所以能夠獨樹一幟，得益於政治小說的啟發。然而政治小 說中的歷史演義體與大俠形象，皆是日本文人借鑑中國文學傳統的結果。 由此看來，《意大利建國三傑傳》與政治小說的因緣既展示了中日文學回 環往復的交流軌跡，亦彰顯了晚清文學變革跨文類、跨文化的特質。
It is well known among scholars that the Meiji political novels played a pivotal role in inspiring Liang Qichao’s Revolution in Fiction. However, to date scholars have failed to reveal the influence of political novels on Liang Qichao’s translated biographies of Western heroes. This paper attempts to explore how Liang Qichao appropriates the narrative structure and the character portrayal of two Meiji political novels, Keikoku Bidan (Inspiring Tales of Statesmanship) and Kajin no Kigu (On Unexpected Encounters with Beauties) in his translated biography Yidali Jianguo Sanjiezhuan (Biography of Three Makers of Italy). In terms of the narrative structure, Liang Qichao is inspired by the framework of Chinese historical romance adopted by Keikoku Bidan. In terms of the character portrayal, the image of Garibaldi as xia 俠 (Chinese knight-errant) in Kajin no Kigu shapes Liang Qichao’s writings. As both historical romance and the tradition of xia are originally Chinese cultural heritage, it suffices to say that through the intermediate of the Meiji political novels, Liang succeeds in creating a new mode of biographical writing by assimilating the transformed tradition in a trans-cultural and trans-generic manner.

本文探討晚清兩代士人如何接受並轉化明治漢文史傳《尊攘紀事》、《近世偉人傳》中的志士形象，建構新的人格理想。明治初年，漢學家岡千仞與蒲生重章藉助書寫漢文史傳爲志士正名，刻畫出帶有「儒」與「俠」色彩的兩類志士形象：他們皆推崇「尊攘大義/忠孝大義」，情緒慷慨，爲國獻身。在甲午戰前，黃遵憲依據漢文史傳撰寫《日本國志》，稱頌日本志士。他以「儒」涵括「俠」，將志士建構成忠君「處士」、「氣節之士」，輕生死，尚意氣，悖離了聖賢君子的人格理想。甲午戰後，維新派士人依據明治漢文史傳與《日本國志》撰寫政論，以「俠」涵括「儒」，歌頌慷慨志士，召喚中國義俠。他們吸收康有爲、譚嗣同的「仁」學以及公羊學理論，結合「心力」、「博愛」、「復仇」等觀念重構俠士倫理，奠定了國民道德的雛形。
This article examines how two generations of late Qing intellectuals transformed the image of the Japanese hisforical term shishi 志士 (men of high purpose) portrayed by two Meiji Chinese historical writings, Sonjō kiji 尊攘紀事 (Record of the Revere the Emperor and Expel the Foreigners Movement) and Kinsei ijinden 近世偉人傳 (Biographies of Recent Great Men), in the hope of establishing a new ideal personality for the Chinese people. In the early years of the Meiji era, two Confucian scholars, Oka Senjin 岡千仞 (1833-1914) and Gamō Shigeaki 蒲生重章 (1833-1901), respectively composed the above-mentioned books to cherish the memory of deceased shishi. Under the influence of Chinese literature, they portrayed two types of shishi—Confucian scholars and knights-errant—which both rigidly adhered to the principles of loyalty and filiaty as well as fervently sacrificing their lives for national salvation. Before the First Sino-Japanese War, Huang Zunxian 黃遵憲 (1848-1905) complied his Treatises on Japan 日本國志 by drawing on the two books and depicted the knights-errant as loyal Confucian scholars characterized by bravery and impulsiveness, thus violating the ideal personality advocated by Confucianism. Following the war and in wake of the above texts, reformists such as Kang Youwei 康有為 (1858-1927) and Liang Qichao 梁啟超 (1873-1929) composed numerous political discussions in praise of the Meiji Restoration and Japanese shishi, and by interpreting shishi as knights-errant, they aimed to arouse a military spirit among the Chinese people. Moreoever, through appropriating the ideas of “power of the mind” 心力, “universal love” 博愛, and “revenge” 復仇 propogated by Kang Youwei and Tan Sitong 譚嗣同 (1865-1898), they also succeeded in generating prototypes of a burgeoning national morality.

鲁迅在留学期间，不仅借助日语书刊汲取新知，也深受德语读物影响。《域外小说集》就是他吸收转化德语“世界文学”资源的典范之作。就整体构思而言，鲁迅得到《来自外国语》的启发。他借鉴这份世界文学杂志的思想理念、新颖编排、广博视野与精心设计，又针对晚清语境作出调整。就具体篇目而言，鲁迅极为倚重“雷克拉姆万有文库”等德语世界文学丛书。他不仅拣取三篇小说译成中文，更从中选定《域外小说集》近半数篇目，展现出独特的文学趣味，超越了明治与晚清文坛的视界。由此可见，《域外小说集》主要出自鲁迅的构想，可谓中国文学史上建构“世界文学”的首度尝试。

本文以晚清女作家湯紅紱的三部短篇小說譯作〈旅順土牢之勇士〉、〈女露
兵〉與〈無人島大王〉 中心，從文化潮流的融合、道德觀念的調和與文類形態的
重構等方面考察譯者的文化譯寫實踐。湯紅紱深受明治日本戰爭文學與晚清「小
說界革命」、「女界革命」等文化潮流影響，倡導藉翻譯小說宣揚愛國精神。 切
合晚清文化語境，湯紅紱在翻譯時著力調和原著英雄展現的「忠勇」道德觀念與
晚清國族論述、女權論述以及儒家思想，以樹立國民道德典範。與此同時，湯
紅紱無視原著的文類區別，化用晚清冒險家傳記與女豪傑傳記，重構譯文形式特
徵，突出譯作的傳記性，期待 男女英雄贏得不朽聲名。由此看來，湯紅紱的文
化譯寫展示了晚清中國與明治日本、傳統與現代、性別與國族之間的張力。

This paper attempts to analyze how Robert Morrison and Karl Gützlaff
incorporated the life of Napoleon into their Chinese biographical and historical
writings to preach the gospel, and how their writings influenced the late-Qing Chinese
intellectuals’ works on world geography and history. The Evangelical Movement
prompted Morrison and Gützlaff to propagate the gospel in China, and the downfall of
Napoleon, a common theme used by European preachers to glorify God’s almighty
power, naturally appeared in Morrison’s and Gützlaff’s writings. In an attempt to
integrate evangelism and Confucianism, they interpreted the French Revolution as
both a divine visitation and a secular rebellion, and Napoleon was depicted as both a
personification of Satan and a Chinese-style usurper. After the Opium War, Chinese
intellectuals like Wei Yuan 魏源 and Xu Jiyu 徐繼畬 composed their works on
world geography and history mainly based on such Protestant missionary writings.
Being Confucian scholars, they eliminated the undesirable elements of Christianity
and portrayed Napoleon solely as a Chinese-style usurper.

In late Qing, Robinson Crusoe, probably one of the best-known
adventure novels, was translated into Chinese by at least five translators. Interestingly they all looked to the novel for national salvation, believing that their renditions would be able to arouse adventurous spirit among Chinese people. However, in the original, Cmsoe's adventure has no relation with national salvation, and his disobedience to his father and his lack of filial affection conflict. with Confucian ethics. In order to fulfill
the task of enlightening the readers, the translators, holding different ethical ideas, adopted different translation strategy on the one hand, link Crusoe's adventure with national salvation, and on the other, to defend Cmsoe' s disobedience, either
intentionally or reluctantly.

Daniel Defoe’s Robinson Crusoe is marred by his racist prejudices against the Chinese, and yet this novel
became surprisingly popular in late Qing China, and as many as three Chinese versions of it were published. What accounts for its popularity at that time is the then on-going process whereby the Chinese intellectuals subjected their own
culture to a severe criticism in an effort to re-mold their“ national character.” To arouse a spirit of self-criticism and selfinnovation among the Chinese people, the translators rewrote the discourse of racism in the original into the discourse of national character in the translations by selectively preserving, deleting and adding information. While they had thus made significant impact on self-transformation of the Chinese culture, however, these translators all subscribed to the authority of colonial culture and thus contributed to the asymmetrical power relations between China and the West.