한시의 시적 리듬과 번역 -韓譯과 日譯을 중심으로-

초록

This study explores how the rhythm of Chinese poetry, based on 5- and 7-syllable metrical patterns, is realized when translated into Korean and Japanese. First, we examined the rhythm and confirmed the possibility of rhythm translation in Korean and Japanese. Although research on the translation of Chinese poetry has been conducted in various fields, translation trends have often overlooked the prosody and rhythm of the original text, primarily emphasizing semantics. Thus, as a formal component, this study focuses on rhythm theory in the translation methodology of Chinese poetry. Via comparative analysis of the rhythmic structures of poetry from Korea, China, and Japan, this study endeavors to present the rhythmic correspondences between Korean and Japanese translations. First, we compared and examined the syllable-timed systems that form the common foundation of formal poetry in Korea, China, and Japan. The results revealed that the metrical characteristics arising from linguistic differences are generally indicative of the impossibility of translation. In particular, traditional poetry in Korea, China, and Japan each have different prosodic qualities based on feet meter, tonal patterns, and syllable counts. While there is general agreement on the necessity of considering prosodic structures in Chinese poetry translation, metrical translation cannot serve as a viable alternative. However, Chinese poetry in the Chinese character culture did not exist only as Chinese literature but has also been shared as a common literary heritage in East Asia, where reading Chinese poetry in Classical Chinese has traditionally been enjoyed in Korea and Japan. Regarding the metrical reading of Chinese characters in both Korea and Japan, in Korea, postpositions were used in accordance with the word order of the Korean language to understand Chinese characters and recite Chinese poetry, while in Japan, Chinese characters were read by adding hiragana characters and engraving the meaning through reading. Through this aspect of metrical reading, Korean, Chinese, and Japanese poetry have a “syllable-timed system” as a common basis for rhythm theory. Furthermore, at the level of rhythm theory, similarity in metric rhythm was confirmed through isochronous foot division. At the level of rhythm theory, similarity in note rate was confirmed through isochronous rhythmic unit. Chinese poetry has a syllable-timed system of 2·2·1 or 2·1·2 for 5-character poems, and 2·2·2·1 or 2·2·1·2 for 7-character poems by caesura. In terms of rhythm, the 5-character poem is composed of the three feet meter of “OO OO O*,” and the 7-verse poem is composed of the four feet meter of “OO OO OO O*.” This is followed by caesura. This division is governed by tonal structure, where two characters comprise one rhythm unit, with the final character satisfying the tonal requirement along with the following one-character pause. Thus, the caesura based on rhythm ensures that each unit maintains isochrony, thereby constituting the metrical reading of Chinese poetry. In traditional Korean poetry, a consistent structure exists with three and four feet meter patterns, while in Chinese poetry, 5-character poems consist of three rhythmic units, and 7-character poems consist of four rhythmic units, thus forming a consistent rhythmic foundation throughout the poem. In the case of Korean translations, translating 5-character poems into three feet meter and 7-character poems into four feet meter patterns while taking the original semantic rhythm to effectively convey the intended meaning into account seems appropriate. On the other hand, in Japanese translations, focusing on reading Chinese characters, inevitably emphasizes the conveyance of meaning; therefore, responding in terms of metric rhythm is somewhat difficult. However, traditional Japanese poetry possesses both two and four feet meter patterns, thereby demonstrating a strong adherence to metric consistency, which allows for the possibility of reciting in three feet meter patterns through balanced utilization of pauses and excessive letters. Therefore, in Japanese translations, the current study attempts rhythm translation based on the original rhythmic correspondence, which seems to present no difficulty in conveying the intended meaning. From this perspective of rhythmic analysis, in both Korean and Japanese translations of Chinese poetry, rhythm can be reproduced by ensuring accurate conveyance of the original meaning while also considering an understanding of the rhythm of Chinese poetry as the basis for translation. Consequently, a harmonious sense of aesthetics could be realized.

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