Earticle

초록

영어

Waka poems usually have syllabic rules, whereby the words that form a verse of poem are arranged according to the number of syllables regardless of the pitch, rhythm, or dynamics in those syllables. This paper contains a careful consideration of the retention or loss of rhythm (and, by implication, meaning) in the Korean translation of a waka. The rhythms in Japanese poetry are syllabic meters based on the pentameter and heptameter, which are divided into the beat structures 5-7 and 7-5. Translation of the 5-7 beat structure is particularly challenging as it could create a rather awkward rhythm or lose stability resulting from a widening of the gap between the synthetic and phonetic meter. Furthermore, the faithful translation of the rhythmic beauty of original works containing harmonized synthetic and phonetic meters is only possible to a certain extent. The translation of Korean folk music is an exception in that the rhythmic patterns of the original lyrics were successfully converted by quoting a 7-5 beat structure. On the other hand, the melody of a waka is intended as a so-called Pa-Jo breaking rhythm, constructed by adding or subtracting the rhythmic numbers, based on 5-7 or 7-5. However, if the function of Pa-Jo is not given careful attention during the process of translation, the meaning will differ from that of the original work. This is because the rhythm is as much connected with the meaning as it is with the sound. Additionally, we might think that the syllabic rhythm of the waka should be transferred to 3-4 or 4-4, which is the standard for lyrics of a sijo, i.e. a Korean ode poem. Even though the translation of the fixed syllabic rhythm of a waka is based on 5-7 and is therefore done literally, it is possible for this rhythm to have a natural flow. The translation would retain the fluid syllabic rhythm of a Korean ode poem, because of the variety of rhythmic meters and the flexibility of poetic transformation of Korean poems. That is, the direct translation of poetic rhythm should conjure feelings of familiarity rather than incompatibility and the effectiveness of the translation should be obvious.

일본어

和歌は、音節の高低․長短․強弱とは関係なく、詩の一行を構成することばが一定の音節の数によって整えられる音節の律格を持っている。本論文では、このような和歌が韓国語に翻訳されるときに韻律の側面で何を失い、何を可能にするのか、といった問題について考察してみた。日本詩歌の韻律は５音と７音を基調とする音数律といえるが、これは調べのうえで57調と７5調に分けられる。57調の歌が翻訳では、通辞的韻律と音声的韻律の距離をあけて落ち着かないリズムを生んだり、57調の持つ安定感と重量感を失ったりする。そして75調の翻訳においては、韓国の民謡調とされる75調を援用することによって、原作のリズムのパターンを成功的に変換することもできるが、通辞的韻律と音声的韻律が調和している原作の韻律的形式美を忠実に移すには限界がある。一方、和歌の律調は57調、または75調を基調としながらも、音数を足したり(字余り)、引いたり(字足らず)することによってリズムを破る、いわば破調を意図したりする。このような破調は、単純に音の問題ではなく、意味の問題と関わっているがゆえに、翻訳の過程で繊細にこの調べの機能と効果に注意しないと、翻訳詩は原作の意図から離れたものとなってしまう。そこで、韓国の伝統の詩歌である時調や歌辭の一般的な音数律とされる３４調や４４調に合わせて和歌の韻律を移さないと、我々になじんだ韻律への翻訳はできないと考えがちである。しかし、韓国の詩歌の音数律は実に多様で変容しやすい流動音数律であるので、５７音を基調とする和歌の固定音数律を５７音の歌に直訳しても、まるで韓国詩歌の音数律の一類、または変形のように受け入れられる。すなわち、５７音の韻律を直訳しても、その結果物に韻律的な違和感よりは親近性と有効性とを認めることができるといえよう。

목차

〈ABSTRACT〉
 1. 들어가며
 2. 57조의 번역과 그 문제
 3. 75조의 번역과 그 문제
 4. 자수 초과(字余り)의 번역과 그 문제
 5. 나가며-음수율 번역의 구속, 혹은 유효성-
 참고문헌(Reference)
 〈要旨〉

키워드

저자

• 朴一昊 [ 박일호 | 성신여자대학교 교수, 일본고전문학 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  일본학보 [The Korean Journal of Japanology]

• 간기

  계간

• pISSN

  1225-1453

• 수록기간

  1973~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 913 DDC 952