Challenges and Approaches in Translating 'Ainu Kamuy Yukar' into Chinese : A Comparison with Japanese Translation - Part 1

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  • 『アイヌ神謡集』を中国語に翻訳する際の諸問題および対応方法 : 日本語訳との対照　その1
  • 『 アイヌシン ヨウシュウ 』 オ チュウゴクゴ ニ ホンヤク スル サイ ノ ショ モンダイ オヨビ タイオウ ホウホウ : ニホンゴ ヤク ト ノ タイショウ(ソノ 1)

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This paper takes the 'Ainu Kamuy Yukar' as a case study and proposes methods for translating Ainu poetry into Chinese, while comparing it with Japanese translations. We present approaches for style, Sakehe (the refrain of epic chants), prosody, accentuation, rhyme, as well as parallelism and repetition when translating Ainu poetic forms into Chinese. Regarding style, it is advisable to maintain the characteristics of Ainu Kamuy Yukar while using everyday language in the translation. For 'Sakehe,' we translate those with discernible meanings according to their intended meanings, while for those with unclear meanings, we follow the 'Ainu-Chinese Syllable Correspondence Table' and the 'World Biographical Dictionary of Translation' for syllable-to-character correspondence. Concerning syllable count, since Ainu poetry mainly centers on '5 syllables' and '4 syllables,' we align the Chinese translation with traditional Chinese poetic forms of '5 characters' and '7 characters.' As for accentuation, it is currently impossible to align it with Chinese prosody's '平仄' (flat and oblique tones) due to the uncertainty of how accentuation was utilized during the recitation of Ainu Kamuy Yukar. Regarding rhyme, while it's impossible to correspond to each rhyme scheme in Ainu poetry, we can translate while adhering to Chinese foot rhymes. For Ainu poetic elements like 'parallelism' and 'repetition,' it's generally suitable to match them with Chinese '对偶' (parallelism) and '顶真' (repetition).

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