流傳中國千餘年的傳奇女性，
A legendary woman who have been circulating in China for more than one thousand years.
一位總讓西方人霧裏看花的巾幗英雄
A woman hero that always mystifies westerners, just likes looking flowers through the mist (Mùlán is a kind of flowers in Chinese as well, namely "Magnolia").
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花木蘭 Mulan
Photo by Amazon |
二、〈木蘭辭〉中英賞析 Appreciate "The Ballad of Mùlán"
終於，建立基本的背景知識後，進入到本文真正的主題：〈木蘭辭〉。以下我將以國學的角度，試著分段解說、賞析，不是只有純粹的翻譯喔！另外，幸運的是，我在網路上找到由聖地牙哥加州大學的名譽教授所翻譯的「The Ballad of Mùlán」（學習中文者也可點擊此連結，網頁附有木蘭辭的漢語拼音），是目前個人看過翻得較好的譯文，因此以下我會引用其譯文，但基本還是會以我的理解大幅修改。
After establishing some background knowledge, we finally enter the real topic of this article: "The Ballad of Mùlán." I will try to explain and appreciate the ballad from the perspective of Chinese studies below, so it is not merely a translation! In addition, fortunately, I found "The Ballad of Mùlán" on the Internet translated by Prof. Jordan, a professor emeritus of anthropology at UCSD (Chinese learners can also click on this link, he offer the Chinese Pinyin of the ballad as well). Since his rendition is one of desirable translations I have seen so far, I quote it below; still, I will greatly modified by my understanding.
談到〈木蘭辭〉的體裁，〈木蘭辭〉其實有一個相當美的稱號：「樂府雙璧」，而另一塊璧即指中國第一首長篇敘事詩〈孔雀東南飛〉，兩者皆在中國文學史的長流中熠熠生輝，地位崇高。樂府簡言之是一種民歌，照現在來看就像大街小巷流行的歌謠。真要探究起來，樂府最早其實是指漢代的官職，由漢武帝設立，樂府官員的任務就是去民間採集歌謠，而這些官員搜集而來的歌辭，就如同現今歌曲的歌詞，也被後人統稱為樂府。之後許多人都喜歡參考這些漢代樂府辭，仿作自己的樂府，便逐漸形成了一種新的文學體裁。
When it comes to the genre of the ballad of Mùlán, it actually possesses a beautiful name: "Two Bi of Yuefu," namely two jades of poems, and another jade refers to the very first narrative poem in China: "Peacock Flies Southeast." These two jades have glinted in the long river of Chinese literature for thousands of years; their statuses are grand in our history. Specifically, Yuefu is simply a kind of folk songs or ballads. It is like a popular song you can hear in the streets. If we want to explore it much deeper, Yuefu is originally an official position of the Han Dynasty, set up by Emperor Wu of Han. The task of these "Yuefu" officials is to collect songs from the people. The songs recorded by these officials are similar to the song lyrics nowadays, commonly known as Yuefu in the ancient time as well. Afterwards, many people preferred to these Yuefu lyrics in Han Dynasty, so they imitated it and gradually formed a new literary genre also named "Yuefu."
值得一提的是，樂府受《詩經》的影響甚劇，也繼承了「敘事詩」賦比興的手法，並更加簡潔、歡快，還可以「對話」鋪陳發展。其實我個人認為，這種樂府的敘事詩已經可以看作是一種「短劇」，文字不僅白話、簡單，同時竟產生敘事情節的畫面感，在如此短小的結構中能有這樣的效果是相當讓人讚嘆的。此外，南北朝的人文風土迥異，造就北朝的樂府雄渾壯闊，南朝則委婉細緻，而〈木蘭辭〉正是北朝樂府的代表作。
What worth to mention is that Yuefu is influenced significantly by the "Classic of Poetry," and inherits its literary devices called "fù (straightforward narrative)," "bǐ (explicit comparisons)," "xìng (implied comparisons)." Furthermore, Yuefu is more concise, cheerful, and can be "dialogue" as well. In fact, I especially suggest that these kind of narrative poems can be regarded as a "short drama." Its text is not only vernacular and simple, but also produces the imagery of narrative. In such a short structure, the imagery it created is quite amazing. Additionally, the cultural environment of the Southern and Northern Dynasties is quite different. The Yuefu wrote by the North is magnificent and direct; by contrast, the South is delicate and euphemistic. Among of them, the ballad of Mùlán is exactly a masterpiece of the Northern Dynasty Yuefu.
〈木蘭辭〉通篇運用相當多「聲音」的描寫，用韻自由，且多重換韻，增添生動的氛圍，深入分析後，你會開始驚訝在看似沒有固定韻腳的表象下，作者卻能精準掌握轉換場景時最適宜的用韻。此間，修辭手法是絕對必須談到的重點環節，〈木蘭辭〉運用多種修辭手段：互文、頂針、排比、設問、對偶......等等，最後一句更是畫龍點睛之筆，流傳到後來還形成一句成語：「撲朔迷離」。最後，你甚至可以透過這篇敘事詩，同時瞭解到「原來古代士兵拿鐵鍋來打更」、「功勳原來有十二個等級」與「如何辨別兔子是公還是母」......等等這些有趣的生活小常識，不信的話，我們往下看吧！
The ballad of Mùlán adopts a lot of "sound" descriptions. Its structure of free and multiple rhyme creates a vivid atmosphere. Through an in-depth analysis, you will surprised that behind the seemingly free rhyme, the author still can accurately use the appropriate rhyme when converting scenes. Most important of all, rhetoric is a key point that must be talked about. The ballad of Mùlán uses a variety of rhetorical devices: intertextuality, anadiplosis, parallelism, question, antithesis, etc. And the last sentence is the finishing touch, also formed an idiom: "Roll Feet and Narrow Eyes (it means fuzzy)." Eventually, you can even learn from this narrative poem about "the Chinese ancient soldiers used iron pots to announce times," "the merit emperor granted had 12 levels," "telling a rabbit is male or female..." these interesting common sense of life. If you don't believe it, let's look down!
Click click click (the weaving sound): Mùlán sat in front of her door weaving.
不聞機抒聲，惟聞女歎息。
Suddenly, the loom’s resonant sound could not be heard over the girl’s sighs.
問女何所思，問女何所憶?
Asked what thoughts and memories led to this, she said,
「女亦無所思，女亦無所憶。
“ I should have neither thoughts, nor memories.
昨夜見軍帖，可汗大點兵。
But last night, I saw the military announcement; the khan was calling up soldiers.
軍書十二卷，卷卷有爺名。
There were many scrolls of military documents, and all listed father’s name.
阿爺無大兒，木蘭無長兄，
My father has no grown son, I have no big brother either.
願爲市鞍馬，從此替爺征。」
I want to buy a saddle and horse, and serve in father’s place.”
一開篇，映入眼簾的畫面是這樣的，請你試著想像一個鏡頭照入古代中國的院落，在還沒對焦前，卻先聽到織布機（機杼即織布機，杼是織布用的梭子）規律響亮的「ㄐ ～ㄐ ～ㄐ ～」聲，接著鏡頭逐漸清晰照在一個女子，正對著門織著布（古時的戶為「門」，與窗是分開的。我們看「戶」這個字就像半扇門對嗎？是的，它就是半扇門的象形字），她就是木蘭。沒想到下一秒，織布聲消失了，取而代之的是木蘭的嘆息聲。很有畫面感對嗎？聲音和景象巧妙搭配在一起，我們很輕易便能感受到一位待字閨中，貌似溫柔婉約（因為她起碼還會織布呀）但心事重重的木蘭。
作者以第三人稱介入，幫觀眾問出想問木蘭的問題：妳在想什麼啊？「女亦無所思、憶」木蘭一開始並不想透露，裝傻說自己沒有想什麼啦......然後就立馬話鋒一轉說出來了。這是不是很像現在的我們，明明很想說出心裡話但會先假意「經持」一下呢？木蘭道出緣由是看到爸爸（爺 = 爸，阿爺 = 阿爸）要被「可汗」徵兵了，因為「十二卷」軍書都有爸爸的名字。首先，可汗是天子的稱號之一，別以為可汗只能是蒙古的首領，事實上唐太宗也曾被尊稱為天可汗呢！另外，在此的軍書並不是真的有「十二卷」，以「虛數」來喻多，這是中文很常見的手法，這裡的十二同時也與之後的「策勛十二轉」相呼應，也是作者為讓歌謠更加工整、規律的巧思之一。
木蘭接著交代家中除了老父，並沒有其他符合徵兵條件的男人，而堅定的木蘭竟異想天開地希望能趕快去購買徵兵需用的馬匹與馬具（市 = 買），代父從軍。我們假設自己是木蘭的閨蜜，當下聽到她這麼說時，肯定會嚇傻、震驚，然後差點暈厥。在古代男尊女卑的年代裡，一個女人能有這樣的膽識和魄力是相當罕見的。傳統的中國女人，早點嫁出去就是對原生家庭最好的交代，沒有女子會想到要用這種方式來盡孝道。然而這種深閨婦女與巾幗英雄間形象的巨大差距，便是整起故事最吸引人的關鍵所在。
在這一段，光是修辭就有：對偶（不聞...惟聞...），讓形制更加工整；以設問、倒裝兼排比的對答（問女...問女...女亦...女亦），其中「何所思」是賓語前置的倒裝句，原意是「思所何」；頂針（十二卷...卷卷...），有承上啟下的意味；排比（阿爺無...木蘭無...）。而用韻方面，上半部韻腳：唧、織、息、思、憶，你沒看錯，古代「織」與「思」尾音都有「ㄧ 」，通押的狀況在樂府是很常見的，也就是說此段上半部幾乎每句都押，唸起來絕對韻律感十足。轉韻後，下半部韻腳：兵、名、兄、征，押的是「ㄥ 」韻。
我們另外可以從「嘴形」上看看用韻與情感的聯繫。當我們發「ㄧ 」的音時，是不是很像在低吟，無法大聲說話地嘆息呢？這是因為發「ㄧ 」的音我們無法張大嘴巴，而在這裏正好適合描繪木蘭滿懷心事、憂心忡忡的情景。「ㄥ 」的音則大有不同，嘴巴的狀態已張大許多，喉部壓低，發出較低沈、沈穩的聲音。事實上，「ㄥ 」的音有點像「戰鼓」：咚～咚～咚～。而在此木蘭正好也提到了「徵兵」，她堅定的表態同樣體現在穩定的聲音上。自此我們明白，除了結構上文字的來回復沓、歌謠的韻律，連聲音都能形塑出一體的美感，這便是中文博大精深的地方之一。
After establishing some background knowledge, we finally enter the real topic of this article: "The Ballad of Mùlán." I will try to explain and appreciate the ballad from the perspective of Chinese studies below, so it is not merely a translation! In addition, fortunately, I found "The Ballad of Mùlán" on the Internet translated by Prof. Jordan, a professor emeritus of anthropology at UCSD (Chinese learners can also click on this link, he offer the Chinese Pinyin of the ballad as well). Since his rendition is one of desirable translations I have seen so far, I quote it below; still, I will greatly modified by my understanding.
談到〈木蘭辭〉的體裁，〈木蘭辭〉其實有一個相當美的稱號：「樂府雙璧」，而另一塊璧即指中國第一首長篇敘事詩〈孔雀東南飛〉，兩者皆在中國文學史的長流中熠熠生輝，地位崇高。樂府簡言之是一種民歌，照現在來看就像大街小巷流行的歌謠。真要探究起來，樂府最早其實是指漢代的官職，由漢武帝設立，樂府官員的任務就是去民間採集歌謠，而這些官員搜集而來的歌辭，就如同現今歌曲的歌詞，也被後人統稱為樂府。之後許多人都喜歡參考這些漢代樂府辭，仿作自己的樂府，便逐漸形成了一種新的文學體裁。
When it comes to the genre of the ballad of Mùlán, it actually possesses a beautiful name: "Two Bi of Yuefu," namely two jades of poems, and another jade refers to the very first narrative poem in China: "Peacock Flies Southeast." These two jades have glinted in the long river of Chinese literature for thousands of years; their statuses are grand in our history. Specifically, Yuefu is simply a kind of folk songs or ballads. It is like a popular song you can hear in the streets. If we want to explore it much deeper, Yuefu is originally an official position of the Han Dynasty, set up by Emperor Wu of Han. The task of these "Yuefu" officials is to collect songs from the people. The songs recorded by these officials are similar to the song lyrics nowadays, commonly known as Yuefu in the ancient time as well. Afterwards, many people preferred to these Yuefu lyrics in Han Dynasty, so they imitated it and gradually formed a new literary genre also named "Yuefu."
值得一提的是，樂府受《詩經》的影響甚劇，也繼承了「敘事詩」賦比興的手法，並更加簡潔、歡快，還可以「對話」鋪陳發展。其實我個人認為，這種樂府的敘事詩已經可以看作是一種「短劇」，文字不僅白話、簡單，同時竟產生敘事情節的畫面感，在如此短小的結構中能有這樣的效果是相當讓人讚嘆的。此外，南北朝的人文風土迥異，造就北朝的樂府雄渾壯闊，南朝則委婉細緻，而〈木蘭辭〉正是北朝樂府的代表作。
What worth to mention is that Yuefu is influenced significantly by the "Classic of Poetry," and inherits its literary devices called "fù (straightforward narrative)," "bǐ (explicit comparisons)," "xìng (implied comparisons)." Furthermore, Yuefu is more concise, cheerful, and can be "dialogue" as well. In fact, I especially suggest that these kind of narrative poems can be regarded as a "short drama." Its text is not only vernacular and simple, but also produces the imagery of narrative. In such a short structure, the imagery it created is quite amazing. Additionally, the cultural environment of the Southern and Northern Dynasties is quite different. The Yuefu wrote by the North is magnificent and direct; by contrast, the South is delicate and euphemistic. Among of them, the ballad of Mùlán is exactly a masterpiece of the Northern Dynasty Yuefu.
〈木蘭辭〉通篇運用相當多「聲音」的描寫，用韻自由，且多重換韻，增添生動的氛圍，深入分析後，你會開始驚訝在看似沒有固定韻腳的表象下，作者卻能精準掌握轉換場景時最適宜的用韻。此間，修辭手法是絕對必須談到的重點環節，〈木蘭辭〉運用多種修辭手段：互文、頂針、排比、設問、對偶......等等，最後一句更是畫龍點睛之筆，流傳到後來還形成一句成語：「撲朔迷離」。最後，你甚至可以透過這篇敘事詩，同時瞭解到「原來古代士兵拿鐵鍋來打更」、「功勳原來有十二個等級」與「如何辨別兔子是公還是母」......等等這些有趣的生活小常識，不信的話，我們往下看吧！
The ballad of Mùlán adopts a lot of "sound" descriptions. Its structure of free and multiple rhyme creates a vivid atmosphere. Through an in-depth analysis, you will surprised that behind the seemingly free rhyme, the author still can accurately use the appropriate rhyme when converting scenes. Most important of all, rhetoric is a key point that must be talked about. The ballad of Mùlán uses a variety of rhetorical devices: intertextuality, anadiplosis, parallelism, question, antithesis, etc. And the last sentence is the finishing touch, also formed an idiom: "Roll Feet and Narrow Eyes (it means fuzzy)." Eventually, you can even learn from this narrative poem about "the Chinese ancient soldiers used iron pots to announce times," "the merit emperor granted had 12 levels," "telling a rabbit is male or female..." these interesting common sense of life. If you don't believe it, let's look down!
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[第一段 Paragraph one] 代父從軍 Serve in her father's place
唧唧複唧唧，木蘭當戶織。Click click click (the weaving sound): Mùlán sat in front of her door weaving.
不聞機抒聲，惟聞女歎息。
Suddenly, the loom’s resonant sound could not be heard over the girl’s sighs.
問女何所思，問女何所憶?
Asked what thoughts and memories led to this, she said,
「女亦無所思，女亦無所憶。
“ I should have neither thoughts, nor memories.
昨夜見軍帖，可汗大點兵。
But last night, I saw the military announcement; the khan was calling up soldiers.
軍書十二卷，卷卷有爺名。
There were many scrolls of military documents, and all listed father’s name.
阿爺無大兒，木蘭無長兄，
My father has no grown son, I have no big brother either.
願爲市鞍馬，從此替爺征。」
I want to buy a saddle and horse, and serve in father’s place.”
一開篇，映入眼簾的畫面是這樣的，請你試著想像一個鏡頭照入古代中國的院落，在還沒對焦前，卻先聽到織布機（機杼即織布機，杼是織布用的梭子）規律響亮的「ㄐ ～ㄐ ～ㄐ ～」聲，接著鏡頭逐漸清晰照在一個女子，正對著門織著布（古時的戶為「門」，與窗是分開的。我們看「戶」這個字就像半扇門對嗎？是的，它就是半扇門的象形字），她就是木蘭。沒想到下一秒，織布聲消失了，取而代之的是木蘭的嘆息聲。很有畫面感對嗎？聲音和景象巧妙搭配在一起，我們很輕易便能感受到一位待字閨中，貌似溫柔婉約（因為她起碼還會織布呀）但心事重重的木蘭。
織布機的聲音
Sound of loom
Sound of loom
作者以第三人稱介入，幫觀眾問出想問木蘭的問題：妳在想什麼啊？「女亦無所思、憶」木蘭一開始並不想透露，裝傻說自己沒有想什麼啦......然後就立馬話鋒一轉說出來了。這是不是很像現在的我們，明明很想說出心裡話但會先假意「經持」一下呢？木蘭道出緣由是看到爸爸（爺 = 爸，阿爺 = 阿爸）要被「可汗」徵兵了，因為「十二卷」軍書都有爸爸的名字。首先，可汗是天子的稱號之一，別以為可汗只能是蒙古的首領，事實上唐太宗也曾被尊稱為天可汗呢！另外，在此的軍書並不是真的有「十二卷」，以「虛數」來喻多，這是中文很常見的手法，這裡的十二同時也與之後的「策勛十二轉」相呼應，也是作者為讓歌謠更加工整、規律的巧思之一。
木蘭接著交代家中除了老父，並沒有其他符合徵兵條件的男人，而堅定的木蘭竟異想天開地希望能趕快去購買徵兵需用的馬匹與馬具（市 = 買），代父從軍。我們假設自己是木蘭的閨蜜，當下聽到她這麼說時，肯定會嚇傻、震驚，然後差點暈厥。在古代男尊女卑的年代裡，一個女人能有這樣的膽識和魄力是相當罕見的。傳統的中國女人，早點嫁出去就是對原生家庭最好的交代，沒有女子會想到要用這種方式來盡孝道。然而這種深閨婦女與巾幗英雄間形象的巨大差距，便是整起故事最吸引人的關鍵所在。
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| 傳統女性 vs. 花木蘭 Traditional vs. Martial
Photo by 壹讀
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在這一段，光是修辭就有：對偶（不聞...惟聞...），讓形制更加工整；以設問、倒裝兼排比的對答（問女...問女...女亦...女亦），其中「何所思」是賓語前置的倒裝句，原意是「思所何」；頂針（十二卷...卷卷...），有承上啟下的意味；排比（阿爺無...木蘭無...）。而用韻方面，上半部韻腳：唧、織、息、思、憶，你沒看錯，古代「織」與「思」尾音都有「ㄧ 」，通押的狀況在樂府是很常見的，也就是說此段上半部幾乎每句都押，唸起來絕對韻律感十足。轉韻後，下半部韻腳：兵、名、兄、征，押的是「ㄥ 」韻。
我們另外可以從「嘴形」上看看用韻與情感的聯繫。當我們發「ㄧ 」的音時，是不是很像在低吟，無法大聲說話地嘆息呢？這是因為發「ㄧ 」的音我們無法張大嘴巴，而在這裏正好適合描繪木蘭滿懷心事、憂心忡忡的情景。「ㄥ 」的音則大有不同，嘴巴的狀態已張大許多，喉部壓低，發出較低沈、沈穩的聲音。事實上，「ㄥ 」的音有點像「戰鼓」：咚～咚～咚～。而在此木蘭正好也提到了「徵兵」，她堅定的表態同樣體現在穩定的聲音上。自此我們明白，除了結構上文字的來回復沓、歌謠的韻律，連聲音都能形塑出一體的美感，這便是中文博大精深的地方之一。
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(Unfortunately, I cannot share with foreigners the whole complete analysis with Chinese studies, since the structure of Chinese and English is totally different. Moreover, I cannot barely analyze the ballad from its translation. Still, we can feel the sound and scene the author given to us, and realize the reason of Mùlán serving in her father's place. It is a pity of Westerners to learn the surface Chinese poems in such way, so I strongly suggest the people really fond of Chinese culture can learn our language. Then, when you come back to appreciate this ballad, you will marvel at the aesthetic sense consisted of its variegated rhetoric and association between rhyme and emotion.)
下回待續～ To be continued...
By Zoe Li
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