2025年4月21日 星期一

胡適《白話文學史》1928引的《法句經》;蘇錦坤著《法句經 --- 白話文版,含巴利文法分析》;支謙〈《法句經》序〉。《平家物語》

  



2025 04 蘇錦坤談日本古典《平家物語》

蘇錦坤分享了 1 則動態回顧。2025

日本古書《平家物語》的開卷詩
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照片是:日本京都地藏庵「一期一會」匾額。
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我常去的那家餐廳擺了兩排長長的《經典雜誌》(從第一期到147期),我常在等人或者等菜的時候隨手翻閱文章或照片。今天,我拿到的是58期,報導鄭成功的專輯。
翻到20頁,王孟亮〈從諾貝爾獎感受諸行無常〉,提到1969年諾貝爾生理醫學獎得主之一:Dr. Delbruke德布呂克在那年的得獎記者會,最後引用了一段日本詩來表達他的得獎感受:
「祇園精舍敲鐘聲,有『諸行無常』之響;
沙羅雙樹開花色,顯『盛者必衰』之理;
驕奢者必不長久,只猶如春夜之夢;
強猛者也終必亡,如同風前之塵埃。」
這是日本古書《平家物語》的開卷詩,
有一點像《三國演義》的〈西江月〉(滾滾長江東逝水,浪花淘盡英雄…)。
德布呂克可能是閱讀小泉八雲的翻譯(1850-1904, 愛爾蘭人,明治時代歸化成為日本人)。此詩有不同的翻譯:
祇園精舍之鐘聲,敲響諸行無常之法;
沙羅雙樹之花色,突顯盛者必衰之理;
奢暴之人運不久,一如南柯春夢短;
野心終有寂滅時,風前沙塵有如之。
祇園精舎の鐘の聲
諸行無常のひびきあり
沙羅雙樹の花の色
盛者必衰のことわりをあらはす
おごれる者も久しからず
ただ春の夜の夢のごとし
たけき者もつひには滅びぬ
ひとへに風のまへの塵におなじ
在日本是盡人皆知的名句。
周作人漢譯:
祇園精舍的鐘磬,敲出人生無常的響聲;
娑羅雙樹的花色,顯示盛極必衰的道理。
驕奢者不久長,猶似春夢;
強梁者必消逝,恰如輕塵。
這首詩的骨幹,基本上是漢譯《法句經》:
《法句經》卷1〈1 無常品〉:
「所行非常, 謂興衰法, 夫生輙死, 此滅為樂。 」
(CBETA, T04, no. 210, p. 559, a11-12)
《法句經》卷1〈1 無常品〉:
「常者皆盡、 高者亦墮、
合會有離、 生者有死, 」
(CBETA, T04, no. 210, p. 559, a19-20)
《賢愚經》卷1〈1 梵天請法六事品〉:
『常者皆盡, 高者必墮,
合會有離, 生者有死。』
(CBETA, T04, no. 202, p. 350, a1-2)
《法集要頌經》卷1〈1 有為品〉:
「聚集還散壞, 崇高必墜落,
生者皆盡終, 有情亦如是。」
(CBETA, T04, no. 213, p. 777, b25-26)


2022年3月11日 
分享對象:所有人
所有人
讀林皎碧女士介紹鈴木春信(1724-1770)的《平家物語 紅葉》之浮世繪(致謝)後,讀周作人和鄭清茂兩大譯家及H. KITAGAWA等人英譯 THE TALE OF THE HEIKE的相關部分
hctranslations.blogspot.com
讀林皎碧女士介紹鈴木春信(1724-1770)的《平家物語 紅葉》之浮世繪(致謝)後,讀周作人和鄭清茂兩大譯家及H. KITAGAWA等人英譯


 翻譯簡評

https://www.facebook.com/hanching.chung/videos/3505285223031352

《平家物語》有一段講到高倉天皇(1161-1181)秉性溫和,據說有宮中僕人把天皇最愛的紅葉撿去溫酒,他非但不怪罪還讚美僕人風雅,千古傳為佳話。
鈴木春信(1724-1770)這幅浮世繪的靈感,可能來自高倉天皇的傳說吧?屋外葉子已染紅,屋內花魁和禿(貼身丫鬟也是實習生)正以紅葉溫酒,不過看到屏風上的題詩「林間煖酒燒紅葉」,不禁讓人懷疑畫家的靈感也許來自白居易的「林間煖酒燒紅葉,石上題詩掃綠苔」吧?
真正追根究底,古日本文學當中,有不少中國文學的影子,也許連高倉天皇的故事也是來自白居易的詩吧?




放棄講"佐伯祐三と中村彝;愛羅先珂等",去 讀林皎碧女士介紹鈴木春信(1724-1770)的《平家物語 紅葉》之浮世繪後,讀周作人和鄭清茂兩大譯家的相關部分

https://www.facebook.com/hanching.chung/videos/269646841998852


THE TALE OF THE HEIKE的相關部分,很明白清楚,甚至不用註解。

SCARLET-TINGED LEAVES

I wonder who taught the servants the essence of Chinese poem ' Warming sake in the woods by burning maple leaves?"

 




Hanching Chung 的直播影片。

2022年3月11日 
分享對象:所有人
所有人
讀林皎碧女士介紹鈴木春信(1724-1770)的《平家物語 紅葉》之浮世繪(致謝)後,讀周作人和鄭清茂兩大譯家及H. KITAGAWA等人英譯 THE TALE OF THE HEIKE的相關部分https://www.facebook.com/hanching.chung/videos/3505285223031352
0:16 / 4:46



The Nobel ceremonies are of a nature similar to the one I referred to. Here too scientists are brought together with a writer. Again the scientists can look back on a life during which their work addressed a diminutive audience while the writer, in the present instance Samuel Beckett, has had the deepest impact on men in all walks of life. We find, however, a strange inversion when we come to talking about our work. While the scientists seem elated to the point of garrulousness at the chance of talking about themselves and their work, Samuel Beckett, for good and valid reasons, finds it necessary to maintain a total silence with respect to himself, his work, and his critics. Even though I was more thrilled by the award of the Nobel Prize to him than about the award to me and momentarily looked forward with intense anticipation to hearing his lecture, I now realize that he is acting in accordance with the rules laid down by the old witch at the end of a marionette play entitled “The Revenge of Truth”6.

“The truth, my children, is that we are all of us acting in a marionette comedy. What is more important than anything else in a marionette comedy is keeping the ideas of the author clear. This is the real happiness in life and now that I have at last come into a marionette play, I will never go out of it again. But you, my fellow actors, keep the ideas of the author clear. Aye, drive them to the utmost consequences.”https://www.nobelprize.org/prizes/medicine/1969/delbruck/lecture/

諾貝爾頒獎典禮的性質與我提到的類似。在這裡,科學家也與作家相聚一堂。再次,科學家可以回顧他們的一生,其作品只針對一小部分讀者,而作家(本文中提到的塞繆爾·貝克特)則對各行各業的人們產生了最深遠的影響。然而,當我們談論我們的工作時,我們發現了一種奇怪的逆轉。科學家似乎因為有機會談論自己和自己的工作而興奮不已,甚至有些喋喋不休,而塞繆爾·貝克特卻出於正當理由,認為有必要對自己、自己的工作以及批評者保持絕對沉默。儘管我對於他獲得諾貝爾獎比對於我獲得諾貝爾獎更加激動,並且一度熱切地盼望著聽到他的演講,但我現在意識到,他正在按照木偶劇《真相的複仇》6 結尾處老巫婆制定的規則行事。


孩子們,事實上,我們都在演一齣木偶喜劇。在木偶喜劇中,最重要的是保持作者的思路清晰。這才是人生真正的幸福,如今我終於進入了木偶劇,就再也離不開它了。而你們,我的演員夥伴們,要保持作者的思路清晰。是的,要讓作者的思維發揮到極致


Max Delbrück (1906-1981) was a biophysicist and Nobel laureate who made seminal discoveries in the DNA-based replication of viruses. He was a pioneer in molecular genetics, and, unlike so many scientists of today, he had a profound understanding of the philosophical underpinnings of modern biology. He was a life-long student of Aristotle, and in his Nobel acceptance speech he credited the Stagirite with remarkable prescience of molecular genetics.

Delbrück:

At the very beginnings of science the striking dissimilarities between the behavior of living and nonliving things became obvious. Two tendencies can be discerned in the attempts to arrive at a unified view of our world. One tendency is to use the living organism as the model system. This tendency is exemplified by Aristotle. For him, the son of a physician and the keen observer of many forms of life, it was obvious that things develop according to plans. Every animal and plant is generated in some definite way, runs through a cycle of development in which it unfolds its inherent plan, and succumbs to death and decay. For Aristotle, this very obvious feature of the world which surrounds us is the model for understanding our (sublunar) world.

In antiquity, there were two views of how the gametes transmitted life. Many pre-Socratic philosophers believed that miniature replicas — homunculi — of the parents were incorporated in the sperm. Aristotle insisted that the transmission of life was a transmission of form, not of matter. The transmission of life from parent to child was the transmission of a plan, which could be understood as a principle incorporated in matter but ontologically distinct from matter.

In a paper written shortly after his Nobel lecture, Delbrück endorsed Aristotle’s anti-reductionism and noted the “essential beauty” of a living organism, understood as a complete individual:

Just so one should approach the study of any animal with reverence, in the certainty that any of them are natural and beautiful. I say “beautiful” because in the works of nature and precisely in them there is always a plan and nothing accidental. The full realization of the plan, however, that for which a thing exists and towards which it has developed, is its essential beauty. Also one should have it clearly in mind that one is not studying an organ or a vessel for its own sake but for the sake of the functional whole. One deals with a house, not with bricks, or wood. Thus the natural scientist deals with the functional whole, not with its parts, which as separate entities have no existence.

The author at Bioperipatetic notes:

Biogenesis, the development of entire organisms from strands of DNA containing the “plans” for all possible protein molecules needed to create and to continuously sustain the life of a given species, is a dramatic case of emergence. Life cannot be reduced to the molecular properties of DNA alone. What is needed is to explain the dynamics of biogenesis and the incredibly intricate coordination and synchronization of complex activities within each individual living cell that bring about the emergence and maintenance of life itself. For a dramatic presentation of the profound complexity, and intricate orchestration of life processes within each of the 120 trillion cells in each of our bodies, view the 7-part series: Secret Universe: The Hidden Life of the Cell.

Bioperipatetic goes on:

Soon after delivering that Nobel lecture, Max Delbrück, in 1971, wrote a paper in homage to Aristotle’s brilliant theory, entitled “Aristotle — totle — totle” (and later in a personal letter to a dear relative with the title: “How Aristotle Discovered DNA.”), recommended that Aristotle be awarded the Nobel prize in biology for his discovery of the principle underlying DNA, i.e., a plan as the causal principle for the creation of a new organism. Thus the plan is used to guide the future development of the new born, but is itself unchanged in the process.

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 7月23日反思 0723 2021:蘇錦坤著《法句經 --- 白話文版,含巴利文法分析》;胡適《白話文學史》引的《法句經》。1906年維也納

https://www.facebook.com/hanching.chung/videos/512659496458652


問:吳天竺沙門維祇難等譯法句經經 各品名,對應你的新著之品名

今天 預計談:      7月23日反思 0723 2021:蘇錦坤著《法句經 --- 白話文版,含巴利文法分析》;胡適《白話文學史》引的《法句經》

蘇錦坤答:

吳天竺沙門維祇難,這是來自五天竺的出家人維祇難,約於西元224年帶到三國的吳地建康(今日的南京市)寫本《法句經》(五百首偈頌),雖稱 維祇難所翻譯,其實他僅帶來經本而不懂漢語實際上參加翻譯的是支謙和竺將焰兩位,古代慣例,在經典名稱之下,只寫下帶來經本的人。
在支謙所寫的〈《法句經》序〉當中,提到支謙知道古代的《法句經》至少有五百頌、七百頌和九百頌三種,而且支謙自稱他見過「七百頌」的漢譯本。
支謙和竺將焰開始翻譯了「五百頌本」,而且自稱「譯所不解,則缺不傳;故有脫失,多不出者」,這一次翻譯了26品,我估計偈頌數量不會超過四百首。
在這之後若干年,支謙遇到「竺將炎(竺律炎)」(我們不能確切知道這兩位是否同一人,我認為是不同的兩個人),這一次又翻譯了十三品,所以支謙自稱,總共翻譯了三十九品,752首偈頌。
但是,不幸的是,他將前面的二十六品和後面的十三品混排在一起,不只是「品」混排,也把後面翻譯的 352首偈頌的一部份,安排到前面的二十六品當中。
所以,現在學術的主流沒有例外地一致認為,支謙第一次翻譯的二十六品是從第九品到35品(中間扣除第33品〈利養品〉),這個次序就完全是我翻譯的二十六品的品名,也就是號稱西元前89年就以文字記載下來的「巴利《法句經》」(總共423首偈頌)。
這是一個翻譯史上的奇蹟,支謙居然把一些翻譯過程的細節寫在一篇〈序〉上,而且很幸運地還保存了下來,現在對這一篇序的古代紀錄是「作者不詳」。
如果缺了支謙這一篇序,會留下更多的空白和謎團。

--

Ken Su

*****

2016/07/21 — 而《法句經》別有數部,有九百偈,或七百偈,及五百偈。偈者經語,猶詩頌也。是物見事而作,非一時言,各有本末,布在諸經。佛 ...
蘇錦坤 著2014 — 關於《法句經》的研究,近代有印順法師的〈法句〉14提. 到「維祇難《法句經》初譯與錫蘭本大體一致」與林梅村的. 〈犍陀羅語《法句經》殘卷初步研究〉主張「葛氏七百偈本 ...
28 ページ

法句經(梵語:धर्मपद Dharmapada;印度俗語、巴利語:धम्मपद Dhammapada),又譯為曇鉢經、曇鉢偈,為佛教重要典籍;是佛陀所說偈頌的合集,也是傳播 ...

無常品第一[4]二十有一章

無常品者寤欲昏亂榮命難保[5]道是

若人壽百歲  
邪學志不善
不如生一[44]  
精進受正法
若人壽百歲  
奉火修異術
不如須臾[45]  
事戒者福[46]稱.......
53]能捨三惡  
以藥消眾毒
健夫度生死  
如蛇脫故皮

https://cbetaonline.dila.edu.tw/zh/T0210

***西元224年支謙翻譯的

事日為明故  
事父為恩故
事君以力故  
聞故事道人

https://nianjue.org/article/53/534742.html

人們之所以敬畏太陽是因為他能給人帶來光明,人們之所以敬重父親是因為他於自己有恩,人們之所以尊重君主是因為他有強大的武力,人們之所以事奉有道之人是因為他多聞佛法的緣故。(十二)




[20]無過憂  
射箭無過[*]
是壯莫能拔  
唯從多聞除
盲從是得眼  
闇者從得燭
[21]導世間人  
如目[22]無目



胡適《白話文學史》引的《法句經》

法句经,教学品. ... 法救尊者是公元一世紀的北印度人,他重新整理古來傳誦的佛祖法句,編集出新的《法句經》。 法句,或譯法跡。法,是佛弟子所行與所證的。

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精彩。真說得上“悅讀”。
恭賀Ken 新書造福世界。
收到書本了,
可在網路上閱讀。
《法句經 --- 白話文版,含巴利文法分析》(https://nanda.online-dhamma.net/....../dhp-Ken-Y-Su/)。