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HN VIỆT DỊCH S LƯỢC

GS Nguyễn Hữu Quang

Nguyn Giảng Vin Vật L Chuyn về Cơ Học Định Đề
(Axiomatic Mechanics, a branch of Theoretical Physics)
tại Đại Học Khoa Học Si Gn trước năm 1975

 

 

 

CHƯƠNG 21

 

DỊCH-THƯ TRƯỚC-LUẬN

 



 

 (Tiếp theo Kỳ 158) 

 

THƯ TỊCH KHẢO

 

220 Chu Dịch Chỉ 周易指, 8 Tập, Nhất-bản, ThanhHạc-điền Đoan-Mộc Quốc-Hồ 鶴田端木國瑚 soạn, Tn-văn-phong, Đi-bắc, thng 7-1995.

237 (4. Dịch Vỹ Kiền Tạc Độ 易尾乾鑿度 (2 Quyển);

      5. Dịch Vỹ Thng Qui Nghiệm 易尾通卦驗 (2 Quyển);

263 The I Ching or Book of Changes, Third Edition, Bollingen Series XIX, by Richard Wilhelm, rendered in English by Cary F. Baynes, Foreword by C. J. Jung, Preface to the Third Edition by Hellmut Wilhelm, Princeton University Press, 1967. 

278 Chu Dịch Chiết Trung 周易折中, Ti-bản, Thượng-Hạ Tập, Thanh Đại-học-sĩ L Quang-Địa 李光地 toản, Chn Thiện Mỹ, Đi-bắc, Thng 7-1981.  

279 Chu Dịch Thuật 周易, Đệ-nhất-bản, Thanh Huệ-Đống 惠棟 trước, Học-hải-đường Bản, Cổ-tịch Thư-điếm, Thin-tn, Thng 10-1989. 

297 Dịch Nhất Qun 易一, Sơ-bản, Thanh ● L Điều-Dương 調陽 trước, Tn-văn-phong, Đi-bắc, Thng 10-1979.  

298 Dịch Tượng Sao 易像, Sơ-bản, Minh ● Hồ Cư-Nhn 居仁 soạn, in Đại-Dịch Lọai-Tụ Sơ-tập IX, Tn-văn-phong, Đi-bắc, Thng 10-1983.  

306 Dịch Thng Biến 易通變, Nhất-bản, Tống  Trương Hnh-Thnh 張行成 soạn, in Thuật-số Tng-thư #6 (tr. 204-368) & #7 (tr. 1-367), Tn-văn-phong, Đi-bắc, Thng 4-1995. 

308 Trang-tử Nam-Hoa-Kinh (Nội, Ngoại v Tạp-Thin), Thu Giang Nguyễn-Duy-Cần dịch v bnh-ch, Khai-Tr, Si-gn, 1962. 

310 Lo-tử Đạo-Đức-Kinh, Hạo-nhin Nghim-Toản Thiệu-văn-thị dịch-thuật, Khai-Tr, Si-gn, 1969. 

315 Chu-Dịch Thiền-giải 周易禪解 , Sơ-bản, Ngẫu ch Tr-Hc Đại-sư 蕅益智旭大師 trước, Tn-văn-phong, Đi-bắc, Thng 10-1979. 

317 Hong-Cực Kinh-Thế Quan-vật Ngoại-thin Diễn-nghi 皇極經世觀物外篇衍義, Sơ-bản, Tống Trương Hnh-Thnh 張行成 soạn, Vũ-lăng, Đi-bắc, Thng 3-1991.

335 Chu-Dịch Tập-giải Toản-sớ周易集解攥疏, ti-bản, Đường L Đỉnh Tộ 李鼎祚 tập-giải, Thanh L Đạo-Bnh  toản-sớ, Quảng-văn Thư-cục, Đi-bắc, Thng 6-1989.

338 Tống Nguyn Học-n 宋元學案, Ton tam Sch, Ngũ-bản, Thanh Hong Tng-Hy 黃宗羲 trước, Thế-giới Thư-cục, Đi-bắc, Thng 9-1991.

379 Chu Dịch Truyền-tập-lục 周易傳習, Nhất-bản Nhị-lot, in Hn-văn Đại-hệ XVI, Itō Tōgai (Y Đằng Đng Nhai 伊藤東涯) trước, v được Itō Zhenshō (Y Đằng Thiện Thiều 伊藤善韶) đề tựa, Tn-văn-phong, Đi-bắc, Thng 4-1996.

386 Chu-Dịch Xiển Chn 周易闡真, Th-vn-sơn Ngộ-nguyn-tử Lưu Nhất Minh 棲 雲 山 悟 元 子 劉 一 明 Thể-thuật, in Thuật-số Tng-thư 53, Nhất-bản, Tn-văn-phong, Đi-bắc, thng 8-1995.

413 Ma-Y Đạo-giả Chnh-Dịch Tm-php , Trần-Đon   thụ v tiu-tức, Tn-văn-phong, Đi-Bắc, Thng 6-1987.

414 Dịch Qui Tm-Giải 易卦心解, Đi Nhất-bản, Sa-mn Thch Vĩnh Định trước, Tn-văn-phong, Đi-Bắc, Thng 10-1998.

434 Five Golden Rules, Great Theories of the 20th-Century Mathematics - and Why They Matter, by John L. Casti, John Wiley & Sons, Inc., New York, Chichester, Brisbane, Toronto, Singapore, 1996.

444 Hạ Mạnh-tử, in kỳ nh, Dịch-giả : Đon-Trung-Cn, Tr-đức Tng-thơ, Si Gn, Thng 9-1950.  

 

PHỤ-LỤC

 Kanbun 漢文 (Hn -Văn)

The Japanese word kanbun or kambun (漢文?, "Han/Chinese writing") originally meant "Classical Chinese writings, Chinese classic texts, Classical Chinese literature". This evolved into a Japanese method of reading annotated Classical Chinese in translation (c.f. interlinear gloss for European tradition). Much Japanese literature was written in literary Chinese using this annotated style. As this was the general writing style for official and intellectual works for many centuries, Sino-Japanese vocabulary makes up a large portion of the modern Japanese language lexicon, and much old Chinese literature is accessible to Japanese readers in some semblance of the original.

Contents

 

History

The Japanese writing system originated through adoption and adaptation of Written Chinese. Japan's oldest books (e.g., Kojiki and Nihon Shoki) and dictionaries (e.g., Tenrei Banshō Meigi and Wamyō Ruijushō) were written in kanji and kanbun. Other Japanese literary genres have parallels; the Kaifūsō is the oldest collection of Kanshi (漢詩?, Hn-thi"Han/Chinese poetry") "Chinese poetry composed by Japanese poets". Burton Watson's (1975, 1976) English translations of kanbun compositions provide a good introduction to this literary field.

Roy Andrew Miller notes that although Japanese kanbun conventions have Sinoxenic parallels with other traditions for reading Classical Chinese like Korean hanmun 한문 (漢文) and Vietnamese Hn Văn (Hn Văn/漢文), only kanbun has survived into the present day. He explains how

in the Japanese kanbun reading tradition a Chinese text is simultaneously punctuated, analyzed, and translated into classical Japanese. It operates according to a limited canon of Japanese forms and syntactic structures which are treated as existing in a one-to-one alignment with the vocabulary and structures of classical Chinese. At its worst, this system for reading Chinese as if it were Japanese became a kind of lazy schoolboy's trot to a classical text; at its best, it has preserved the analysis and interpretation of large body of literary Chinese texts which would otherwise have been completely lost; hence, the kanbun tradition can often be of great value for an understanding of early Chinese literature. (1967:31)

William C. Hannas points out the linguistic hurdles involved in kanbun transformation.

Kambun, literally "Chinese writing," refers to a genre of techniques for making Chinese texts read like Japanese, or for writing in a way imitative of Chinese. For a Japanese, neither of these tasks could be accomplished easily because of the two languages' different structures. As I have mentioned, Chinese is an isolating language. Its grammatical relations are identified in subjectverbobject (SVO) order and through the use of particles similar to English prepositions. Inflection plays no role in the grammar. Morphemes are typically one syllable in length and combine to form words without modification to their phonetic structures (tone excepted). Conversely, the basic structure of a transitive Japanese sentence is SOV, with the usual syntactic features associated with languages of this typology, including postpositions, that is, grammar particles that appear after the words and phrases to which they apply. (1997:32)

He lists four major Japanese problems: word order, parsing which Chinese characters should be read together, deciding how to pronounce the characters, and finding suitable equivalents for Chinese function words.

According to John Timothy Wixted, scholars have disregarded kanbun.

In terms of its size, often its quality, and certainly its importance both at the time it was written and cumulatively in the cultural tradition, kanbun is arguably the biggest and most important area of Japanese literary study that has been ignored in recent times, and the one least properly represented as part of the canon. (1998:23)

A promising new development in kanbun studies is the Web-accessible database being developed by scholars at Nishōgakusha University in Tokyo (see Kamichi and Machi 2006).

Conventions and terminology

Compositions written in kanbun used two common types of Japanese kanji (漢字?, "Chinese characters") readings: Sino-Japanese on'yomi (音読み "pronunciation readings") borrowed from Chinese pronunciations and native Japanese kun'yomi (訓読み?, "explanation readings") from Japanese equivalents. For example, can be read as adapted from Middle Chinese /dấw/[1] or as michi from the indigenous Japanese word meaning "road, street".

Kanbun implemented two particular types of kana: okurigana (送り仮名?, "accompanying script"), "kana suffixes added to kanji stems to show their Japanese readings" and furigana (振り仮名?, "brandishing script"), "smaller kana syllables printed/written alongside kanji to indicate pronunciation".

Kanbun as opposed to Wabun (ja:和文?, Ho-văn"Wa (Japan) writing") meaning "Japanese text, composition written with Japanese syntax and predominately kun'yomi readings" is subdivided into several types.

  • jun-kanbun (純漢文?, Thuần-Hn-văn"pure/genuine Chinese writing") "Chinese text, composition written with Chinese syntax and on'yomi Chinese characters"
  • hakubun (白文?, "white/blank writing") "unpunctuated kanbun text without reading aids"
  • Wakan konkōbun (ja:和漢混交文?, Ho-Hn Hỗn-giao-văn"mingled Japanese and Chinese writing") "Sino-Japanese composition written with Japanese syntax and mixed on'yomi and kun'yomi readings"
  • hentai-kanbun (ja:変体漢文?, Biến-thể Hn-văn "deviant/abnormal Chinese writing") "Chinese modified with Japanese syntax; a Japanized version of classical Chinese"

Jean-Nol Robert describes kanbun as a "perfectly frozen, 'dead,' language" that was continuously used from the late Heian Period until after World War II.

Classical Chinese, which, as we have seen, had long since ceased to be a spoken language on the mainland (if indeed it had ever had been), has been in use in the Japanese archipelago longer than the Japanese language itself. The oldest written remnants found in Japan are all in Chinese, though it is a matter of considerable debate whether traces of the Japanese vernacular are to be found in them. Taking both languages together until the end of the nineteenth century, and taking into account all the monastic documents, literature in the widest sense of the term, and texts in "near-Chinese" (hentai-kanbun), it is entirely possible that the sheer volume of texts written in Chinese in Japan slightly exceed what was written in Japanese. (2006:32)

Inasmuch as Classical Chinese was originally unpunctuated, the kanbun tradition developed various conventional reading punctuation, diacritical, and syntactic markers.

  • kunten (訓点?, "explanation mark") "guiding marks for rendering Chinese into Japanese"
  • kundoku (ja:訓読?, "explanation reading") "the Japanese reading/pronunciation of a kanji character"
  • kanbun kundoku (ja:漢文訓読?, "Chinese writing Japanese reading") "a Japanese reading of a Chinese passage"
  • okototen (ja:乎古止点?, "inflectional dot marks") "diacritical dots on characters to indicate Japanese grammatical inflections"
  • kutōten (ja:句読点?, "phrase reading marks") "punctuation marks (e.g., comma and period)"
  • kaeriten (ja:返り点?, "return marker") "marks placed alongside characters indicating their Japanese ordering is to be 'returned' (read in reverse)"

Kaeriten grammatically transform Classical Chinese into Japanese word order. Two are syntactic symbols, the | tatesen (ja:縦線?, "vertical bar") "linking mark" denotes phrases and the reten (レ点?, "[katakana] re mark") denotes "return/reverse marks". The rest are kanji commonly used in numbering and ordering systems: 4 numerals ichi "one", ni "two", san "three", and yon "four"; 3 locatives ue "top", naka "middle", and shita "bottom"; 4 Heavenly Stems kinoe "first", kinoto "second", hinoe "third", and hinoto "fourth"; and the 3 cosmological sansai (三才 "three worlds", see Wakan Sansai Zue?) ten "heaven", chi "earth", and jin "person". For written English, these kaeriten would correspond with 1, 2, 3; I, II, III; A, B, C, etc.

As an analogy for kanbun "mentally changing the word order" from Chinese sentences with subjectverbobject (SVO) into Japanese subjectobjectverb (SOV), John DeFrancis (1989:132) gives this example of using an English (another SVO language) literal translation to render the Latin (another SOV) Commentarii de Bello Gallico opening.

Gallia

est

omnis

divisa

in

partes

tres

2

3

1

4

5

7

6

Gaul

is

all

divided

into

parts

three

DeFrancis (1989:133) adds, "A better analogy would be the reverse situationCaesar rendering an English text in his native language and adding Latin case endings."

Two English textbooks for students of kanbun are by Crawcour (1965, reviewed by Ury 1990; available for download here: [1]) and Komai and Rohlich (1988, reviewed by Markus 1990 and Wixted 1998).

Example

Kaeriten Example from Hanfeizi

The illustration to the right exemplifies kanbun. These eight characters are the well-known first line in the Han Feizi story (chap. 36, 難一 "Collection of Difficulties, No. 1") that first recorded the word modn (Japanese mujun, 矛盾 "contradiction, inconsistency", lit. "spear-shield"), illustrating the irresistible force paradox. In debating with a Confucianist about the legendary Chinese sage rulers Yao and Shun, Legalist Master Han Fei argues that you cannot praise them both because you would be making a "spear-shield" contradiction. The context, in a word-for-word English translation, reads:

A-man from-Ch'u was-selling spears and shields. Praising them, he-said: My shields are so-hard-that [of all] things none can defeat-them. Again, praising his spears, he-said: My spears are so-sharp-that [of all] things none can defeat-them. Someone said: What if with your spear [I were to] defeat your shield? That man was not able-to respond." (tr. Wu 1997:111)

Since Chinese and English both have subjectverbobject grammatical order, literally translating this first sentence is straightforwardly understandable, excepting the final particle zhě "one who; that which", which is a nominalizer that marks a pause after a noun phrase.

Chǔ

rn

yǒu

y

dn

mo

zhě

Chu

person

was

selling

shields

and

spears

(nominalizer)

The original Chinese sentence is marked with five Japanese kaeriten as:

楚人有盾與矛者

To interpret this, the character "was" marked with shita "bottom" is shifted to the location marked by ue "top", and likewise the character "sell" marked with ni "two" is shifted to the location marked by ichi "one". The re "reverse mark" indicates that the order of the adjacent characters must be reversed. Or, to represent this kanbun reading in numerical terms:

1

2

8

6

3

5

4

7

Following these kanbun instructions step by step transforms the sentence into Japanese subjectobjectverb grammatical order. The Sino-Japanese on'yomi readings and meanings are:

So

jin

jun

mu

yo

iku

sha

Chu

person

shields

spears

and

sell

(nominalizer)

was

Next, Japanese function words and conjugations can be added with okurigana, and Japanese to ... to ... "and" can be substituted for Chinese "and", specifically, the first is treated as the reading of , and the second, an additional function word:

楚人に盾と矛とを鬻ぐ者有り

Lastly, kun'yomi readings for characters can be annotated with furigana. Normally furigana are only used for uncommon kanji or unusual readings. This sentence's only uncommon kanji is hisa(gu) 鬻ぐ "sell, deal in", a literary character which neither Kyōiku kanji nor Jōyō kanji includes. However, in kanbun texts it is relatively common to use a large amount of furigana -- often there is an interest in "recovering" the readings used by people of the Heian or Nara periods, and since many kanji can be read either with on- or kun-yomi in a kanbun text, the furigana can show at least one editor's opinion of how it may have been read.

()(ひと)(たて)(ほこ)とを(ひさ)(もの)()

The completed kundoku translation with kun'yomi reads as a well-formed Japanese sentence:

So

hito

ni

tate

to

hoko

to

o

hisa

gu

mono

a

ri

Chu

people

among

shields

and

spears

and

(directobject)

sell-

ing

-er

exist-

s

Coming full circle, this annotated Japanese kanbun example back-translates: "There is a man from Chu who was selling shields and spears," or more idiomatically, "There was a man from Chu who was selling shields and spears."

Unicode

Kanbun were added to the Unicode Standard in June, 1993 with the release of version 1.1.

Alan Wood (linked below) says: "The Japanese word kanbun refers to classical Chinese writing as used in Japan. The characters in this range are used to indicate the order in which words should be read in these Chinese texts."

Two Unicode kaeriten are grammatical symbols (㆐㆑) for "linking marks" and "reverse marks". The others are organizational kanji for: numbers (㆒㆓㆔㆕) "1, 2, 3, 4"; locatives (㆖㆗㆘) "top, middle, bottom"; Heavenly Stems (㆙㆚㆛㆜) "1st, 2nd, 3rd, 4th"; and levels (㆝㆞㆟) "heaven, earth, person".

The Unicode block for kanbun is U+3190U+319F:

 

References

  • Aldridge, Edith. 2000. "Principles of Hentai Kanbun Word Order: Evidence from the Kojiki," in Language Change in East Asia, ed. Thomas E. McAuley, pp. 207232. Stanford University Press.
  • Crawcour, Sydney. 1965. An Introduction to Kanbun. Michigan Center for Japanese Studies.
  • DeFrancis, John. 1989. Visible Speech: The Diverse Oneness of Writing Systems. University of Hawaii Press.
  • Hannas, William C. 1997. Asia's Orthographic Dilemma. University of Hawaii Press.
  • Kamichi Kōichi 上地宏一 and Machi Senjurō 町泉寿郎. 2006. "The Kambun Database at Nishgakusha University 二松学舎大学 日本漢文文献目録データベース". EAJRS Conference
  • Komai Akira and Thomas H. Rohlich. 1988. An Introduction to Japanese Kanbun. University of Nagoya Press.
  • Markus, Andrew. 1990. "Review Essay" [of Komai and Rohlich 1988]. Sino-Japanese Studies 3.1:60-63.
  • Miller, Roy Andrew. 1967. The Japanese Language. University of Chicago Press.
  • Robert, Jean-Nol. 2006. "Hieroglossia, a Proposal", Nanzan Institute for Religion & Culture Bulletin 30:25-48.
  • Ury, Marian. 1990. "Learning Kanbun" [Review of Crawcour 1965]. The Journal of the Association of Teachers of Japanese 24.1:137-138.
  • Watson, Burton. 1975. Japanese Literature in Chinese: Volume 1, Poetry and Prose in Chinese by Japanese Writers of the Early Period. Columbia University Press.
  • Watson, Burton. 1976. Japanese Literature in Chinese: Volume 2, Poetry and Prose in Chinese by Japanese Writers of the Later Period. Columbia University Press.
  • Wixted, John Timothy. 1998. "Kanbun, Histories of Japanese Literature, and Japanologists". Sino-Japanese Studies 10.2:23-31.
  • Wu, Kuang-ming. 1997. On Chinese Body Thinking: A Cultural Hermeneutic. E.J. Brill.

1.      ^ Database query to Chinese characters: Uses Sergei Starostin's romanization system.

 

 

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Xem Kỳ 160

 

 

 

 

 

GS Nguyễn Hu Quang
Nguyn Giảng Vin Vật L Chuyn về Cơ Học Định Đề
(Axiomatic Mechanics, a branch of Theoretical Physics)
tại Đại Học Khoa Học Si Gn trước năm 1975

 

  

 

 

www.ninh-hoa.com