《趙氏孤兒》為中國戲劇西傳濫觴，不僅滋長十八世紀歐洲的中 國熱，更於二十世紀回燒中國。儘管該文本僅是中西交會洪流中的一 支，短時間內卻馬上有各家歐洲譯本相繼問世。在西方，拜杜赫德 （Du Halde）編撰的《中國通誌》與伏爾泰（Voltaire）《中國孤兒》盛 名所賜，該劇本幾經翻譯與改寫，雖然原貌所存無幾，　「中國」卻是 不變的符碼；而兩百年後，王國維的《宋元戲曲史》以西學背景重審 傳統文學，引《趙氏孤兒》為例，證明中國亦有西方定義下的悲劇， 一連串《趙氏孤兒》西傳討論遂於茲展開。若以《趙氏孤兒》在歐洲 各國引發演變來看，該劇應可視為中西交流「文化翻譯」的創舉。 馬若瑟（Joseph de Prémare）首譯《趙氏孤兒》，馬氏譯文本身更可稱 為各種歐版演化的源頭 ； 因此，在某種意義上，它不但是「源文」， 甚至也是「原文」。 《趙氏孤兒》之所以成為比較文學領域的焦點，持續在西方引發 迴響，此番情景與伏爾泰有著直接關係；同樣的，華文界多數相關研 究的趣旨總圍繞文豪光環下。相形之下， 諸方對於馬氏譯本的關注卻 似蜻蜓點水，遠不及前者。馬氏譯本既是「譯文」，也是伏爾泰所依 據的「原文」，這種雙重身份卻甚少獲人注意。基於以上的考量，本 文採用貝爾曼（Antoine Berman）翻譯批評的觀點，嘗試對馬氏譯本 做一個縱橫討論。其次，貝爾曼從《異域的考驗—德國浪漫主義傳統 下的翻譯觀》到《翻譯批評論：約翰‧唐》 兩本風格迥異的作品中指 向一個共同點：倫理。本文亦將由倫理角度討論馬氏譯本，進而瞭解 他對小文本 ( 中國文學) 與大文本 ( 中國) 的態度。

Le petit orphelin de la Maison de Tchao was the first translation of Chinese Yuan drama to appear in the West. The number of European rewritings that followed this first translation proved its popularity, a reflection of the chinoiserie prevailing in 18th-century Europe. While Prémare’s translation of Le petit orphelin de la Maison de Tchao is a cross-cultural undertaking that brings the West and East together in a given context, other rewritings based on his work are meant to appropriate the image of China. Of these, Voltaire’s L'Orphelin de la Chine has enjoyed the strongest literary fame, which has contributed to directing the attention of Chinese scholars to the rewritings of Le petit orphelin de la Maison de Tchao in Europe. In stark contrast, Prémare’s original translation is seldom given fair credit due to the fact that it removes all the singing parts. For many this means that his work lacks “completeness” and thus fails to preserve the aesthetic of Chinese Yuan drama. This article argues that Prémare’s Le petit orphelin de la Maison de Tchao is the “source” text for all subsequent rewritings and proposes a thorough examination as to make a more objective judgment of Prémare’s translation. To do so, it is necessary to revisit the temporal-spatial background in which the work was produced. In this context, Antoine Berman’s view of translation criticism as well as his emphasis on ethical translation are applied in order to better understand both the significance of Le petit orphelin de la Maison de Tchao and Prémare’s attitude toward Chinese literature as well as Chinese culture as a whole, and to justify Prémare’s approach to his translation.