Abstract: As a Victorian sensation novel, Mary Elizabeth Braddon's Diavola, was published in English as a single book in 1868, translated by Kuroiwa Ruiko in 1895 as Suteobune, and translated by Bao Tianxiao in 1910 as Meihualuo, and completed a trilingual journey among English, Japanese and Chinese within 42 years. This article examines the original translation of Meihualao, and for the first time, through a comparative study of the English, Japanese and Chinese texts, illustrates that the ingenious translation and adaptation of the Japanese translation of Kuroiwa Ruiko provided a prerequisite for the popularity of the Chinese translation by Bao Tianxiao, while Bao Tianxiao's skillful translation and cultural implantation made the Chinese version thoroughly localized and a star in the fiction world in the late Qing and Republican China. In this way, the paper reveals the phenomenon of Japanese transcreation in translated novels of the late Qing and Republican, as well as the significance of cross-cultural interpretation and dissemination of Chinese and foreign literary works.

Key words: Mary Elizabeth Braddon, Diavola, Kuroiwa Ruiko, Suteobune, Bao Tianxiao, Meihualuo

摘要： 作为一部维多利亚时代的“惊悚小说”,英国女作家玛丽·伊丽莎白·布雷登的《恶魔》,从1868年英文单行本发行,到1895年黑岩泪香日译本《舍小舟》,再到1910年包天笑中译本《梅花落》,在42年间完成了英日中3种语言间的越界旅行。本文考察了《梅花落》的翻译底本,首次通过英、日、中3个文本的比较研究,阐明黑岩泪香日译本翻译和改编之“鬼斧神工”为包天笑中译本的“脍炙人口”提供了前提条件,而包天笑的巧妙译笔和文化植入使中译本彻底本土化,并成为清末民国时期小说界的明星。借此,本文揭示了清末民国时期翻译小说中的“日文转译”现象以及中外文学作品跨文化阐释传播及其意义。

关键词: 玛丽·伊丽莎白·布雷登, Diavola, 黑岩泪香, 《舍小舟》, 包天笑, 《梅花落》