本論文分成三部分：（一）檢視《魯拜集》（The Rubaiyat of Omar Khayyam） 各種譯本的不同風貌，並探討這些譯本如何擺盪於古典與現代之間，以及如何運 用文化符號的轉換以期達到字句上的「信」或意境上的「信」；（二）析論《魯拜 集》中譯本如何將異文化的「及時行樂」主題，注入東方版、中國式的「縱酒狂 歡」與「人生無常」等母題，形成巴克汀（Mikhail Bakhtin）所謂的「對話式」 文本；（三）檢視國內學界對於《魯拜集》中譯本的評述與回應。

This paper is divided into three parts. First, it aims to probe into the differences in Chinese translated versions of Omar Khayyam’s Rubaiyat in Taiwan, and to examine how each version, wavering between the classic and the modern, presents high fidelity of translation syntactically or semantically by means of transformation of cultural codes. Second, it seeks to explore how each translated text, incorporating the culturally alien motif of “carpe diem” into the Chinese version of “seize the day” or “eat, drink and be merry,” becomes what Mikhail Bakhtin calls a “dialogic text.” Third, it attempts to give a critical survey of the translation critics’ responses, in Taiwan’s academic circle, to the translations of The Rubaiyat.