Re-Evaluation of Lin Shu (the Chinese Translator) - National ...

More documents

Recommendations

Info

160 Re-Evaluation of Lin Shu (the Chinese Translator):A Systemic Approach to Literary TranslationThe Poetics of Chinese Literature in Early Modern TimesTranslators and target readers live in the target culture. Themainstream literary form and popular poetics affect the wholeprocess of literary translation to a large extent (Yang Liu, 2001: 48).Poetics of Chinese literature and popular literary form in earlymodern China greatly influenced Lin Shu’s translation.1.1 A. The Change of Literary Theory in Early Modern ChinaChinese literature in early modern times is a kind oftransitional literature. On the one hand, it is the continuation ofclassical literature; on the other hand, it is the base of modernliterature. Great changes occurred in Chinese literature during thisperiod.In Chinese literary history, literature has always beenconceived as a vehicle of Way (Yi Wen Zai Dao). Specificallyspeaking, literature has been a tool to spread Confucian ideas.However, in early modern times the content of “Way” changed.Just before the Opium War, famous scholars such as GongZizhen (1792-1841) and Wei Yuan (1794-1857) paid much attentionto the practical knowledge of managing state affairs. They criticizedthe status quo of Chinese literature in which literature lost contactwith reality (Guo Yanli & Wu Runting, 2003: 101). After the OpiumWar, Wang Tao (1828-1897), Feng Guifen (1809-1874) and otherliterati stressed the close relationship between literature and realityas well as the social function of literature (ibid: 106). During thisperiod, “Way” was understood to be the practical knowledge whichwas concerned with the call for saving the nation through industrialdevelopment (ibid: 107).
Xu Jianzhong 161At the turn of the twentieth century, theories of evolutionwere to the fore in China. Chinese literature was also challenged byevolutionism. Liang Qichao first espoused literary evolutionism. Heput “old literature” at the opposite position of “new literature”. Theidea in literary evolutionism was to root out “old literature”. Theadvocating of “New Fiction” was only part of the literary evolution.He also held the idea that literature should be an efficient instrumentto propagate new thoughts and to transform the old world (ibid:117). Until then, the “Way” conveyed in Chinese literature referrednot only to Confucian ideas, but also to ideas of national salvationand democracy.Lin Shu’s translation followed the principle that literaturemust be a vehicle of the “Way”. He understood “Way” as nationalsalvation and feudal ethics as well. A case in point is the Chineseversion of Uncle Tom’s Cabin. First he treated the novel as apolitical novel to rouse the Chinese populace to save the country. Atthe same time, he also educated his readers with traditional Chineseethics. In order to propagate traditional Chinese morality of repayinga debt of gratitude and to cater to the taste of Chinese readers whowere not familiar with doctrines of Christianity, Lin Shu distortedthe original.1.2 B. Literary Form Prevalent in Early Modern ChinaAt the end of the nineteenth century, capitalist reformistslaunched “Literary Reform Campaign”. “Revolution of Fiction” wasone part of it. From then on, fiction challenged the central positionof poetry in Chinese literary system and began to have the lion’sshare in Chinese literature. The number of readers of fiction wasmuch more than that of other literary forms. This can partly explainwhy Lin Shu transformed Western dramas into fictions. Hu Shi(1891-1962) thought of Lin Shu as “the worst offender toShakespeare” because he translated dramas by Shakespeare intofictions. During that period, fiction served as a tool of wakening
Page 1 and 2: Re-Evaluationof LinShu(the ChineseT
Page 3 and 4: Xu Jianzhong 151Obviously, more ext
Page 5 and 6: Xu Jianzhong 153The Era Background
Page 7 and 8: Xu Jianzhong 155ideas of that socie
Page 9 and 10: Xu Jianzhong 157manipulated the ori
Page 11: Xu Jianzhong 159China. Another unde
Page 15 and 16: Xu Jianzhong 163figure or a literar
Page 17 and 18: Xu Jianzhong 165assumed the central
Page 19 and 20: Xu Jianzhong 167Translation: A crit

Re-Evaluation of Lin Shu (the Chinese Translator) - National ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?