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Recasting Lin Shu a Cultural Approach to Literary Translation Recasting Lin Shu: A Cultural Approach to Literary Translation Author Gao, Wanlong Published 2003 Thesis Type Thesis (PhD Doctorate) School School of Languages and Linguistics DOI https://doi.org/10.25904/1912/2961 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365284 Griffith Research Online https://research-repository.griffith.edu.au Recasting Lin Shu A Cultural Approach to Literary Translation Wanlong Gao School of Languages and Linguistics Faculty of Arts Griffith University Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy March 2003 Abstract This thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of China’s most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have i largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shu’s translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shu’s translation of La Dame aux Camélia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the ‘truthfulness’ of Lin Shu’s translation, and stresses that ‘truthfulness’ lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nida’s principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shu’s translations relates to the stylistic expression in China’s literary language and is therefore intrinsic to sinicization. Lin Shu’s skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shu’s translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation ii of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shu’s adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shu’s contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lin’s translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation. iii Acknowledgements I would like to thank School of Languages and Linguistics, Griffith University for providing resources and funding for my research assistantship throughout this PhD. I am also grateful to Griffith University Library, Queensland University Library, Beijing National Library, Beijing University Library, Shanghai Library and Auckland University Library for assisting me to find the research data and reference books I needed for working on this thesis. There are many people to thank for their support and encouragement, without whom this thesis would not have been possible. Firstly I am greatly indebted to my supervisors Dr. Debbie Cao and Associate Professor Mary Farqhuar for their valuable advice. It was on Debbie’s advice that I began to view modern Chinese translation through target-oriented translation theory, thus laying a theoretical frame for this thesis. She deeply impressed me with her sagacious critical perception as well as her conscientious attitude to my Ph.D study. Mary’s advice suggested that my research interest focus on Lin Shu’s translation instead of the corpus of modern Chinese literary translation. She also coined the term “poetic equivalence’ in our discussion of Lin Shu’s translation method and my work in this regard has become the major extension of translation iv theory, i.e. dynamic equivalence. Their unquenchable curiosity and love for the subject are probably the most valuable lessons I have learned from this PhD, and their continual support and encouragement have kept me going over the last three or so years. My thanks also go to Professor Nick Knight for suggesting me to refer to the section regarding Lin Da’s translation in his work ‘Lin Da and Marxist Philosophy in China’, which greatly inspired me. I would also like to thank all my friends and colleagues in China, UK and New Zealand, especially Professor Zhao Xinggen, Professor Liu Nianzi, Professor Wang Henzhan, Professor Guo Yanli, Dr Frances Knight, Mrs Liu Qun who have offered me a great number of advices and academic and technical supports. Without their generous assistance, everything would have been a great deal harder. Finally I am also extremely appreciative of my wife Chen Lin and my daughter Gao Chen for putting up with my long hours away from home and taking on household duties as well as their continuous encouragement. v A Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed Date vi Table of Contents Abstract i Acknowledgments iv A Statement of Originality vi Table of Contents vii Chapter 1 Introduction 1 1. Lin Shu: a controversial figure in the history of Chinese translation 4 2. Significance of the Research on Lin Shu 5 (1) Need for Re-evaluation of Lin Shu’s Translations 5 (2) Lin Shu, Father of China’s Modern Literary Translation 9 (3) The Influence of Lin Shu’s Translations 11 3. The Theoretical and Empirical Contribution of the Study to Translation Studies 25 4. Structure of the Thesis 27 Chapter 2 Lin Shu’s Work within Theoretical Framework 32 1. Target/Culture-oriented Translation Theories 32 (1) Toury’s Target-oriented Translation Theory 35 •Translators’ main goals 36 •The role and function of translation 38 •Translation strategies 39 (2) Culture-oriented Translation Studies 42 (3) Readers’ Response and Reception Theory 46 2. Cultural Translation Studies in China 55 vii 3. Conclusion 59 Chapter 3 Critical Literature Review on Lin Shu 62 1. Chinese Criticism 63 (1) Affirmation by the Contemporaries 63 (2) Condemnation during the May Fourth New Culture Movement 64 (3) Assessment after Lin Shu’s Death 71 • General reviews 71 • Zheng Zhenduo’s ‘Mr. Lin Qinnan’ 77 • Han Guang’s Lin Qinnan 83 (4) Negative Criticism from 1949 to 1979 88 (5) Revival: 1980s onwards 90 • Qian Zhongshu’s ‘Lin Shu’s Translations’ 90 • New critical interest 94 2. Western Criticism 97 3. Key Issues in Dispute concerning the Assessment of Lin Shu 105 (1) Lin Shu’s Thought: Conservative or reformist? 107 (2) A Pioneer or An Opponent of Modern Chinese Culture? 114 4. Conclusion 124 Chapter 4 Lin Shu in Cultural Context 126 1. Lin Shu’s Translations in Cultural Context 126 (1) Lin Shu’s Choice and Response 127 ∙ In Search of Similarities 129 ∙ Literary Subject Matters 131 ∙ Literary Genres 143 ∙ Literary Style and Technique 147 (2) The Output of Lin Shu’s Translations 152 (3) Lin Shu’s Translation Practice 154 ∙ Joint translation 155 ∙ Paraphrase or Free Translation 158 2. Case Study: Bali chahuanü yishi—Transfiguring Chinese Fiction 163 viii (1) Ideological Content 164 (2) Characterization 175 (3) Literary Form 179 3. Conclusion 182 Chapter 5 Poetic Equivalence 184 1. Poetic Equivalence and Lin Shu 184 2. Spirit and Style 190 3. Expression in Literary Language 203 4. Sinicization 211 5. Conclusion 224 Chapter 6 Beyond Poetic Equivalence 226 1. Adaptation 226 2. Omission 232 (1) To Overcome ‘Cultural Default’ 233 (2) Simplification for Succinctness 238 (3) Treatment of Western Religious Materials 247 3.
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