International Journal of Languages, Literature and Linguistics, Vol. 6, No. 3, September 2020 Fenghuang and Phoenix: Translation of Culture Lyujie Zhu Confucius‟ time, fenghuang was mainly used to describe Abstract—Fenghuang and phoenix from ancient myths are virtuous man, such as shi and king, and it was in Han dynasty both culture-loaded words that have unique features and that fenghuang‟s gender was gradually distinguished [18], as comprehensive historical developing routes. This paper focuses the male feng with the female huang respectively, in on their translations to find out the reflected cultural issues and symbolizing everlasting love that representing the yin-yang power influences under the ideas of cultural identity and language power. Classic literatures like The Analects and The balance. After Ming-Qing period, fenghuang was major Tempest in bilingual versions are compared in terms of the symbolization for female that such transformation is translation for both animals, as well as by searching the unavoidably related to the monarchal power of Chinese different social backgrounds and timelines of those literatures. empresses in indicating themselves by using The mixed usage of phoenix and fenghuang in both Chinese fenghuang-elements [16]. (East) and English (West) culture makes confusions but also As for phoenix in the West, it has the totally different enriches both languages and cultures. origins and characteristics. Phoenix dies in its nest, and then Index Terms—Fenghuang, phoenix, translation, language, is reborn from its own burned ashes, with a duration of about cultural identity. 500 years [19]. Phoenix is said to be originated from Egyptian solar myths of the sacred bird, benu, through association with the self-renewing solar deity, Osiris [20]. I. INTRODUCTION Ancient Greek poet, Hesiod, made the first mentioning in the Translation as a social practice involves different cultural West of phoenix, under the Greek name “phoinix”, while identities [1]. There are many mythical animals in Chinese later on, Greek historian, Herodotus gave the first description culture being translated into some “equivalent” animals in of behavior as a sacred bird of Heliopolis, the famous Western culture, such as 龙 [long], 凤凰 [fenghuang], and 麒 Egyptian city, being eagle-like and with bright red and gold 麟 [qilin] that are commonly seen being replaced by plumages [21], [22]. In 1633, one of the earliest Christian writings outside the New Testament, The First Epistle of “dragon”, “phoenix” and “unicorn” [2], [3], which are Clement to the Corinthians, was published by Patrick Young regarded as culture-specific items existing only in Chinese (1584-1652) that marked a critical moment for phoenix with cultural phenomenon [4]. It has posed translational problems its first appearance in the document to be used by Christian, due to the different values in different language cultures [5]. as a pagan bird [23]. More researches and discussions are focused on 龙 and its Though benu and phoenix have close relations, fenghuang translation, “long” and “dragon” [6], [7]. Even suggested and phoenix, in the East and West culture, are actually totally alternative translation is given, as “loong” [8], [9]. different things in considering their appearances, origins and Fenghuang, on the other hand, generally translated as historical descriptions. Nigg [16] states that the currently “phoenix”, is far more easily accepted with fewer opposing widely linking association of Western phoenix and Chinese voices. However, with its complex features and specialties fenghuang can be dated back to the translations of including gender connotation that fenghuang can be either nineteenth-century scholars, though the translation that male, female or bigendered [10], using “phoenix” to connects identically worshiped but individual birds from represent fenghuang is still limited. separated parts of the globe is not universally admitted by In Chinese ancient documents, such as The Classic of scholars that the “phoenix” is identified as the “miscalling” Mountains and Seas and Erh Ya, fenghuang is described to of fenghuang [24]. Besides, the greatest difference between have the head of a cock, the beak of a swallow, the neck of a fenghuang and phoenix as distinct in two cultures is that one snake, the back of a tortoise, and the tail of a fish [11]-[13]. never dies, but the other is periodically reborn from the The divine creature composited with several variant animals burned ashes. Further, the gender of the fenghuang is is of six-chi tall and having five colors for its plumages importantly mentioned in Chinese culture, even with the including black, red, green, white, and yellow [14]-[16]. association of yin and yang, but the phoenix is not concerned Fenghuang has its natural divinity of winds and social with such differentiation [25]. Even though with a huge divinity representing power and value [17] that five virtues difference between fenghuang and phoenix, the Chinese can be seen in fenghuang as uprightness, humanity, virtue, mythical bird is still more frequently translated as phoenix for honesty, and sincerity [16]. Fenghuang has faced historical both Chinese and Western translators. Even, the forthcoming change of gender as from yang to yin (generally understood Disney movie, “Mulan”, has also used phoenix to represent as from male to female) in Chinese connotation. At fenghuang [26]. This paper focuses on the translation of fenghuang, and to see how the translation reflects the cultural Manuscript received May 2, 2020; revised August 10, 2020. issues and what the relation of power influences on the L. Zhu is with The Chinese University of Hong Kong, Hong Kong (e-mail: translation. [email protected]). doi: 10.18178/ijlll.2020.6.3.263 122 International Journal of Languages, Literature and Linguistics, Vol. 6, No. 3, September 2020 II. THEORETICAL APPROACHES AND METHODOLOGY [50], was one of the earliest to introduce the image of Translation is a social-oriented activity that alters the fenghuang to the Western world with European language, as challenging of power relations [27]. As power is important in the text writes, “phoenixes, male and female, arrived”. Then, translation studies after cultural turn [28], [29], translation is the choice of the name of the Western phoenix became an unavoidably involving the interaction of different cultures influential beginning in translating the texts telling the and powers that ethical and political choices are under Chinese bird. However, “Fang” also becomes the male consideration for translators and researchers [30]. Hence, element of the fenghuang in Legge‟s translation [16]. translation is of cultural, social and political determination Literatures in different dynasties that mentioning fenghuang [31], [32]. Chinese culture in the understanding of Western are randomly selected to compare the bird‟s translations. The discourses center-oriented people is “fictional”, which translation of The Analects by Legge, Arthur Waley includes Chinese culture in the Western power centered (1888-1966) and Ku Hung-Ming (1857-1928) are first discourse [33] that Chinese identity is filtered to accustom the selected. Different choices for translating fenghuang can be Western norms. The phenomenon of linguistic code vacancy seen. is unavoidable in translation [34]. The text contains cultural 子曰：“凤鸟不至，河不出图，吾已矣夫！”[51] characteristics, and translation is the exchange of texts but also the communication of different cultures [35]. Apart from Legge: The Master said, “The Fang bird does not come; the transference of words from languages, culture-related aspects river sends forth no map — it is all over with me!” [52] should also be concerned [36]. Culture, as a multifaceted Waley: The Master said, “The phoenix does not come; the concept [37], is significant in forming the thoughts, river gives forth no chart. It is all over with me!” [53] behaviors and perceptions [38] that culture-specific items are 凤兮！凤兮！何德之衰？往者不可谏，来者犹可追。 important in carrying traditions, ideologies, values and 已而，已而！今之从政者殆而！[51] common consensus [39] for members in the same cultural circle. Legge: O FANG! O FANG! How is your virtue Translation is not only the transferring of language code, degenerated! As to the past, reproof is useless; but the future may still be provided against. Give up your vain but also the cultural substitution of ideological pursuit. Give up your vain pursuit. Peril awaits those who transformation [40] that unequalled language and power now engage in affairs of government. [52] relations are involved in intercultural communication [41]. Ku: O Phoenix bird! O Phoenix bird, Cultural awareness and ethnic diversity have become staple Where is the glory of your prime? terms of academy [42]. Culturally-oriented translation The past, —‟t is useless now to change, studies are currently under popular studying [43]. Culture Care for the future yet is time. provides identity, purpose, and direction [44]. Language and Renounce! Give up your chase in vain; culture are remarkably interfaced [45]. Through For those who serve in Court and State reaffirmation, cultural identity, as a critical portrayal of Dire peril follows in their train. [54] distinguishing groups [46] sharing identical values Since the Chinese only mentioned feng that Legge intends respectively, should be redefined in its own image [47] via to make distinct genders available in the translation, as language reorganization. Culture shapes the way that “Fang” is used. However, fenghuang