【Abstract】： Literature works possess something that each specific language culture owns， for they obtain some substances that other cultures don’t have， so it easy to cause some barriers on understanding between different language cultures. For translation， the problem is serious， especially for numerous allusions because of endless accumulations of our Chinese history of five thousands. Thus translators need to discuss a mentionable question during cultural exchanges： how to be better to translate the allusions of Chinese literature into target language so as to make readers understand the deep meaning of the works and they can absorb the implication in the largest contents under the premise of keeping or trying to keep the original meaning？ The article tries to compare and study the translation strategies of Hongloumeng by Yang’s and Hawkes’ translation version.

【Key words】： Hongloumeng；allusion；foreignization ；domestication

【摘要】：任何文學(xué)作品都會或多或少地存在一些具體語言文化所特有的，由于承載了其他語言文化沒有的信息而極易造成理解障礙的成分對于漢譯英而言，由于我國五千年文明史的漫長積淀，這種現(xiàn)象尤為突出，特別是諸多的典故。這在文化交流中給翻譯工作者提出了一個(gè)值得探討的課題： 如何在保留或盡量保留原汁原味的前提下， 較好地把漢語文學(xué)作品中的典故翻譯成目的語，使目的語讀者不理解作品的原意，而且能最大限度地吸收到該文章所蘊(yùn)含的言外的意義。本文以楊霍翻譯的《紅樓夢》兩個(gè)譯本為例，對其翻譯策略進(jìn)行研究。

【關(guān)鍵詞】：《紅樓夢》；楊，霍譯本；歸化與異化

Introduction

Hongloumeng is one of four Chinese classical literatures， which is also called Chinese cultural encyclopedia. Its’ numerous allusions are a language feature that add a lot of highlights for the original work. However， translators have no possible to elaborately introduce each allusion from start to end in translation versions， otherwise it will add the length of articles and change to the collections of allusion from classical literature. Not considering the language features of the original work， some allusions have decisive functions； if they aren’t dealt well， the understanding to the original work will be changed and artistic features of the translation version will also be reduced. The article tries to find the suitable translation strategy as Hongloumeng is the object of the research and outstanding Yang’s and Hawkws’ versions are referred.

1 The theories of Domestication and Foreignization

In the circle of translation， there is a continued discussion about literal translation and liberal translation， thus extending two concepts -- domestication and foreignization. Lawrence Venuti， a translation theorist， puts forward domestication and foreigniation as translation terms in the book of The Translators’ Invisibility.

1.1 Definitions

Domestication tries to translate source language into local language， which is aimed to help readers of target language read books more convenient and use the popular expression of target language to express contents of the books. It demands that translators should be close to readers， thus translators must speak the way as people of target language.

Foreignization is to tolerate features of foreign language and absorb foreign expression， which means that translators are close to authors and take expression of source language that readers are familiar with the expression of the contents. It means that translators need to preserve the features of source language.

1.2 Comparisons

Domestication obeys the main current values of target language and object to take conservation measures to assimilate the original work. As a result， it caters to the local laws and publishes trend and political demand. It makes use of transparent， fluent style and eliminates the feeling if strangeness in most of degree and advocates the culture of target language as its destination. It suggests that translation should not only overcome the barrier of language， but also put up with the hinder of culture， for one of translators’ responsibilities is to avoid the cultural conflicts.

Foreignization deviates from local main current values and preserves the language and cultural diversity of the original works. It retains foreignness of the original works in some extents， has a mind to break down the normal translation of target language and proposes to reserve the culture of source language. It aims at keeping cultural exchanges and demands source language should enrich the culture and the expressions of target language.

2 Specific Comparison of Two Translation Versions

There are many classifications for allusions. Here it just analysis and compares two sides -- history allusion and literature allusion.

2.1 Translation of History Allusions

（1）阿房宮，三百里，住不下金陵一個(gè)史。（four chapter）

Vast O Pang palace， fit for a king， isn’t fine enough for the Shi of Jingling. （Yang）

The Ah—bang palace scrapes the sky， but it could not enough the Nanking Shi. （Hawkes）

阿房宮 is from the book of Record of that is biographic sketches of emperors. It was a palace that emperors of Qin dynasty lived， but destroyed by Xiangyu after Qin dynasty was perished. The two translators both take alphabet system and foreignizaton. However， Yang’s version emphasizes the bigness of the building； Hawkes’ version stresses the characteristics of domineering over the sky. They introduce it just from one aspect， but it would be better to exhibit the flourishing picture of Shi’s family， for the author want to explain Shi’s family with numerous population and abundant wealth.

（2） 因又自嘆道：“若真也葬花，可謂‘東施效顰’，不但不為新特，且更可厭了”（the thirtieth chapter）

He wondered in some amusement. “If so， she is ‘Dong Shi imitating Xi Shi’， which is not original but rather tiresome.”（Yang）

“Can this be some silly maid come here to bury flowers like Frowner？” He wondered. He was reminded of zhuangzi’s story of the beautiful Xi Shi’s ugly neighbor， whose endeavors to imitate the litter frown that made Xi Shi captivating produced an aspect so hideous that people ran from her in horror. The recollection of it made him smile. （Hawkes）

The allusion is from the book of Chuang Tzu. 效顰 means that some ugly people dress up the beautiful clothes. Two versions use alphabet system and foreignization to translate Dong Shi and Xi Shi： Yang’s version just annotates those words without further explanation； Hawkes’ version takes the method of amplification. For the history allusions， the translators elaborately explain the plot of the story and vividly describe Dong Shi’s action， which give readers a lively picture and thus get the great effort. From this way， Hawkes’ version is better.

2.2 Translation of Literature Allusions

（1）（寶釵）便笑道：“我看的是李逵罵了宋江，后來又賠不是?！保╰he thirtieth chapter）

…smiled at this question.“One was that piece，”she answered，“in which Li Kui abuses Song Jiang and then apologizes.”（Note： From the novel Shui Hu. Li Kui was a peasant rebel. Song Jiang， the leader of the outlaws， was capitulationism. ） （Yang）

The smiling answer she gave to Daiyu’s question was therefore not without a touch of malice.“The play I saw was Li Kui abuses Song Jiang and afterwards has to say he is sorry.”（Hawkes）

The allusion is from the book of all man are brothers， in which Li Kui and Soong Jiang are two heroes. In order to help readers understand what Baochai discussed， it demands the explain the two heroes. Hawkes’ version uses the method of domestication to translate the original work and convey the simple purpose of communication. Yang’s version， translated by foreignizatoion， explains the background of the original work and the social roles of the two men and provides more cultural messages to readers.

（2）（黛玉）聽說寶玉上學(xué)去，因笑道：“好，這一去， 可定是要‘蟾宮折桂’去了”（the ninth chapter）

When Baoyu told Daiyu that he was off to school， “Good，” she said. “So you’re going to ‘pluck fragrant osmanthus in the palace of the moon.’ I’m sorry I can’t see you off.”（Yang）

Her answer to his announcement that he was off to begin school was smiling but perfunctory： “Good. I wish you every success. I’m sorry I can’t see you off.”（Hawkes）

蟾宮折桂 specially refers to ancient men of letters who achieve success and win recognition and their biggest dream was to be an official in imperial court. Two versions both accurately translate the meaning of the context， but Hawkes still uses the format of domestication and he just expresses the meaning. For the allusion’s background， he doesn’t mention anything. In contrast， Yang adopts foreignization. It vividly describes the scene and expresses through Chinese traditional way.

3 conclusion

Bassnett points that translators should take the culture as the unit of translation， not just rest on discourse.Translation is not a simply process of recombination， but a means of communication. When translating， we should not only pay attention to achieve the transforming equivalent between target language and source language on word， phrase and sentence， but also deliver the cultural message on allusion. With the promotion of Chinese comprehensive national strength， we should bring in advanced culture and propagate our broad and profound culture to the world. As for translators， we should give priority to the method of foreignization and regard domestication as the process of translation， sparing no effort to inherit the essence of our culture.

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