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A Study of the English Translation of Yuan Play “The Orphan of Zhao” from the Perspective of Domestication and ForeignizationAbstractThe Orphan of Zhao is a famous play in China. It can be compared with Shakespeares “Hamlet” and this play can be praised Chinese “Hamlet”. Most of the former are studying the Chinese version or the early English translation. This thesis selects the new version of The Orphan of Zhao that translated by Stephen H. West and Wilt L. Idema. This thesis analyzes the using of Domestication and Foreignization in translation under Lawrence Venutis theory Domestication and Foreignization. This thesis uses data analysis to study the use of Domestication and Foreignization strategies in the role name, Gongdiao, the name of Cipai, the name of Qupai and poetry. Next, this thesis uses the method of case analysis to analyze the advantage and disadvantage in each part. In the Stephen H. West and Wilt L. Idema version, the role name and poetry translation use more Domestication strategy; the translation of the name of Cipai and the name of Qupaio often uses Foreignization strategies. In Yuan play, the unique vocabulary should be use more Foreignization strategy that can help reader to understand Yuan play.Key Words: Yuan Play; The Orphan of Zhao; Domestication; Foreignization摘要赵氏孤儿非常著名的一部元杂剧，被誉为东方的“哈姆雷特”，前人多是研究中文版本或者早期的英文译文。本文选取奚如谷翻译的赵氏孤儿最新版本，以劳伦斯韦努蒂的归化异化理论为指导，分析元杂剧赵氏孤儿英译版中两种策略的使用情况。文章通过数据分析研究归化异化策略在元杂剧中人物角色、宫调、词牌名、曲牌名、诗歌翻译的使用情况。其次，用案例分析的方法，分析各个部分翻译的优劣得失。在奚如谷的英译版本中，人物角色以及诗歌翻译多用归化的策略；词牌名以及曲牌名翻译多用异化的方法。在不影响阅读的情况下，对于元杂剧中的特色应多用异化策略，尽可能的将元杂剧特色传递给读者。关键词：元杂剧；赵氏孤儿；归化；异化Chapter 1 IntroductionIn this chapter, background, objectives and outline of the study will be introduced and hopefully this part will provide readers with a basic understanding of this study.Background of the study“The Orphan of Zhao” is a very famous tragedy. It is the first Chinese play introduced to foreign countries. It can be compared with Shakespeares “Hamlet” and this play can be praised Chinese “Hamlet”. As a complete story was first seen in Sima Qians “Historical Records of Zhao Shi Jia”. The earliest script passed down was written by Ji JunXiang in the Yuan dynasty, formerly known as The Orphan of Zhao Greatly Wreaks Revenge. “The Orphan of Zhao” is really widely circulated and people love to see it after the Song and Yuan dynasties. The Orphan of Zhao written by Ji JunXiang in the Yuan Dynasty was popular in many parts of the country. The main reason was that the spirit of justice and revenge reflected in the play that was in line with the development of the times, and it was in line with the current trend of resistance against other nationalities aggression at that time.The French missionary, Joseph de Premare, who first translated “The Orphan of Zhao” into French in Guangzhou in 1731. In 1735, Jean Baptiste du Halde brought the play to his own work “Description de la Chine”. This work caused a sensation in Europe, and within a few years it had a multilingual version. The Orphan of Zhao was no exception, this work also had a multilingual version. In the 1830s, Chinese culture attracted wide attention in the Britain. There are three English versions of The Orphan of Zhao, translated by Watts, Cave, and Passy. The great writer Voltaire also wrote a work “The Orphan of China” based on Joseph de Premare translation. It was staged in Paris in 1755, and it achieved a very high box office and gained a very high international influence.Translation of Chinese classics is an important medium for spreading Chinese culture and enhancing Chinese influence. Foreigners who know China and Chinese classics must be conveyed through translation. As early as the end of the Qing Dynasty, Yan Fu, a famous Chinese thinker, put forward the concepts of faithfulness, expressiveness, and elegance. Domestic and foreign scholars are also relentlessly pursuing the translation of Chinese classics. The translation of classics is also a very difficult task, especially in the translation of Yuan plays. It is necessary not only to take into account the content of the original text, but also to take into account the form of Yuan Qu. The two sinologists, such as Stephen H. West and Wilt L. Idema, they have devoted themselves to studying Yuan Qu for many years and they have made great achievements. The research materials in this thesis are also selected from their book “The Orphan of Zhao and other Yuan Plays”.Objective of the studyThe circulation of The Orphan of Zhao throughout the world was based on the version of Joseph de Premare. Take Voltaire as an example, with a limited Chinese culture and Chinese theories of drama, he made a different interpretation of the translated version of Joseph de Premare. In terms of form, he finds ways to sinify his own work. In the form, they pursuit own work have Chinese style, so that their works are not like Western work and Chinese work. Stephen H. West and Wilt L. Idema, they are famous sinologists whom have devoted themselves to studying Chinese culture and Chinese classic for many years. They translated a lot of Chinese classics and made great contributions to the circulation of Chinese culture. In particular, they have made great achievements in Yuan Qu. In 2015, they published a work “The Orphan of Zhao and other Yuan Plays”, and their versions are very different from their predecessor versions. Previously, many translators were based on English translations or adaptations from the French version of Joseph de Premare, their version was directly translated from YuanQu Xuan that is Ming Dynastys version. This thesis studies the English translation of Stephen H. West and Wilt L. Idema under the theory of Domestication and Foreignization, and trying to find out the translation rules of Yuan Qu. And then, the author will provide suggestions for the translation of Yuan Qu in the future.Hopefully, the following questions will be answered in this thesis:Which translations used domestication theory?Which translations used foreignization theory?Provide suggestions for the translation of Yuan Play in the future.Outline of the StudyThis thesis is composed of five chapters:Chapter 1 makes a general introduction to the background and aims of the study as well as the outline of the study. Chapter 2 provides a brief review of the previous work in relevant field, including a brief introduction of contributions made by numerous researchers to The Orphan of Zhao study, the study of Domestication and Foreignization Theory. Chapter 3 introduces the research design of the study, including theoretical frameworkDomestication and Foreignization Theory, data collection, research method. Chapter 4 devotes to elaborate the explored of The Orphan of Zhao from Domestication and Foreignization Theory. Chapter 5 concludes the study with a discussion on major findings, limitations of this thesis and some suggestion for the further study.Chapter 2 Literature Review2.1 Researches on The Orphan of ZhaoSha (2011) emphasize intercultural communication from The Orphan of Zhao. In this thesis, the author talked three main points of successful communication. The Orphan of Zhao was created in Yuan Dynasty when have a high level of play. Next, western people knew Chinese culture and society have through Travels of Marco Polo in Yuan Dynasty that enhanced western people to know China. And then, Chinese Opera and Drama have been finished and perfection in Ming and Qing Dynasty. Finally, western culture needs to export and communication with eastern culture. The author through analyzed the cultural background, the main idea and eastern image of The Orphan of Zhao. The author also discussed the cultural value under the new context of culture. These studies provide a new way of intercultural communication, and modern people can take the successful example to spread Chinese culture and Beijing Opera. Zeng (2014) discussed Voltaire who made The Orphan of Zhao into Western Opera. In the eighteenth century, Chinese Style has been popular in Europe and many people like Chinese culture, so a lot of ideologist think of China as the ideal state. Chinese philosophy and literary work have been translated into French. In 1732 to 1733, The Orphan of Zhao be introduced into French and it was published in 1834. Voltaire rewrites it with his political ideas and impression of China. Voltaire rewrites the background of the story and the conflict between civilization and barbarism. Next, he changes all of roles in this drama, and the enlightenment also affect these roles. His drama is a successful communication and makes a great contribution between China and West.Liu discussed the communication and influence when The Orphan of Zhao translated into foreign language. There have two systems that are the context for reading and drama for playing. These have an effect on The French Revolution when Voltaire translated it into French. Voltaire praised Chinese civilization and affect revolution indirectly. Another influence is that the drama has been translated into English, and the work affects their literary work with patriotism and freedom. Although they all have influence abroad,thetranslationnotfaithfulenoughtotheoriginal.Theyleavesome space by the imagination, and China image began to vulgar. Their translation based on religious spirit and cultural differences, so these have some objectivity when they translated into foreign language.Zhu (2007) discussed the circulation of The Orphan of Zhao in European countries. These countries mainly involved France, Germany, Britain, and Russia. These writers are more or less adapted to this work, and some are successful or unsuccessful. The purpose of their adaptation of The Orphan of Zhao was mostly dissatisfaction with the politics of their own country. They used the plot of The Orphan of Zhao to satire the rules of the authorities. On the other hand, they saw the Chinese style in the story and the spirit that is the fearless spirit of giving birth to justice. The Orphan of Zhao has had a profound influence in European Countries and the work has circulated Confucian culture to distant Europe. It has show thegreatcharmofChinesecultureandthespiritoftheChinesenationinthehistoryof Western culture.Lv (2012), the author mainly analyzes the main translation version of The Orphan of Zhao in the early period. Through studying the translation of texts, he finds out translators strategies and cultural factors at that time. The author discussed the mainly version at that time, and he found a spiritual sustenance. In order to ensure the integration with the target language culture, the translator interprets the original text differently by the mainstream ideological beauty of a specific historical stage. Their translation is also a success in cross-cultural communication. Only in this way Chinese culture can be sublimated in the integration of foreign cultures.Stephen H. (2015), in their book The Orphan of Zhao and other Yuan Play provided a detailed account of the historical features of The Orphan of Zhao, and they also introduced adaptation and circulation of The Orphan of Zhao. The book also made a clear explanation of the relevant knowledge of Yuan Qu, and introduced Gongdiao, name of the word, and name of the tune. In the book, the author also translated the English version of The Orphan of Zhao. This thesis is a study of the authors translation.2.2 Researches on The Domestication and Foreignization TheoryRan (2017) based on the theory of Domestication and Foreignization to analyze the translation of A Dictionary of Maqiao that translated by Julia Lovell. The article analyzed the representative translations in the English version of A Dictionary of Maqiao, and the author get the strategies of balance Domestication and Foreignization. If the contextual semantic condition is helpful for the introduction of Chinese cultural and linguistic features in the context of foreignization, and the foreignization is of great significance for contextual translation and understanding, that is selected. If the foreignization can make the ideographic accurat and reduce the expression effect without causing unacceptable reading disorder, then choose foreignization. When choice foreignization that cannot be simple, clear, and easy to understand, domestication is necessary.Nie (2017) discussed the different version of Thunderstorm with the theory of domestication and foreignization, and the author found out the degree of domestication and foreignization using textual comparison. There is no distinction between domestication and foreignization. Translators can make choices based on different authors intentions, translation purposes, text types, and target readership. In the process of translation, the most important thing is that translators have the consciousness of cultural transmission. Regardless of foreignization and foreignization, translators should aim for cultural exchanges and help reader to accept and understand the original culture.Gao (2017) studied the English version of A Dream of Red Mansions with the theory of domestication and foreignization. Through analyzing the two English versions of A Dream of Red Mansions, the author concludes that foreignization is better than domestication. The way of foreignization can convey Chinese traditional culture to English readers. Although the translation of domestication can enhance the readability of the text, it loses the artistic concept expressed by the original author.2.3 Researches on Yuan PlayHe () mainly studied the use of Gongdiao and the name of the tune in the wedges of Yuan play. Using the method of quantitative statistics, the article analyzed the use of the Gongdiao and the name of the tune of the existing 162 Yuan play. Because the Yuan Play is a long time ago, ater generations are missing in the process of copying. People often have differentviewsofthenameofthetuneinthewedge.Thearticle cites typical examples of Yuan play and concludes that in wedges, Shanghuashi is the most commonly used tune. Li (2017) discussed the influence of Gongdiao on other play. The author introduced in detail the formation background of Gongdiao, and the characteristics of various Gongdiao. Comparing with similar contents in other plays, it was found that the influence of Gongdiao on other play. According to the authors research, it is concluded that Yuan Play has the greatest influence on Kunqu Opera. The music structure is mostly based on the foundation laid by Yuan Play. That made a great contribution to the maturity of the opera in China, and also provided the foundation for the inheritance.Ma (2009) takes Yuan Play as the basic material, the author analyzed the phenomenon of the use of poetry, and then discusses the interrelationship between Yuan Play and poetry. The article analyzed the influence of the Yuan Play on poetry from both macroscopic and microscopic perspectives. The interplay between poetry and Yuan Play, and poetry provides rich creative materials for the Yuan Play. The enrichment and dissemination of poetry content and theory also benefited from the spread of Yuan Play.2.4 Space of the StudyThis thesis uses the theory of Domestication and Foreignization to analyze the English version of the Yuan Play The Orphan of Zhao, which is in accordance with the content of theoretical guidance. The innovation of this thesis lies in the fact that there are few useful Domestication and Foreignization theory to study the translation of Yuan Play. Another innovation lies in the fact that this version of Stephen H. West and Wilt L. Idema was translated directly based on the YuanQu Xuan, and few people have studied this version.Chapter 3 Theoretical Framework3.1 Theory IntroductionThe theory of Domestication and Foreignization wasputforwardbythefamousAmericantranslatorLawrenceVenutiinTheTranslators Invisibility in 1995. The two translation strategies, Domestication and Foreignization are opposites and complementarity. There are not existing absolute Domestication and Foreignization.Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Foreignization is the strategy of retaining information from the source text, anditinvolvesdeliberatelybreakingtheconventionsofthetargetlanguagetopreserveitsmeaning.According to Lawrence Venuti, every translator should look at the translation process through the prism of culture which refracts the source language cultural norms and it is the translators task to convey them, preserving their meaning and their foreignness, to the target-language text. Every step in the translation processfrom the selection of foreign texts to the implementation of translation strategies to the editing, reviewing, and reading of translationsis mediated by the diverse cultural values that circulate in the target language.3.2 Research QuestionYuan Play is the first golden era of Chinese opera and it incorporates the characteristics of Chinese operas. The Orphan of Zhao is a representative of the Yuan Dynasty, and it is also the first Chinese opera introduced to foreign countries. In art form of Yuan Qu, as well as the content has reached a peak. This thesis summarizes the English version of The Orphan of the Zhao and analyzes the deep reason of domestication and foreignization translation in the text, and what needs to be Domestication and what needs to be Foreignization. Through research, the degree of domestication and foreignization in the translation of Yuan dramas is obtained, which provides advice for Yuan Plays translation.3.3 Research MethodsIn this thesis, the case analysis method and induction statistical method are used to study the application of domestication and foreignization in the translation of Yuan Qu form in the Yuan Play “The Orphan of Zhao”. First of all, it analyzes the translation of role names in the text and finds out the translation methods and rules. Guided by the theory of Domestication and Foreignization, and the author selected cases and analyzed their advantages and disadvantages. Secondly, it summarizes the name of the title in the article, finds out the translation rules of the form of the Yuan QU in the text, and analyzes the rationality of translation and the question of translation. Under the guidance of theory, the questions are explained and corresponding conclusions are drawn.Chapter 4 Date Analysis and DiscussionIn this chapter, all the role name and the name of title in The Orphan of Zhao are analyzed and discussed under Domestication and Foreignization Theory.4.1 The Translation of Role NameYuan Plays role are divided into Dan, Mo, Jing, and Za. Dan, includes Zhengdan, Waidan, Xiaodan, Dadan and Laodan. Zhengdan is the main actress, and Wai dan is the minor actress. Mo, includes Zhengmo, Xiaomo, Chongmo and Fumo. Zhengmo is the main male actor, and Chongmo is the first time the mall actor. Jing is a violent male actor. Za is an actor other than the above three types.The Yuan Play The Orphan of Zhao is composed of “five act and one wedge”. The actors in this play consisted of 12 actors except for nameless actor. In YuanQu Xuan, the names of roles are composed of unique vocabulary, such as: Zhengmo, Chongmo and Zhengdan. The name of the role not only represents the identity of the role, gender, but also represents the primary and secondary position of the role in the play, and the order of appearance. Translators must take into account the readers acceptability. Stephen H. West and Wilt L. Idema uses more Domestication methods when they translating roles. For example:Role type Name and family, institutional, or social roleVILLAIN TUAN GUADDED MALE ZHAO SH
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