In direct quoted sentence, we do not have to use the way of literal translation adding commentary. For example, “他一进大门，就听见有人说：‘秦桧来了’！” If we translate it into “No sooner had he entered the gate than he heard a voice, “Here comes the Qin Hui( Note: the chief minister of the Southern Song Dynasty in ancient China, also a famous traitor to his Country).” This way of translating is not as good as the following strategies by which the nature and feature of this traitor are pointed out immediately: No sooner than he entered the gate than he heard a voice, “Here comes the traitor.” Another example, “Nu Wua filled the sky” is a Chinese legend, so Nu Wua is translated into “goddess who patched the holes in the sky with stone blocks (in Chinese mythology). Such translated text is so clear that easily to be accepted by foreign readers.
In order to avoid culture shock, Hawkes would rather adopt 红楼梦’s alternative name---The Story of the Stone. Although the title’s translation of French version, German version, Italian version and Russion version are all the The Dream of Red Chamber, Hawkes hold the view that they will cause misunderstanding. In European readers’ and American readers’ eyes, “红楼梦” means that “a person is sleeping in a red-color room, which may guide them into graceful and mysterious imagination, but regretfully, that is not the Chinese title means. [16] He translated “红楼梦” to The Dream of Golden Days, when he had to.
Red color stands for joy, wealth, honor and is mostly commendatory in Chinese. “绛芸轩”is the room name pasted by Baoyu in the top of the door after he wrote by himself. “绛” is equal to “red”, which is the very color that Baoyu liked. In Western countries, “red” is connected with flood, death and danger, so is not popular with most Westerners. “Red” in Chinese is more like “green” in English, so Hawkes translated “绛芸轩” to “Green Delights” in which “green” is preferred by Westerners. Here, he transferred the cultural meaning and turned “red” in “绛芸轩” to “green”, which caters to Western readers.
When Zhang Ruogu began his translation career in 1930s, he published his translation version Returning Hometown and Tess of the D’ Urbervilles which became very successful and were considered as “Modle of translation” in Hong Kong’ essays. Zhang said in the preface of Tess of the D’ Urbervilles: “My goal of translating this book is translating native English using native Chinese.”[17] From the perspective of translation strategies, Zhang Ruogu intended to domestication. He preferred to use Chinese idioms, especially those in four characters form. His translation works are of Chinese characteristics. We can see his domestication strategy in four aspects: (1) The Chinese title: Tess of the D’ Urbervilles is translated into 《德伯家的苔丝》. He turns the original name “德伯维尔” to “德伯”, which caters for Chinese speaking customs. (2) The application of dialects and idioms. In Zhang Ruogu’s view, the language spoken in the area Hadai lived is DuoSaite dialect, which is similar to Shangdong dialect, especially East Shangdong dialect. So, in Tess, we can see such expressions as “俺”, “爹”, “炕”。 (3) The application of four-word idioms. “It is an all-known that the translator Zhang Ruogu favored of four-word idioms.”[17] Besides, he is good at using ancient Chinese. The examples can be seen in the translation of subtitle in Tess: The Maiden—白璧无瑕； Maiden No More—陷淖沾泥；The Rally—旗鼓重整；The Consequences—兰因絮果；The Woman Pays—痴心女子；The Convert—冤家路窄； Fulfillment—功成愿满。(4) The Chinese names for persons and places. For instance, Zhang Ruogu translated “Alecd ‘Drberville” into “亚雷”； “Angel Clare” into “安矶•克莱” “Marlott” into “马勒村”. In Zhang’s translation works, domestication strategy and explanation are used together, which is a creative temptation, and has made success and been popular by most of the readers and devoted a lot for the generalization of British and American literature in China. Even someone said among the translation versions of Tess, Mr.Zhang’s is the perfect one. [18] Zhang is honored to be Chinese Hadai expert.
Zhang translated native English with native Chinese, which Sun Zhili considers that is easy to be understood and accepted by Chinese readers, but unfortunately, it is also inconvenient for Chinese readers to get to know foreign culture.[19] In addition, with the increasing understanding and uniting of Chinese and English, the readers’ desire for something new and true and the meme’s nature of copying will no more satisfy with domestication, so foreignization is to be the trend for meme’s transmission.
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