Theor App Lit EN 2

摘要

《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。

关键词

“信达雅”；翻译对比；口语文学

Abstract

The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Cheng Shi and Zhang Wanli.

Key Words

“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature

Introduction

===Introduction to Yan fu===a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging.

Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）--Zhan Ruoxuan (talk) 03:15, 15 December 2021 (UTC) ===Introduction to The Adventure of Huckleberry Finn

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

The use of dialectical vernacular makes Huckleberry act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refused to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）--Zhan Ruoxuan (talk) 03:15, 15 December 2021 (UTC)

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to influence the readers by reflecting social life and portraying characters, writers must employ the language used by all social classes. In this book, the language style must be appropriate to the ideas he expresses and to the characters he portrays. There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）--Zhan Ruoxuan (talk) 03:15, 15 December 2021 (UTC)

The key points of translation

The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua gives a definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality.

Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)--Zhan Ruoxuan (talk) 03:15, 15 December 2021 (UTC)

The main characteristics of the book

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child. Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77) In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shi realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.--Zhan Ruoxuan (talk) 03:15, 15 December 2021 (UTC)

Quated examples

Excerpt 1

…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.(Twain 1944, 147) Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。(Zhang 1984, 97) Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。(Cheng 1988, 99) This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.(Cui 2019, 79-80)

Excerpt2

‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 195) Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 149) Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 153) Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father’s illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 80)

Excerpt3

‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 205) Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 208) Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 213) Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 82)

Excerpt4

We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. (Twain 1944, 303) Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。(Zhang 1984, 296) Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。(Cheng 1988, 291) When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.(Cui 2019, 82)

Conclusion

There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.(Chen 1992, 61)      

Reference

Cuddon, J. A. A Dictionary of Literary Terms. Chatham: W&J Mackay Limited, 1979.663 Rubinstein, Annette T. American literature: Root and Flower, Significant Poets, Tylter, Alexander Fraser. Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press, 2007 Twain Mark. The Adventure of Huckleberry Finn. Beijing: Foreign Language Press, 1944 Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House. Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press. Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press. Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.