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hizhi (2011) points outthat Shao Nai Nai De Shan Zi creates the first model for the stage art of realism of Chinesedrama and offers valuable experience for its further development. Wang Xiaowei (2018)thinks Shao Nai Nai De Shan Zi is regarded as a landmark in the history of Chinese drama because Hong Shen takes account of both the theatricality and the playing needs in itstranslation. Wang Haiying (2018) regards the performance of Shao Nai Nai De Shan Zi asthe symbol of the first perfect combination of the literariness and stage nature on the stageof Chinese drama.

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Chapter Two Hong’sAdaptation in Translation

2.1 Hong’sAdaptationtotheInternalTranslationalEco-environment

Translators’ translation needs vary. Some aim at making a living, others treattranslation as a hobby or a method to realize their ambitions, etc. For example, ZhuShenghao supported him and his family mainly through translation; Fang Zhong'stranslation of Geoffrey Chaucer stemmed from his strong interest in Chaucer and his works.In order to waken the minds of the Chinese people, Yan Fu was engaged in translatingimportant Western political and economic works (Hu Gengshen, 2004: 102-104). HongShen’s primary needs for translating Lady Windermere’s Fan are related to his interest andambition.

2.1.1Adaptation to the Translator’s Needs

Hong Shen began to show great enthusiasm in drama since he was a little child. Inorder to watch his favourite dramas, sometimes he even broke school rules. Apart fromwatching dramas, he took almost every chance to perform them. Later, he was sent to USAby the government to major in magnet-burning engineering. His passion for drama wasnever reduced although his major in USA was not related to literature at all. Hong Shenoften managed to watch dramatic performances although it was a very big economicburden for him. Then he determined to drop out of his previous major and study drama(Chen Meiying, 1993: 2-11). Hong Shen once said that in order to prevent him fromruining his future by dreaming of being a dramatic performer, one of his father’s goodfriends tried his best to advise him repeatedly to return to China and promised him that hewould help him to take the official position of a provincial sales director of tobacco and alcohol. Although it was a well-paid position admired by a large number of people, hewasn’t moved at all (Hong Shen, 1959: 532). After graduation, he determined to go back toChina to start his career of dramatic creation and performance.

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2.2 Hong’sAdaptation to the ExternalTranslationalEco-environment

There are various and complex factors included in the internal and externaltranslational eco-environments. The translator often needs to analyze them carefully so asto make the fittest selective adaptation. This part mainly talks about Hong Shen’sadaptation to the external translational eco-environment from the aspects of the source textand the target audience.

2.2.1Adaptation to the Source Text

Shao Nai Nai De Shan Zi is translated from Lady Windermere’s Fan, one of OscarWilde’s five great comedies of manners. Because the author applies a great many rhetoricaldevices, such as metaphor, allusion and repetition, the drama is not only humorous andironic but also simple and vivid. 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。