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the country. Such historical situation contributes to the translation ofShakespeare’s plays in China. In 1903 Xie Wai Qi Tan (《澥外奇谭》) came out, atranslation of ten articles in Tales from Shakespeare authored by Charles and MaryLamb, and a year later witnessed the publish of Yin Bian Yan Yu (《吟边燕语》),including twenty short stories in the same book translated by Lin Shu and Wei Yi.These two books in classical Chinese were arguably the first translation works ofsomething about Shakespeare’s plays. Though not based on the original text, theyrepresented the plays’ plots in the form of story and introduced the gist to the Chinesereaders for the first time.In the 1920s, with the development of May 4thMovement, the translation ofShakespeare became the battle field of classical Chinese and vernacular Chineselanguage. Tian Han produced the localized version of Hamlet (1921) and Romeo andJuliet (1924) in vernacular Chinese, which marked the official beginning of thetranslation of Shakespeare’s plays. While the vernacular Chinese was progressing todominate in literature, classical Chinese didn’t give up easily. Shao Ting’s Tian ChouJi (《天仇记》) adopted classical Chinese to translate Hamlet, probably because of hisbelief that only classical Chinese could match the superior status of Shakespeare’splays whereas vernacular Chinese would fail to inspire awe in those readers who grewup under the nurture of Chinese classics, as he said, “The status of Shakespeare’splays in literature and poetry is like that of dramas of the Yuan Dynasty and romancespromotion of Shakespearean plays and their performance, even to this day. That’swhy the author is interested in and intends to analyze their translations.

Chapter Two Drama and Drama Translation.....................12

2.1 Drama..........................................12

2.1.1 The Definition of Drama.............................12

2.1.2 Features of Drama Language ..........................12

2.2 Drama Translation .............................................14

2.2.1 Drama and Theatre Translation ..................15

Chapter Three Similarities in Liang Shiqiu’s and ......................................18

3.1 Source Text .................................................18

3.2 Translation Form...................................................19

3.3 Quality Translation ............................................22

3.3.1 Mastery of Language ....................22

3.3.2 Minor Mistakes ..........................26

Chapter Four Distinctions between Liang’s and Zhu’sVersions

No leaves are exactly the same in the world, so is the translation. It is a work ofpersonal imprint, influenced by the translator’s command of both languages, literarycultivation, language habit and some other elements. This chapter primarily focuseson the distinctions between two renditions of The Merchant of Venice by Liang Shiqiuand Zhu Shenghao after discussing the above similarities.

4.1 Translation of Words

 AppellationA drama cannot do without appellation. Different languages and cultures havedifferent appellation systems and classifications. The translation of appellationembodies the translator’s attitude to a degree. Take the translation of “sir” forexample.SALANIO Believe me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。