“Yu-Bo-Ya Shuai Qin Xie Zhi Yin” from Jin Gu Qi Guan (Modern and Ancient Tales of Wonder), a collection of Chinese short stories compiled during the late Ming Dynasty, was introduced to the West in the nineteenth century through translation. “Le Luth Brisé”, translated into French by the travel writer and Orientalist Théodore Pavi, appeared in 1839. The English version, Yu-Pe-Ya’s Lute, was published by the English poet Augusta Webster in 1874. Except for a few adaptations employed to bridge culture gaps, Pavie’s prose rendition of the tale is painfully faithful to the original. Webster’s version, by contrast, offers a free rendering in verse form. Employing a corpus-assisted approach, this paper examines an array of issues, including gender dynamics, and the intricate multilateral relationships among the authors, the originals and the translators. The analysis highlights that Webster did not know Chinese and her version is based on Pavie’s French translation. Pavie claims in the preface that the origin of the tale cannot be traced. To Webster, the tale is set in “an epoch so vague and so remote that it has no date” and the author is invisible. In the absence of the author, Webster usurps the role of the author, allowing herself the freedom to project her aspirations and laments into the main characters. She transforms the male protagonists into spokespersons for the experiences of Victorian women, including that of the female writer herself, illustrating of the transformative power of translation and the complex roles of authorship and translation.

Authors:
Victoria Lai Cheng Lei, University of Macau, Macau

About the Presenter(s)
Professor VICTORIA LAI CHENG LEI is a University Associate Professor/Senior Lecturer at University of Macau in Macau

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