1 Introduction

This article introduces the development history of English translation of traditional Chinese opera, starting from the publication of the first English translation of Chinese drama "The Orphan of Zhao" in Europe in 1736. After nearly 300 years of development, it has formed a grand chapter in the history of Chinese drama translation. Domestic scholars have systematically sorted out and studied the history of drama translation, forming multiple monographs. The writing of the history of Chinese opera translation has transitioned from the stage of accumulating scattered historical materials to the stage of systematic interpretation, highlighting the translation characteristics of the initial, developmental, prosperous, and flourishing stages of Chinese opera translation. However, in the era of "rewriting" the history of translation, there is a generalization drawback in the division of the stage of translating opera into foreign languages, which cannot fully represent the unique literary form of drama. With the help of the unique translation rewriting characteristics of English and American scholars expanding their survival boundaries, it leads to the problem of "insufficient cultural perspective and inability to present the cultural texture generated by translation". Introducing the perspective of social trends can lead to a horizontal display of historical materials and a vertical traction of their social and historical attributes, which has the value and significance of emphasizing both historical and theoretical aspects. The history of English translation of Chinese opera before the founding of the People's Republic of China can be divided into three stages, each deeply influenced by the classical, romantic, and realistic trends.

Translation of Chinese Opera under the Influence of Classical Thought (1736-1840)

The trend of classicism was popular in 17th century Europe and influenced the dissemination of traditional Chinese opera in Europe. During this period, Chinese opera became an important way for Enlightenment thinkers to realize their own ideas. Between 1736 and 1840, there were five English translations of "The Orphan of Zhao", among which the translations by John Watts and Edward Cave, although not performed, increased the popularity of Chinese opera in England. William Hatchett, Arthur Murphy, and Thomas Percy also adapted or translated "The Orphan of Zhao" respectively. In 1817, Debi Shi translated "Lao Sheng Er", becoming the first traditional Chinese opera work directly translated from Chinese to English. 12 years later, Debishi translated 'Autumn at the Palace' into English. These translations reflect the characteristics of translation strategies under the classical trend, including the praise of authoritarian monarchy, the promotion of rational principles, and the strict differentiation of genre boundaries. Classicism, as a social existence, achieved adherence to social and poetic norms through the translator's text selection and interpretation of opera language and style, influencing the generation of early Chinese opera knowledge in the target language world.

Translation of Chinese Opera under the Influence of Romanticism (1840-1914)

After the bourgeois revolution in the 18th century, the rise of romanticism in Europe had a profound impact on the translation of Chinese opera into foreign languages. Between 1840 and 1914, regional characteristics were evident in the translation of traditional Chinese opera, with Cantonese opera translation reaching its peak, such as Stanton's English translation of "Recommended He Wenxiu". The performance of Hong Kong comedy has propelled the climax of comedy translation, such as the translation of "Borrowing Boots" contributed by Joseph Needham and others. Sinologists have become the main translators, such as Si Dengde's English translation of Peking Opera "Yellow Crane Tower" and so on. American sinologists have also begun to pay attention to the translation of Chinese opera, such as Wei Sanwei's translation of "The Sweatshirt".

Translation of Chinese Opera under the Influence of Realism (1914-1949)

Between 1914 and 1949, the realism movement had a significant impact on opera translation, and Western translators began to pay attention to opera works with realistic themes. The number of American translators exceeds that of British translators, among whom Alington and Acton are representative figures who have contributed to the Western world's representation of the aesthetic value of Chinese opera by translating and introducing it. Translators such as Zuke and Laffer also promoted the dissemination of Chinese opera in the West through abridged and re translated works. The realism movement pursues the realistic depiction of typical character images and the dialectical unity within the subject and object, which are reflected in the translated works of this period. The translators have created many typical character images, such as Haitang in "The Story of the Grey Chamber" and Cui Yingying in "The Romance of the Western Chamber", showcasing typical images of female awakening. In terms of translation strategy, translators pursue authenticity, combining the shaping of the real objective world with the real subjective spiritual feelings. Images such as Cui Yingying in "The Romance of the Western Chamber" and Chunxiang in "The Song of Spring" are both realistic and lifelike. The rise of American sinologists during this period opened up new channels for the dissemination of Chinese opera in the West, laying the foundation for subsequent research on opera translation.

5 Conclusion

Emphasis was placed on the influence of social trends on the history of English translation of traditional Chinese opera, revealing how translators at different historical stages reinterpreted and presented opera based on the cultural context of the times. Social trends not only reflect the aesthetic taste of the times, but also influence translation motivation, text selection, and strategies. The introduction of a social ideological perspective enriches the study of translation history and provides theoretical support for understanding the complex motivations behind translation phenomena. The study also explored the interactive relationship between translation practice and the historical context, providing a new perspective for revealing the translator's identity, motivation, text selection, and strategic evolution. This study organically combines translation history with cultural history and intellectual history, providing a foundation for exploring the relationship between translation of other literary forms and social trends in the future. At the same time, understanding the characteristics and rules of opera translation under different ideological trends can help to more effectively spread traditional Chinese culture in the new international context and promote cultural exchanges between China and foreign countries. Re examining the relationship between opera translation and social trends in the context of globalization provides new ideas for constructing more inclusive and innovative translation theories.