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Introduction

The discussion revolves around the issue of alterity in translation, emphasizing how the translator's cultural stance and attitude toward "otherness" influence translation choices and the final form of the translated text. Taking the classical Chinese drama The Romance of the Western Chamber as an example, the analysis explores the challenges it faces in overseas translation, particularly how Jacques Pimpaneau's French translation became a milestone in the history of foreign translations. The study examines the translator's attitude toward alterity and translation strategies from three perspectives—genre, language, and culture—aiming to provide insights for the overseas translation of classical Chinese drama.

I. Restoring the Alterity of Genre

This section discusses the issue of generic heterogeneity in the Western translation of the classical Chinese drama The Romance of the Western Chamber. Due to its unique structure and expressive forms, the drama lacks an exact equivalent in Western literary genres. Historically, French translators often overlooked or misinterpreted its generic features—for instance, 19th-century French sinologists classified it as a novel, while 20th-century translator Paul-Jacques Bonzon adapted it into a novel, ignoring the distinctive nature of Yuan zaju (a form of poetic drama). In contrast, Jacques Pimpaneau's French translation strives to faithfully represent the generic characteristics of The Romance of the Western Chamber. Using the Hongzhi-era Ming edition as his source text, Pimpaneau retains all the aria lyrics, marks musical notations, translates the names of tune patterns directly, and employs annotations to explore the cultural connotations of theatrical terminology. His translation choices reflect a deep understanding and respect for the original work, enriching French readers' perception of Yuan zaju as a genre. His approach aligns with the views of French translation theorist Antoine Berman, emphasizing fidelity and accuracy while acknowledging and accepting the Other as Other.

II. Respecting the Alterity of Linguistic Form

This section examines the linguistic features of the spoken dialogues and aria lyrics in The Romance of the Western Chamber and the challenges they pose in translation. The dialogues employ Yuan-dynasty vernacular, incorporating four-character idioms and wordplay, while the lyrics draw from Tang and Song poetry, exhibiting rhythmic beauty. Pimpaneau strives to preserve the original form through direct translation and annotations to convey the nuances of Chinese language and culture. For example, he translates the idiom "天姿国色" (heavenly beauty) literally and provides explanatory notes on its origin and meaning. For wordplay involving Chinese characters, he uses direct translation supplemented by annotations, allowing readers to grasp both the literal meaning and the aesthetic beauty of the characters. This method reflects his adherence to the French sinological tradition of drama translation and his commitment to fidelity. However, the direct translation approach cannot fully retain the prosodic features of Yuan zaju, such as the rhyme and rhythm of the lyrics. Pimpaneau renders the lyrics in prose, faithfully conveying the content but inevitably losing the poetic form. To compensate, he includes a detailed preface explaining the rhyming conventions of classical Chinese drama and analyzes the role of rhyme in evoking emotional atmospheres.

III. Interpreting the Alterity of Cultural Elements

This section explores the translation and reception of The Romance of the Western Chamber in France, highlighting the importance of cultural alterity. Pimpaneau encourages French readers to embrace the cultural otherness of Chinese traditions, arguing that translation should foster an open relationship with the Other and enrich the target culture. He provides 238 annotations on Chinese culture, covering objects, religion, customs, cultural imagery, and social institutions, offering readers an "education in alterity." His translation strategy balances domestication and foreignization, ensuring readability while seeking commensurability between Chinese and French cultures.

Conclusion

This analysis of Jacques Pimpaneau's French translation of The Romance of the Western Chamber examines his strategies in handling literary genre, linguistic form, and cultural elements. By respecting the alterity of the original, Pimpaneau restores the dramatic genre through direct translation and annotations, preserves linguistic features, and interprets cultural differences, enabling French readers to appreciate classical Chinese drama. Although the translation falls short in capturing prosodic elements, it stands as a representative work in the French translation of classical Chinese drama. However, the translation is primarily suited for reading rather than theatrical performance, prompting further reflection on how to forge stronger connections between classical Chinese drama and French theater.

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