1 Introduction

This article introduces the dissemination process of the French medieval knight literature classic "Tristan and Yther", including the adaptation by Bedier, the first Chinese translation by Zhu Guangqian, and the re translation by Luo Xinzhang. Explored the reasons for Luo Xinzhang's re translation of this book, the means of re translation, and how to achieve value-added and spiritual continuity of the classic text. The analysis will be conducted from three dimensions: the translation proposals of Luo Xinzhang and Zhu Guangqian, the inheritance and transcendence of Luo's translation of Zhu's translation, and Luo Xinzhang's ethical principles of retranslation.

Analysis of the Translation Proposals of Luo Xinzhang and Zhu Guangqian

In depth exploration of the differences and connections between Zhu Guangqian and Luo Xinzhang in translation propositions and language strategies. Zhu Guangqian's translation philosophy has undergone a transformation from "incomplete expression" to "unity of language and meaning", emphasizing that translation should maintain the integrity of the original work, advocating that while faithful to the original text, the translation should be fluent, and promoting the development of vernacular Chinese. Luo Xinzhang proposed the theory of "detachment from form to similarity", emphasizing that translation should break free from the constraints of the original form and convey the spirit of the original work, viewing translation as a "second creation". In terms of language strategy, Zhu Guangqian supports vernacular Chinese and believes that we should criticize and inherit the excellent elements of classical Chinese, and moderately Europeanize to enrich Chinese expression. Luo Xinzhang advocated the use of "pure Chinese" and opposed "foreign Chinese", borrowing from foreign languages to enhance the flexibility and expressiveness of Chinese, but avoiding translation tones. The two translators have similarities in their pursuit of conveying the essence of the original text, appropriate use of classical Chinese, and borrowing from Western languages, but there are differences in whether they are faithful to the original form and whether they use Europeanized language.

3 Translation Comparison: Luo Xinzhang's Inheritance and Transcendence of the essence of Zhu's Translation

After the end of the Cultural Revolution, Luo Xinzhang began translating "Trisdang and Yser", initially unaware of the existence of a Chinese translation by Zhu Guangqian. After learning about the Zhu translation, Luo Xinzhang intended to give up, but Zhu Guangqian encouraged him to continue. In the late 1980s, Luo Xinzhang decided to inherit Zhu Guangqian's brilliant translation skills while organizing old manuscripts. In terms of genre and style, Luo Xinzhang inherited and optimized Zhu Guangqian's narrative framework and language style, such as using "various viewing officials" to enhance the color of the script, and emphasizing the transmission of rhythm and rhyme. In terms of inheriting and modifying words and phrases, Luo Xinzhang absorbed the excellent translation skills of Zhu's translation and polished some "flaws", such as changing "especially favored by the king" to "favored by benevolence", to make the sentence style consistent. In terms of sentence adjustment and optimization, Luo Xinzhang believes that Chinese sentences that are too long will affect reading, so he strives for conciseness and focuses on small sentences. For example, he divides Zhu Guangqian's long sentences into several small sentences to better restore the narrative style of the original text. In the cross-cultural reshaping of character images, Luo Xinzhang mainly reflected in two aspects: the hierarchical processing of character language and the artistic processing of character names. For example, he personalized the language of King Mark to display his noble and majestic identity; Artistic reconstruction of character names, such as' Fusheng 'which reflects the character's hunched appearance and lewd personality. Luo Xinzhang's translation strategy combines "domestication" and "foreignization", creating a sense of familiarity while maintaining a certain distance.

4. Ethics of Luo Xinzhang's retranslation

Discussed Luo Xinzhang's views on the ethics of retranslation, believing that a competitive mechanism should be introduced to improve translation quality and oppose meaningless repetition. Luo Xinzhang demonstrated noble ethics in the re translation of "Te", including respect for the previous translator and absorption of their translation ideas, innovation beyond the previous translation, and honest and trustworthy treatment of the re translation work. He not only pursues fluency and harmony in language expression, conveying the charm of the original work, but also objectively evaluates the previous translation and declares in the accompanying text that he referred to the translations of other translators, demonstrating respect and integrity towards the previous translator.

5 Conclusion

Zhu Guangqian's translation work enriched vernacular Chinese by drawing on classical Chinese and Europeanized languages, making contributions to literary translation and the development of vernacular Chinese. However, there are also limitations in terms of literary quality, rhythm, and cadence. In his re translation, Luo Xinzhang emphasized the harmony of rhythm and overall style, artistically processed the language and names of the characters, pursued similarity, and made the translation more free and lively, smooth and natural. He successfully inherited and surpassed Zhu Guangqian's translation, achieving the continuation of the original work in time.