A Brief Discussion on the Translation of Tea Culture in "Dream of the Red Chamber"

Tea culture frequently appears in "Dream of the Red Chamber," serving various functions such as conveying hidden meanings and character portrayal, making the translation of tea culture crucial. This article will focus on a comparative analysis of the translation strategies and effects of Yang Xianyi's and Hawkes' versions of "Dream of the Red Chamber" concerning tea culture and character shaping.

Miaoyu is arguably the most proficient person in tea ceremony within "Dream of the Red Chamber," well-versed in tea classification, customs, and the selection of tea utensils. Chapter 41 provides a comprehensive depiction of Miaoyu, highlighting her extensive knowledge of tea and her multifaceted personality. In this chapter, Miaoyu presents tea to Jia Mu and others after their meal, offering them "Laojunmei" (Old Jun's Eyebrows). Miaoyu intends to use the name "Laojunmei" as an auspicious blessing for Jia Mu's longevity, which requires the translator to pay particular attention to the names of the two teas. Yang Xianyi translates it as "Patriarch's Eyebrows," while Hawkes renders it as "Old Man's Eyebrows." In comparison, the term "Patriarch" in Yang’s version refers to a "respected elder," which evidently helps readers better understand Miaoyu’s intention in choosing this tea, more so than Hawkes' "Old Man." In this instance, Yang’s translation shapes and deepens the contradictory image of Miaoyu, who cannot fully escape the constraints of the mortal world and ultimately still needs to please those in power.

In addition to character portrayal, certain tea names in "Dream of the Red Chamber" employ various rhetorical devices, showcasing unique artistic styles, presenting significant challenges for translators. For example, in Chapter 5, there is a passage: "This tea comes from the fragrant caves of Spring Mountain, brewed with the dew left on the fairy flowers and magical leaves; this tea is named 'Qianhong Yiku' (Thousand Red Flowers in One Cave)." Here, the name "Qianhong Yiku" carries double meanings—"Qianhong" represents all the women in the Jia family, while "iku" sounds similar to "ku," which connotes "tears," implying the "tears of women" and the tragic fate of the female members of the Jia household. The author uses this homophony to hint at the grim destinies of the Jia ladies and maids. Regarding this tea name, Yang Xianyi employs a literal translation method, rendering "Qianhong Yiku" as "Thousand Red Flowers in One Cavern," thereby creating a sense of beauty in imagery but failing to convey the original text's pun and symbolic meaning. Conversely, Hawkes uses a free translation approach, translating "Qianhong Yiku" as "Maiden’s Tears," interpreting it as "the tears of young girls." From a functionalist perspective, this highlights the phonetic play and metaphorical significance of the original text, aiding English-speaking readers in grasping the implied meaning.

It is evident that every detail in "Dream of the Red Chamber" harbors thoughtful considerations, reflecting character traits and containing profound artistic value. Only by thoroughly understanding and grasping the original work can translators maximize the transmission of such charm found in these details to the readers.

◀️：Context in Translation

▶️：Adaptation in Response to Situations: A Brief Discussion on Contextual Issues in Translation