文学性、可表演性之契合

ferent cultures can hardly be achieved. Her unremitting effort on clarifying thisconcept has pushed and inspired other researchers to work equally hard on it (Suh Che,2005: 22). Espasa (2000: 49) studied performability-related terms such as theatricality,speakability and breathability from the textual perspective. She points out thatperformability in a dramatic text is the text’s capability of being spoken fluently byperformers (Espasa, 2000: 49). Pavis (1989: 37) disagrees with the above two scholarsby asserting that theatricality relies solely on the realistic use of stage instrumentsrather than the dramatic text. A comparative study of the abovementioned views onthe definition of performability leads to the following conclusion: 1. Performabilityrefers to the inherent essence of dramatic texts that is able to be borne by theperformance. 2. On the textual sense, performability can be understood as the abilityof the lines to be spoken fluidly by the actors. 3. Performability is a culture-boundnotion, which can only be defined within a particular receiving culture for themoment.

Chapter Two The Tempest and Its Two Chinese Versions

This chapter takes a look into the dramatic language in the original The Tempestand gives a brief description of its two Chinese versions. The examination of thedramatic language in The Tempest is done from two dimensions- literariness andperformability, in order to lay a foundation for the later comparison of its two Chinesetranslations. The description of the two Chinese versions roughly shows the style andacceptance of them, which are supposed to be related to the two translators’ strategiesand outcomes in translating this play. 

2.1 Dramatic Language in The TempestShakespeare’s mastery of words and handling of tension have been well shownin the comedy 

The Tempest. In this play, the words and styles vary from character tocharacter and from scene to scene. A close reading of The Tempest will be done in thispart to give a foreground for the comparative study of its Chinese translations.Though not a song in itself, these four lines, brought together by rigid logic,similar pattern and strong emotions, sound exactly like a passionate song. If they arespoken by a good actress with proper gestures and facial expressions in the rightmood, they are nothing less than a touching love song. The audience will be movedby the musicality of the words, as well as the intense passions they contain.

2.2 The Tempest’s Two Chinese Versions and Translators

The two Chinese versions in question were translated respectively by LiangShiqiu and Zhu Shenghao. Liang Shiqiu is mainly remembered as the first person whostarted to translate the complete works of Shakespeare into Chinese single-handedly(Levith, 2004: 8). Zhu Shenghao is also a renowned Shakespearean scholar whostarted to translate his works early and finished translating most of his works beforehis pitiable death at a young age. Both Liang and Zhu are believed to be the bestShakespearean translators and scholars in China, but their works fared differently.Zhu’s translations have been reprinted numerous times and widely lauded, whileLiang’s translations were once undervalued and neglected (Levith, 2004: 130). In fact,Liang made as much effort as Zhu did, if not more, to understand Shakespeare’sworks and introduce them to China. In translating The Tempest, the two translatorsshow their different styles and choices, thus coming up with two highly valuable anddistinctive versions of the play.

Chapter Two The Tempest and Its Two Chinese Versions...................10

2.1 Dramatic Lan