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Domestication is a translation strategy complying with the target language culture, it openly uses conservative assimilation means to cater to local canon, publishing trends and political needs or use transparent, fluent style in translation to dilute the original strangeness. “Domestication camp” with the purpose of target language as destination, proposed translation not only to overcome the language barrier, but also to overcome cultural barriers, and one of the translator’s responsibility is to avoid cultural conflict. Meanwhile, as a “communicator”, the translator could not demand the intelligence and imagination of the target language readers but do some efforts in the process of translation to achieve the culture peers between the source language culture and the target language culture.
Foreignization is a translation strategy deviated from the local mainstream values, retaining the original language and cultural differences or the original foreignness to some extent, and it deliberately breaks the routine target language translation. The “foreignization camp” who advocate that the language source culture should be preserved say that the propose of translation is the exchange between cultures, and language source culture will enrich the culture and cultural expression of the target language. Because the readers also want to know the purpose of a foreign culture, the translator should believe the reader’s intelligence and imagination to understand a foreign culture.
2.2 The Translation Studies of Hong Loumeng
Wang Liangzhi, a Chinese classical literature teacher at New York University in 1927, was the first Chinese person who has done partially translation of Hong Loumeng. The main content of his partially translation is the love story between Baoyu and Daiyu and it was pided into 95 chapters, about 60 million words. Between 1929 and 1958, Columbia University Professor Chi-Chen Wang has published two editions of section translation of Hong Loumeng the first edition translated by Arthur Waley had 39 chapters; the second edition had 60 chapters, and was translated by the famous scholar Mark Van Doren. In 1958, the New York translators Frorenee Mehugh and Isabel Mehugh had translated 562 pages of the booklet. In the 1980s, the two the full translations of Hong Loumeng were available and well-known. In 1980, China published a full translation of Hong Loumeng by famous Yang Xianyi couple and it had three volumes. In 1986, the British scholar David Hawkes published the full translation of Hong Loumeng with five volumes.
Since the appearance of the Yang’s version and Hawkes’ version, people do research and comparative studies on them from all kinds of perspectives. Shen Dan judged pros and cons of the two versions from the perspective of the faithfulness to the original literary work; Guo Jianzhong did some research on the application of “domestication” and “foreignization” from a cross—cultural perspective in two versions, “Yang xianyi wanted to introduce Chinese culture to Anglo—American readers who wanted to know more about Chinese culture, so he used foreignization strategy. The translation purpose of Hawkes is to please readers, so he translated it for Anglo—American readers by domestication strategy.” （Guo Jianzhong,1999:56）Zhu Jun made comparison of two versions by means of Han Lide’s convergence theory; Wang Jing researched from the perspective of culture; in addition, some scholars think that Yang focused on semantic translation and Hawkes focused on communicative translation, and so on. 源'自:优尔-'论/文'网"www.youerw.com
3. Buddhist and Hong Loumeng
3.1 Buddhist Culture in Hong Loumeng
Buddhism, according to legend, created by ancient India Kapilavastu Prince Shakyamuni in six to fifth Century BC, widely spread in many Asian countries. Since the Buddhist scriptures spread in the Han Dynasty in China, the content and form ideas of Chinese literature have been influenced. “I don’t believe anyone opposed to the fact that there are a lot of Buddhism thought in Hong Loumeng, an encyclopedia of Chinese culture. Among other things, it contains Six Degrees spirit of Mahayana Buddhism in the protagonist Jia Baoyu.” (Li Genliang,2009:190) With the development of the plot and the decline of the games, the painful and empty real life makes Baoyu want to escape. The works have more specific and detailed description on the feeling, cognition and understanding of Dharma perception of Miaoyu and Xichun. Jia Baoyu talked about Zen Buddhism with Lin Daiyu. Miaoyu became deranged and Jia Xichun became a nun, all of which reflected that religious culture running through Hong Loumeng and were of great help for future generations to understand the Buddhist culture.