As for culture-loaded words in the two English versions, there are many differences between two versions。 Yang and Gladys often use English to show the meaning and function of these culture-loaded words。 It can clearly express these words’ meanings, and the readers can grasp their meanings without misunderstandings。 While Liu takes the strategy of domestication, he prefers to use the same contrast in English。 His way of translation makes the readers understand better。 (Zhou and Cui 2)

From the perspective of adaption and selection theory, how to deal with culture-loaded words is the biggest problem in translating A Record of the Xiangji Pavilion。 If translators do not deal with these culture-loaded words in the version, foreign readers cannot understand their deep cultural meanings。 It is vital for translators to adapt and select different words to show the culture meanings of culture-loaded words in specific contexts。 (Li and Wang 4)

2。2 Translation strategies of two versions of A Record of the Xiangji Pavilion文献综述

Yang and Gladys’s version mainly took domestication to follow the source text faithfully, according to their consistent translation principles。 As is mentioned in the following passage, the translation of title is a typical example。 Yang Hsien-yi held that translators should follow the original writer of source text faithfully and have respect for the writer’s emotions and creative writing, instead of rewriting the source text in the name of translation。 On the assumption of faithfulness, translators have to make their translations read smoothly to let the target-language readers understand the translation clearly。 Only in this way, can the translation have the culture value。 (Li 1)

However, it does not mean that they did not take foreignization。 Yang Hsien-yi thought that translation is a tool of communication between different languages。 The users of different languages are men, and human’s feelings can exchange each other。 Gladys held that the language and spirit of translations ought to follow the source text faithfully。 She was not satisfied with the contrast of words between English and Chinese, and she was dedicated to making the target-language readers understand the deep culture meaning hidden beneath the surface of language。 (Hu 83)

As a result, Yang and Gladys’s version of A Record of the Xiangji Pavilion is a combination of domestication and foreignization。 They give priority to domestication and give minority to foreignization。

While, Professor Liu mainly took foreignization to make sure that the target-language understand the translation。 Prose of its very nature is longer than verse, and the virtues peculiar to them manifest themselves gradually。 (Arthur Clutton-Brock) Therefore, Professor Liu held that translators should follow three principles。 First, translators should follow the rhythm of the source text。 It is crucial to keep the same rhythm of the original text in translated versions。 It is an indispensable part of translation to represent culture value of literal translations。 Second, translators should observe the lingering charm of the source text。 Literal translations only reproduce the special atmosphere of the original text, and translations can represent this lingering charm。 Third, translators should follow the typical ways of original writers。 Translators have to investigate original writer’s thoughts, aesthetics and mentality to translate their works at the typical ways of their writing。 (Liu 3)

When Professor Liu applied the three principles to prose translations, he took foreignization to translate this text。 It is far from aimed at meeting his standard by using the domestication。 As a result, his version of A Record of the Xiangji Pavilion gives priority to foreignization。