Abstract

abstract:

This article traces how the vernacular romance "Heying lou" by Chinese writer Li Yu morphed into Théophile Gautier's novella "Le Pavillon sur l'eau." The original story, first rendered into English by John Francis Davis under the title "The Shadow in the Water," was further translated into French by Jean-Pierre Abel Rémusat as "L'Ombre dans l'eau"; it is upon this latter work that Gautier based his "Le Pavillon sur l'eau." Drawing on a meticulous scrutiny of each author's input into this multilayered transmission, I argue that by artfully rewriting a seventeenth-century Chinese tale centered on polygamy in accordance with late romantic French aesthetics and by foreignizing his prose style, Gautier not only recovered the literary agency of the "Heying Lou" lost in the previous utilitarian translations, but also elevated Rémusat's rendering of the Chinese story from a marginal item in the sinological archive into a well-polished piece of world literature.

pdf

Additional Information

ISSN
1528-4212
Print ISSN
0010-4132
Pages
pp. 148-174
Launched on MUSE
2020-08-21
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.