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texts.Gong sums up six features of dramatic texts concerning literariness, i.e., beingpoetic, rhetorical, implicit, idiosyncratic, colloquial and actable (重诗意、修辞性、含蓄、口语化、个性化、动作性) [龚芬, 2004: 8-31]. The last two elements, though closelyrelated to the literariness of the theatrical text, are easier to be studied in thedimension of performability. The other four elements, then, basically cover theliterary side of drama, which will serve as the criteria for the following analysis.theatre translation involves “a change of medium”, which refers to the transformationof the written text into an element of stage performance. Yu Guangzhong’s strategy intranslating drama is to take into consideration the audience as well as the actors ratherthan preserve all the literariness in the source text as a faithful translator would do to apoem (余光中, 2004: 127). While poetry aims at a smaller circle of literati who aresensitive to the linguistic devices and poetic feelings, drama is intended for a biggeraudience largely composed of ordinary people who might not grasp all the subtletyand nuances like a poet.

1.2 Performability of Drama and Its Translation

The term performability was not coined until the late 1970s, before whichdiscussion touching upon this notion had already been going on for a while. Withoutan accurate term to define it, scholars had been curious about the unique feature ofdrama that sets it apart from the rest literary genres (Che Suh, 2002: 51). Over the pastfour decades, heated discussion on the action dimension of theatrical texts has beenheld and is presumably to continue.The first issue worth clarifying is the definition of performability in drama texts.Susan Bassnett (1991: 102) is doubtful of using the term performability to define theinherent element in dramatic texts capable of being acted out (Bassnett, 1991: 102).Despite the frequent use of the term “performability” in drama translation studies,Bassnett (1991: 102) thinks it is only a futile attempt to describe the undescribable, asone culture differs from the other. In her opinion, what the scholars have done so faris only decide their own standards of speakable texts on an ad hoc basis (Bassnett,1991: 102). 

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

2.1 Dramatic Language in The Tempest..................................10

2.1.1 Literariness....................................10

2.1.2 Performability ...............................12

2.2 The Tempest’s Two Chinese Versions and Translators....................................14

Chapter Three Comparative Study of the Two Chinese Versions’ Literariness ........16

3.1 The Translation of Poetry..................................16

3.1.1 Poetic Form.............................................16

3.1.2 Poetic Expression.................................17

3.2 The Translation of Rhetoric ...............................18

3.2.1 Simile ...................................................19

3.2.2 Pun ......................................20

3.2.3 Allusion ............................................................21

3.3 The Translation of the Implicit ...................................22

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