Abstract: Zhou Shoujuan's translation of Thomas Hardy's short story “Benighted Travellers” marks the beginning of the introduction of Hardy into China. However, Zhou's translation loses the distinctive ironic style of the work. The environment of translation and introduction of Western popular literature in the late Qing Dynasty and the early Republic of China caused an inadequacy of Zhou's translation, compounded by Zhou Shoujuan's own tendency toward sentimentalism, which together resulted in the loss of irony in the translation. The reason for this loss was neither Zhou's misreading nor his deliberate rewri￣ting, but an intermediate free translation, which transformed Hardy's original irony of love and loyalty into an ode to love and loyalty, demonstrating a domestication of the secular modernity of Western popular literature in the translated literature in the late Qing Dynasty and the early Republic of China.

Key words: Zhou Shoujuan, Thomas Hardy, “Benighted Travellers”, irony, translated literature

摘要： 周瘦鹃翻译的哈代短篇小说“回首”是哈代进入中国之始,但周译本缺失了“回首”鲜明的反讽风格。清末民初对西方通俗文学的译介生态造成了周译本的不充分性,与周瘦鹃创作的哀情特质共同造成了周译本反讽的缺失。这种缺失形成的原因既非周瘦鹃的误读,亦非其刻意改写,而是一种介于中间的意译状态,将哈代原文对爱情和忠贞的反讽转变成了歌颂,是清末民初翻译文学对西方通俗文学的世俗现代性的一种归化处理。

关键词: 周瘦鹃, 哈代, “回首”, 反讽, 翻译文学