Abstract
<jats:p>This paper examines the interpretative issues surrounding the Chinese translation of the comedy The Government Inspector, with a particular focus on the rendition by a translator and a literary figure Man Tao (1916–1978). Man Tao was the fifth translator in the 20th century to translate this classic comedy into Chinese. His 1990 edition (completed no later than 1967) became the most widely circulated Chinese version of Gogol’s comedy. Guided by his principle of precise translation, Man Tao was the first to have translated Gogol’s epigraph, however narrowing its narrative scope. The ending in his translation is explicit: the image of a genuine government inspector arriving by the just imperial decree is presented. Secondly, Man Tao endeavored to adapt the translation to the aesthetic sensibilities of the 1960s audience through the principle of sociocultural adaptation. The translation provides informational annotations explaining historical and cultural references: he adds information in footnotes, explaining historic and cultural realia, such as authors’ names, card games, terminology meanings, currency units, etc. Like his predecessor Geng Jizhi, this translation also draws upon traditional Chinese religious concepts, notably employing the term “㘷ཟ⡭” (Lăotiānyé - Lord of Heaven). The widespread popularity of this translation is largely due to its use of 61 four-part idiomatic expressions, forming a national cultural foundation that bridges history and modernity. The linguistic strategy also shifted with the introduction of commonly used Chinese courteous and self-debasing expressions. In terms of character structure and authorial intent, Man Tao portrays Khlestakov as the play’s protagonist. Semantic nuances introduced for the merchants, Anna Andreyevna, and Bobchinsky in the translation prompt new interpretations of these characters, revealing their complexity, ambiguity, and a certain depth. Osip is shaped into a thoughtful figure. The entire comedy revolves around the conflict between the characters of Khlestakov and the Mayor, both possessing positive and negative traits. The individualized portrayal of their conflict and the emphasis on their contrasting personalities bring Man Tao’s translation closer both to traditional drama and to New Psychological literature.</jats:p>