5. Parody, Translation, and Chinese Diglossia
5.2 Ah Q Zheng Zhuan
Ah Q’s classically trained, tradition‐bound narrator – he adheres unquestioningly to Chinese traditional historiographic conventions of naming and register – attempts in vain to figure the story of Ah Q, an unimportant peasant unworthy of the attention of history, into the restrictive forms and categorizations of traditional historiography.
Not only does the narrator failure to find a place for Ah Q within the hegemony of the traditional form, but also he is unable or, perhaps, unwilling to break from tradition even after he has established its restrictiveness. The narrator provides a clear parallel to Lu Xun’s own struggle within the context of his time. Lu Xun stood in a precarious position pinned between the precipice of modernity and the long, looming shadow cast by the cliffs of tradition.
In his discussion of the “sense of predicament” of the turn‐of‐the‐century Chinese intellectual, Huang explains, “Lu Xun even questioned whether, as a cultivated intellectual, he could ever free himself completely from the bondage of the ‘ancient’
tradition which he criticized so harshly” (1990: 431‐432). This is the context under which Lu Xun’s parody of traditional historiography comes into full view.
Subsequent section — 5.4 Text Excerpt: Analysis and Discussion — will focus upon presentation, analysis, and discussion of narrative style, diglossia, and linguistic variation as they interact to create a context in which Lu Xun’s parody was created in the original and might be relived in the English translation.
5.2 Ah Q Zhengzhuan
Ah Q Zhengzhuan (阿Q正傳; The True Story of Ah Q) (1921) is a short episodic novella written by Lu Xun (魯迅, 1881‐1936). The story traces the adventures of Ah Q, an idler and odd‐jobber living in the fictitious village of Weizhuang (未莊;
weizhuang). The story is set in China during the time that leads up to the Revolution of 1911. Zongxin Feng, in a paper that deals with the interplay of historical fact and fictional narrative in the novella from a Cultural Studies perspective, explains that although the 1911 Revolution may be said to make up the story’s central theme, Lu
Xun focuses the plot upon the life of the innocuous peasant who is concerned more with personal interest than with issues of the nation (2008:192). In telling the story of the peasant Ah Q against the overall grand theme of the Revolution, Lu Xun attempts to draw attention to the plight of the rural people, crumpling under the heavy burden of living in a nation in the midst of political upheaval.
Ah Q, a member of the rural peasant class, has little education, no special training, and no real understanding of the wider world around him. One talent that Ah Q is especially well known for is his ability to claim a “spiritual victory” (read “self‐
deceptive victory”) whenever faced with defeat or humiliation. Ah Q uses this talent to perfection early in the story, for example, when he gets into an altercation with Mr Zhao, an honored landlord of Weizhuang. After receiving a beating from Zhao, Ah Q consoles himself with the idea that he must, indeed, be an important person if someone as well respected as Mr Zhao has taken the time to beat him up. Apart from being bullied, Ah Q is also a bully himself. He harasses the weak and the less
fortunate while, at the same time, remains fearful of anyone above him in rank, strength, or power. As Feng describes him, Ah Q is a character who “does not realize the reality and hence lives free of worries, with arrogance and vanity in pursuit of spiritual triumphs” (2008:192). Ah Q, Feng continues, “never sees his weaknesses but always takes pride in his past family glory and wishful glory of his future generations” (ibid.). Many of Ah Q’s personality traits have been taken as
representative of certain aspects of the Chinese national character. As Jon Solomon explains, “Ah Q is understood as a composite figure, supposedly bringing together all the negative traits specific to Chinese culture” (1993:248). Although, Solomon’s own position focuses on the indeterminateness of Ah Q’s character,10 questions as to the specific identity of the archetype upon which the repulsive character was based have arisen.
10Solomon emphasizes the generalization of the Ah Q character to include the entire social collective rather than a single, concrete individual or group (1993:248-249).
Ah Q’s story was first published in the Beijing Morning News as a serial between December 4, 1921 and February 12, 1922. The piece is generally held to be a masterpiece of modern Chinese literature, since it captured for the first time in vernacular Chinese the struggles of the Chinese nation as it teetered at the
expansive crevasse between tradition and modernity (Luo 2004:84). As Jon Kowallis points out, Lu Xun “was really striving to remake baihua wen into a new written language for a new literature”(1994:283). As has been discussed in the present paper, Lu Xun used the juxtaposition of hitherto irreconcilable language
phenomena — H and L languages and the entire complement of variables and ideologies associated with them — to bring into question the practicality of traditionalists’ uncompromising adherence to defunct, traditional language practices even in the face of China’s seeming demise at the hands of the modern West. One aspect of Lu Xun’s technique, as Kowallis explains it, uses irony created
“by juxtaposing ideals expressed in the classical language against the harsh realities of the present day” (1994:283‐284). In order to address issues relating to the Chinese diglossic language contact situation and the translation of linguistic variation, the present paper will provide a detailed investigation of Lu Xun’s juxtaposing of language and ideals in his 1921 novella Ah Q Zhengzhuan.
As mentioned above, there has been a great deal of discussion about the significance of Lu Xun’s character Ah Q. As Gloria Davies points out, for example, at the time of publication, Ah Q Zhengzhuan already had begun to cause readers to be “intrigued by the question of whether the portrayal of Ah Q was based on a real person”
(1991:58). Even Lu Xun has hinted at the possible significance of the Ah Q character as a “portrait of himself [the reader] as well as all other Chinese” (cited in Lee 1985a:132). According to Feng, Ah Q portrayed as Everyman provided Lu Xun an avenue through which to “criticize the incompleteness of the Revolution and its sad fate of failure, highlighting peasant issues in the democratic revolution in early twentieth‐century China” (2008:190).
Ah Q Zhengzhuan begins with a preface in which the story’s narrator confesses, in first‐person narrative, the various difficulties that he has been faced with in his attempt to write Ah Q’s biography. These difficulties are, in fact, problems that the narrator, who Jeremy Tambling calls a fussy Confucian, traditionalist (2007:59), has encountered while trying to write a conventional biography about an individual who, as the narrator himself puts it, ‘is obviously not one of those whose name is
preserved on bamboo tablets and silk’ (Yang 1956:79). The narrator is attempting to write a “history” of a person who has been completely ignored by historians. The situation foregrounds what Tambling calls, “a parodying of the possibility of writing history” (2007:59).
In the preface, Lu Xun creates a situation in which the narrator, in his unwavering attachment to the conventions of the Chinese traditional historiographic system, actually lays bare the flawed nature of the system, itself, and its inability to deal with the story of the common person. In his article “The Inescapable Predicament: The Narrator and His Discourse in The True Story of Ah Q,” Martin Huang explains that
“the life of Ah Q, according to accepted historiographical conventions, is not a
subject worthy of the ‘elegant’ discourse used to tell it” (1990:435). Huang adds, “At the same time, the elegant discourse itself becomes ridiculous and awkward when applied to the life of Ah Q. Thus the conventions themselves are seriously
questioned” (1990:435).
Apart from the preface, which spans most of the first two chapters of the book and is told mostly in first‐person narrative, the rest of Ah Q Zhengzhuan — telling of the misadventures of Ah Q, the town’s folk, the revolution, and the eventual execution of Ah Q as scapegoat for crimes committed in the name of the revolution — is told entirely by an omniscient, third person narrator. In his book Madmen and Other Survivors: Reading Lu Xun's Fiction, Jeremy Tambling describes Ah Q’s narrator thus:
What sort is the narrator, then? The answer is that he is a mass of contradictions, like Ah Q himself, a mixture of pedantries and obscure
traditions, which take over the prose and his thoughts, and someone who without realizing it, by writing the life of Ah Q, shows that history lies in the documents that historians have discarded. Hence everything in the narrator is digressive, the opposite of what is expected from a true story (60).
The parodic discourse that arises from the narrator’s ‘mass of contradictions’, then, will play a central role in the present paper’s discussion of register and narrative style as the two pertain to Lu Xun’s original text as well as to the four English translations that will be described in detail in a subsequent section — 5.3
Translations and Translators. In particular, the recreation in English translation of Lu Xun’s juxtaposition of classical literary language with the vernacular will be analyzed in order to investigate various options with regard to translation of literary linguistic variation.
An important aspect of Lu Xun’s narrative style in the preface, and throughout the book for that matter, is the use of Classical Chinese syntax, referred to above by Huang as the elegant discourse, placed in juxtaposition to, as the narrator, himself, calls it, “the debased vulgarity of [the story’s] content and characters” (Lovell 2009:80). It is this juxtaposition of ‘high intellect’ with ‘low class’ that draws attention to the narrator’s inability to break free from traditional historiographical conventions (Lovell 2009:81). It is this juxtaposition of form and content that drives the parody present in Lu Xun’s original work. In order to place Lu Xun’s parodying of historiography into the context of the present paper’s discussion of Ferguson’s diglossia, it is essential to understand something more about traditional Chinese historiography and language use in China.
5.3 Translators and Translations
According to Donald Gibbs and Yun‐chen Li’s 1975 A bibliography of studies and translations of modern Chinese literature, 19181942, the first translations of Lu Xun were done in 1926 by George K. Leung (梁社乾, Liang Sheqian) (1898‐?) (105). In