Introduction

Frances Hodgson Burnett’s classic children’s novels, The Secret Garden (1911) and A Little Princess (1905), have captivated readers for over a century. These stories, centered on themes of resilience, transformation, and the healing power of nature and imagination, are not only literary treasures but also fascinating subjects for translation studies. This review critically examines the original English texts and their Chinese translations, focusing on linguistic nuances, cultural adaptations, and the preservation of Burnett’s distinctive narrative voice. By comparing key passages and analyzing translation strategies, we can appreciate how these beloved stories have been reimagined for Chinese audiences while retaining their core essence.

1. Overview of the Original Texts

1.1 The Secret Garden (1911)

Set in early 20th-century Yorkshire, England, the novel follows Mary Lennox, a spoiled and lonely girl who is sent to live with her uncle after her parents’ death in India. At Misselthwaite Manor, she discovers a hidden, locked garden that has been neglected for ten years. With the help of Dickon, a local boy with a magical connection to animals, and Colin, her sickly cousin, Mary revives the garden—and themselves—through hard work and friendship. Burnett’s prose is rich with sensory details, dialectal speech, and symbolic imagery (e.g., the garden as a metaphor for personal growth). The original text uses a third-person omniscient narrator with occasional shifts to the characters’ perspectives, creating an intimate yet expansive storytelling style.

1.2 A Little Princess (1905)

Sara Crewe, a wealthy girl sent to a boarding school in London, loses her fortune after her father’s death and is reduced to a servant. Despite her hardships, she maintains her imagination and kindness, eventually finding redemption through the help of a mysterious benefactor. The novel explores class, poverty, and the power of storytelling. Burnett’s language is elegant and emotive, with a focus on Sara’s inner world. The narrative voice is more direct and personal, often reflecting Sara’s optimistic outlook even in dire circumstances.

Key Themes and Stylistic Elements

Both novels emphasize:

  • Transformation: Physical and emotional growth through adversity.
  • Nature and Imagination: As sources of healing and escape.
  • Class and Social Mobility: Critiquing Victorian/Edwardian social hierarchies.
  • Language Use: Burnett employs a mix of formal English, childlike diction, and regional accents (e1.3g., Yorkshire dialect in The Secret Garden). This linguistic diversity poses challenges for translators.

2. Chinese Translation Landscape

Chinese translations of these novels have proliferated since the early 20th century, with notable versions by translators like Zhang Yueran (张乐然) for The Secret Garden (2010) and Li Wenjun (李文俊) for A Little Princess (2005). These translations aim to make the stories accessible to Chinese readers while navigating cultural gaps. Common strategies include:

  • Domestication: Adapting cultural references (e.g., converting British pounds to Chinese yuan) to enhance relatability.
  • Foreignization: Retaining foreign elements to preserve authenticity.
  • Dynamic Equivalence: Focusing on conveying the emotional impact rather than literal accuracy.

However, translations vary in quality, with some prioritizing readability over fidelity, leading to debates among scholars and readers.

3. Critical Analysis: Linguistic and Cultural Translation Challenges

3.1 Handling Dialect and Regional Speech

In The Secret Garden, characters like Martha Sowerby speak in a broad Yorkshire dialect, which adds authenticity and humor. For example, the original line: “‘Eh, but it’s a fine garden,’ she said, ‘and it’s a fine place for a garden, too.’” (Chapter 2). This dialect is not just linguistic but cultural, reflecting the working-class identity.

Translation Challenge: Chinese lacks direct equivalents for English dialects. Translators often use colloquial Chinese or regional dialects (e.g., Beijing dialect or Southern Chinese accents) to mimic the effect. In Zhang Yueran’s version, Martha’s speech is rendered as: “‘哎，这花园可真棒，’她说，‘而且这地方也特别适合种花园。’” The use of “哎” (āi) and informal phrasing captures the warmth and simplicity, but loses the specific Yorkshire flavor. A more foreignizing approach might add footnotes explaining the dialect, but this can disrupt the flow for young readers.

Example Comparison:

  • Original: “‘I’m not afraid,’ said Mary, ‘I’m not a bit afraid.’” (Chapter 10)
  • Zhang’s Translation: “‘我不怕，’玛丽说，‘我一点也不怕。’”
  • Analysis: This is a direct, literal translation that preserves Mary’s determination. However, Burnett’s use of repetition (“not a bit afraid”) emphasizes her growing confidence. The Chinese version uses “一点也不怕” (yīdiǎn yě bù pà), which is idiomatic and equally emphatic, showing effective dynamic equivalence.

3.2 Cultural References and Settings

The Secret Garden is steeped in English countryside life, with references to heather, moors, and Victorian architecture. A Little Princess features London’s elite boarding schools and Indian colonial contexts. Translators must decide whether to explain or adapt these elements.

Example from *A Little Princess*:

  • Original: “‘You are a princess, Sara,’ she said. ‘You are a little princess.’” (Chapter 1)
  • Li Wenjun’s Translation: “‘你是个公主，萨拉，’她说，‘你是个小公主。’”
  • Analysis: The concept of “princess” is universal, but the Victorian ideal of nobility and class might be unfamiliar. Li’s translation is faithful, but some versions add explanatory phrases like “像公主一样” (like a princess) to clarify. In the context of Chinese culture, where royalty is less prominent, this might require additional context, but Li’s choice maintains the story’s magical realism.

Another Example from *The Secret Garden*:

  • Original: “‘The garden is the key to the secret,’ said Dickon. ‘It’s the key to everything.’” (Chapter 22)
  • Zhang’s Translation: “‘花园是秘密的钥匙，’迪肯说，‘它是打开一切的钥匙。’”
  • Analysis: The metaphor of the garden as a “key” is central to the novel’s symbolism. The Chinese translation uses “钥匙” (yàoshi), which is a direct equivalent, preserving the metaphor. However, in Chinese literature, gardens often symbolize seclusion or harmony (e.g., in classical poetry), which adds a layer of resonance for Chinese readers, enhancing rather than diminishing the original meaning.

3.3 Narrative Voice and Tone

Burnett’s narrative voice shifts between omniscient narration and free indirect discourse, creating a blend of objectivity and subjectivity. Translators must capture this fluidity.

Example from *The Secret Garden*:

  • Original: “She was not a child who was easily frightened, but she felt a little queer.” (Chapter 3)
  • Zhang’s Translation: “她不是一个容易害怕的孩子，但她感到有点奇怪。”
  • Analysis: The phrase “felt a little queer” is ambiguous—it could mean strange, uneasy, or even slightly ill. The Chinese “感到有点奇怪” (gǎndào yǒudiǎn qíguài) captures the uncertainty but might lose the subtle hint of physical discomfort. A more nuanced translation might use “感到有点不适” (gǎndào yǒudiǎn bùshì) to emphasize the bodily aspect, but this could alter the tone. Zhang’s choice prioritizes readability for children, which is appropriate for the target audience.

4. Comparative Review of Specific Translations

4.1 The Secret Garden – Zhang Yueran’s Version (2010)

Zhang’s translation is praised for its lyrical quality and child-friendly language. She uses short sentences and vivid imagery to mirror Burnett’s style. For instance, in describing the garden’s revival:

  • Original: “The garden was a riot of color and life, with roses climbing over the old walls and birds singing in the trees.”
  • Zhang’s Translation: “花园里色彩缤纷，生机勃勃，玫瑰爬满了古老的墙壁，鸟儿在树上歌唱。”
  • Strengths: The translation is poetic and flows naturally in Chinese. Zhang adapts British idioms into Chinese equivalents (e.g., “a riot of color” becomes “色彩缤纷”).
  • Weaknesses: Some cultural nuances are simplified. For example, the Yorkshire dialect is softened into standard Mandarin, which might dilute the regional flavor but makes the story more accessible.

4.2 A Little Princess – Li Wenjun’s Version (2005)

Li’s translation is known for its fidelity to the original’s emotional depth. He carefully handles Sara’s inner monologues and the contrast between luxury and poverty.

  • Original: “‘I am a princess,’ she whispered to herself. ‘Even if I am dressed in rags.’” (Chapter 12)
  • Li’s Translation: “‘我是个公主，’她对自己低语，‘即使我穿着破布。’”
  • Strengths: Li preserves the self-affirmation and resilience. The use of “低语” (dīyǔ) for “whispered” conveys intimacy and determination.
  • Weaknesses: The translation occasionally uses formal Chinese, which might feel stiff for a children’s book. For example, some dialogue is rendered in a more literary style, which could distance young readers.

4.3 Other Notable Translations

  • Wang Xiaoying’s Version (2015) of The Secret Garden: Focuses on modernizing the language for contemporary readers, using more colloquial expressions. This makes the story feel fresh but risks losing some of the period charm.
  • Zhou Xiaoyi’s Version (2018) of A Little Princess: Incorporates footnotes for cultural explanations, which is helpful for educational purposes but may interrupt the narrative flow.

5. Impact on Chinese Readers

5.1 Accessibility and Popularity

Chinese translations have made these novels accessible to millions. The Secret Garden is often included in school curricula, and A Little Princess is popular among young girls. The adaptations have influenced Chinese children’s literature, inspiring stories with similar themes of growth and imagination.

5.2 Cultural Adaptation and Reception

Chinese readers often relate to the themes of resilience and family bonds, which resonate with Confucian values. However, some cultural elements, like the British class system, might be less familiar. Translations that add explanatory notes or adapt settings (e.g., changing a British school to a Chinese one) can enhance relatability but may alter the original’s historical context.

Example of Cultural Adaptation: In some Chinese adaptations (e.g., animated films), the setting is changed to a Chinese courtyard house, and characters’ names are Sinicized. While this increases engagement, it raises questions about cultural authenticity. For instance, in A Little Princess, the Indian context is sometimes downplayed, which might obscure the colonial critique in Burnett’s work.

6. Recommendations for Future Translations

6.1 Balancing Fidelity and Readability

Future translators should aim for a hybrid approach: retain key foreign elements (e.g., dialect, historical settings) with minimal explanation, while using natural Chinese idioms for dialogue. For example, in The Secret Garden, instead of fully translating dialect, translators could use subtle linguistic markers (e.g., sentence structure or word choice) to suggest regional speech.

6.2 Incorporating Multimedia and Annotations

With digital publishing, translators can add interactive elements like audio clips of dialect pronunciation or hyperlinks to cultural notes. This would enrich the reading experience without compromising the narrative.

6.3 Collaborative Translation

Involving cultural consultants and child psychologists could ensure translations are both accurate and age-appropriate. For instance, testing translations with young readers to gauge emotional impact.

7. Conclusion

Frances Hodgson Burnett’s The Secret Garden and A Little Princess are timeless works whose translations into Chinese have successfully introduced these stories to a new audience. While challenges in handling dialect, cultural references, and narrative voice persist, translators like Zhang Yueran and Li Wenjun have demonstrated skillful adaptations that preserve the core themes of transformation and hope. As translation studies evolve, future efforts should continue to balance fidelity with cultural resonance, ensuring that Burnett’s legacy endures across languages and generations. By critically reviewing these translations, we not only appreciate the art of translation but also deepen our understanding of how literature transcends borders to touch universal human experiences.