Comparing Two Chinese Translations of Amoretti 67 Based on Reception Aesthetics

Similar to other sonnets, Edmund Spenser’s Amoretti followed Petrarchan courtship but also demonstrated the unique Spenserian form. Spenser’s superb creative skills profoundly influenced his contemporaries and the English poets of later generations. Nevertheless, the translation of Spenser’s sonnets began exceedingly late in China with few results. Guided by the horizon of expectation in reception aesthetics, this study compared Cao Minglun and Hu Jialuan’s versions of Amoretti Sonnet 67 (Amoretti 67) based on their content, rhyme, and language style. The main question is to understand what horizons of expectations Hu and Cao’s translations reflect based on reception aesthetics, and how do Hu and Cao’s horizons fuse with the original author’s horizon of expectation? Guided by translators’ vision of expectation, Hu emphasized that both the content and style of the translation should be faithful to the original text. Thus, Hu’s translation is the closest to the original poem. Contrarily, Cao’s translation sought a balance between the original text and the translation. Cao aimed to maintain the content and format of the original poetry while capitalizing on the strengths of the Chinese language. Both Chinese versions embody their translator’s values. The significance of this study extends to its implications for Chinese readers delving into Spenser’s poetic world. Analyzing Cao and Hu’s diverse strategies empowers readers to navigate Amoretti 67’s depth, fostering understanding of Spenser’s artistry and the intricacies of translation.