The
Hemingway’s
in the Rain
1. Introduction
Ernest Miller Hemingway is
of the most prestigious writers in the world. The Nobel Prize in
1954 was awarded to him for his proficiency in the art of narrative and the great
he had exerted on contemporary style. The outstanding characteristics of Hemingway's
are the concise style, rich emotion, and profound thoughts. Hemingway, through his many years of writing experience, regarded literary
as an iceberg floating on the sea, which is the iceberg principle
. His short
in the Rain is a good example of Hemingway's “iceberg principle”.
, the original
reflects new
presenting the original features of
and feminism
which studies the
of women in
and culture.
,
essay not only adopts literary
to
analyzeconsider in detail and subject to an analysis in order to discover essential features or meaning
the original
, but
adopts
strategies
as
and literal
based on the relevance between
and
to
analyzeconsider in detail and subject to an analysis in order to discover essential features or meaning
the
in depth, which make more readers understand
in the Rain.
2.The
the original
The original
mainly describes the
of an American couple while
travelingthe act of going from one place to another
in Italy. The
saw a
curled up in a corner outside the
in the heavy rain and wanted to get it back. Her
George said that he was going to help her catch the
, but actually lay indifferently on the bed.
the
went downstairs to find the
herself, but the
had gone. She returned with a sad mood and told her
what she wants, but
up with the rude reply. At the
of the
, the
owner sent the maid to bring a big tortoiseshell
to the
.
2.1The new
in
in the Rain
The
of new
discusses the
between
and believes that
is a vivid art form presenting the original features of
. It
emphasizes the interactive
between literary reconstruction and historical
, which is historicity of texts and textuality of
.
in the Rain is a
which can illustrate the new
.
2.1.1Historicity of texts in
in the Rain
in the rain is a short
about the
, which is included in Hemingway's collection of short stories In Our
. It describes the current situation of the young after the
who has no pursuit or goal of
. George, the
of
in the Rain, is a typical representative of the “
” in the 20th century. He wandered around Europe aimlessly, while other people went to Europe, especially Italy, usually with the purpose of searching for inspiration or visiting the
memorial. He wandered from place to place with his
, didn't know where to stay and what to do, so he
his mind.
was the true portrayal of the
youth
after the
in the 1920s. The
refers not only to the young writers who have the similar mind and experienced World
I in the 20th century, but
to the young Americans who lived in the 1920s. Most of these young people have experienced the
and suffered from the pain brought by the
. Their dreams are in conflict with the
of American
, so they lose their
goals and spiritual sustenance, and escape from
through abnormal behaviours
as drinking or smoking. These behaviours are a manifestation of the aftermath of World
I. In
in the Rain, the Italian's visit to the
monument indicates that the
in the
is the 1920s, which is the era of the
. The historical
has been reflected in the abnormal
between the men and women,
, which is what the “
” has in common: lack of faith due to loss.
, the feminist
after the World
I had a great
on Hemingway's
. He thought rationally about the world of coexistence of two sexes. The female
in
in the Rain is the embodiment of Hemingway's exploration of the
of women in the family or
and the
between women and men. The abnormal
between the
and
is a record of the unequal treatment of women under the restriction of social and cultural conditions at that
, which reflects the historicity of texts in the social and cultural restrictions.
2.1.2 Textuality of
in
in the Rain
The
of
is reflected in the era that Hemingway lived, which is the
. The
is the inscription of Hemingway's
the Sun
Rises, later became a term in the
of American
, referring to some young writers who had similar experiences in the 1920s. Most of them experienced the World
I, dissatisfied with the disintegration of cultural tradition and morality, but helpless. They were disappointed with the
of the American
after the
, and gradually separated from the values advocated by the American
societyan extended social group having a distinctive cultural and economic organization
on the spiritual level. Most of Hemingway's novels focus on a group of
young Americans who are like him, living in European countries. George, the
of
in the Rain, experienced World
I. The
left a great shadow for
people as George and caused them great physical and psychological damage. They feel empty, melancholy, pessimistic and despairing. They hate the
of
. At the beginning of the
, the park, the
memorial and the empty square opposite the
, which not only create a cold and desolate atmosphere, but
the
presentation of the
and the spiritual state of the people after the
. They truly record the
experienced by the
and the
-weariness after the
.
2.2 The feminism in
in the Rain
The
of the tough guy in Hemingway's
is deeply rooted in people’s minds. Some critics think he is a writer who is full of masculinity and hostile to women in the
.
,
in the Rain is created from the
of women, and is closely related to the social
, which is called feminism. After World
I, with the development of the feminist
, the
of women has been significantly improved, and the
and code of conduct are
different than before, which has a significant impact on Hemingway.
, the female images in his works are no longer small or absent, but they have the right to pursue self-fulfilment to a certain extent.
The
narrates from the
of the
person.
there is no
of the
's name in the
, the different titles are given to the
in different environments, which
reflects the awakening of the
's awareness of women's rights in the patriarchal
at that
.
, at the beginning of the
, the
is called “the American
”, which to some extent reflects its subordinate
.
, the
has no independent
at the beginning, and her
is always related to her
, or her
in the relationships. Only when she began to search for the
and experienced a brief awakening of female self-consciousness, did she no longer appear as “the American
”, but as “the American girl”, becoming the independent existence.
In
in the rain, the
constructed a dialogue with her
actively, but her
showed indifference most of the
. She felt a strong sense of
when she saw the lonely
crouching under the table, so she decided to catch the
. When she went downstairs and saw the male owner of the
, her inner activities directly showed her favour for the owner,
, “ The
liked him. She liked the deadly serious
he received any complaints. She liked his dignity. She liked the
he wanted to serve her. She liked the
he felt about being a
- keeper. She liked his old, heavy face and big hands”, these “she liked” are the embodiment of women's freedom and rights. In the dialogue between the
and
, the
brought out the topic actively, and the
centeran area that is approximately central within some larger region
of the topic is always around the
she wants. From “ ‘I'm going down and get that kitty’.”
“ ‘I wanted it so much’.”, she has been caring about cats. When faced her
's indifference, she dared to complain, “ ‘Anyway, I want a
, I want a
. I want a
now. If can't have long hair or any fun, I can have a
’.”, which boldly expresses her love and desire for the
. She is a new female
who dares to pursue her individuality, and likes change as well as has her own hobbies.
, “George was not listening. He was reading his book. His
looked out of the window”, which
reflects his
's behaviour of saving cats breaks the shackles of traditional gender roles. Hemingway's
of
behaviour on the
hand reveals that the old model of gender
is the cultural burden that binds people's lives,
, he expressed his silent sympathy for women. To some extent, women's
and
have been improved and raised, and they have the right to voice. At the
of the
, someone knocked on the door, and the
miraculously appeared in front of the
. The appearance of the
made the
got what she wanted, so she seemed to have some courage and determination to start a new
lifelifea crease on the palm; its length is said by palmists to indicate how long you will live
.
, Hemingway intentionally turned his focus on the
of describing the
's reaction, readers will never know whether the
is the
the
saw at the window. The uncertainty implies that the
in the
's subconsciousness is more important than the real
, which reveals the
in the
is actually the substitute of what the
lacks, and all the obsessions and fantasies about the
of the
express her desire for a new and independent female
. The
of a
who dares to break the tradition and pursue new things is the
of Hemingway's
the feminist
and the realistic
of the social
of the feminist
.
, the feminist
at that
was not mature, so the
who wanted a
failed to get rid of the sick marriage dilemma. Her dream was destined to go to disillusionment in the abnormal
with her
, not to escape the doomed tragic fate.
3.The
on the
The traditional linguistics points out that
is the
of equivalent transformation, so the
is essentially a machine, while the literary school points out that
is the
of literary
and understands the
as the creator. From the 1980s to the 1990s, the
like Benjamin put forward the view of “
is equal to the original”, and pointed out that “
is the afterlife of the original”, which has made outstanding contributions to the promotion of the
of the
and the
, and has an important impact on the later theories of post colonialism and cannibalism. From
on, the
has got rid of the shackles of machine and became a real operator.
3.1The relevance between
and
in
in the Rain
3.1.1The leading
of translators in the
plays a leading
in the
, which determines the choice of
methods and the application of
strategies. When translators translate literary works, they need to conduct in-depth research and
, fully understand the original ideas, and
analyzeconsider in detail and subject to an analysis in order to discover essential features or meaning
and classify the writing style of the original works, from the
of
art, styles and artistic characteristics, to determine the appropriate starting point for
. During the
, the task of the
is adhering to the transformation from
to
to
. The
in the whole
is in a pivotal position, supporting the entire link of
and determining the quality of
. From the
of the
's
, the
is a direct participant in the
and has a decisive effect on the
between the various parties
as the
and the client, while from a functional
, the
is the
of the original
, and
the creator of the original
.
, different translators produce different works. It is the
's understanding and
that makes the original
more widely understood and favoured by the public. The
's interpretation of the original
has transformed the
. From
we can know that in the
, the
often highlights the
elements, and the decisive
in the whole
cannot be underestimated.
3.1.2 The strategies adopted in the
When translating The
in the Rain, Cao Yong adopted a literal
and alienation strategy, which is to restore the pure
in the original and makes the
more vivid.
To be more specific, the
of the title “
in the Rain” was worked out after repeated deliberation. The
used
fourappropriate to; intended for
corresponding words “雨中的猫” for
, which is not only in line with the Chinese word formation method, but
consistent with the original
and the styles of
and literal
. As for translating “The
went on reading, lying propped up with the two pillows at the foot of the bed”, the
translated “the foot of the bed” into “床脚” through literal
principle, while some scholars believe that it should be translated into “床尾” which align with Chinese
habits. According to Schleiermacher, the
plays an important
in enriching the national
, and the translated
enriches the content as well as innovates the
. As for another sentence “She held a big
pressed tight against her and swung down against her body.”, the
translated “ big
” into “一只大玳瑁猫” which is not consistent with the
of
and the
of colour in Chinese. From the English-Chinese Dictionary, the word is explained as “a mottled or brown
”. With the combination of explanation in the dictionary and the
in target
, it can be translated into “一只大花猫” to reach more ideal effect. “
” is the
of the
and closely related to the understanding of the target readers, so the
must fully understand the
of Hemingway ’s
and his living conditions, or understand the relevant
consciously, in order to compare “big
” with “kitty” to highlight the main idea of the
. From
in the
of Hemingway's
and historical humanities, “big
” can be translated as “狸猫” (raccoon
) which
means “unfortunate” in Chinese. The American
got the “big
” with an implicit meaning, indicating that her and her
's marital
was not happy, which not only reflects the level of the
but
is coincided with the main idea of the article.
3.2The
of
and
In 2004, Hu G.
Darwin’s
and
into the field of
studies, and conducted theoretical
and philosophical research on
basis to seek
and
phenomena in the
. Hu constructed a system with the
as a
for the
, especially the redefinition of
,
,
is the
of
and
of needs and
.
3.2.1 The
and
of needs
For the
, striving to adapt to the needs of individual survival for achieving the realization of personal value is not
of power in the
, but
an essential form of the
's vitality. When translators
in
activities, the main task for them is to make efforts to adapt to the
of
and show their ability.
is not only a hobby for translators, but
a
of survival. It is a grand road that reflects the value of
's
. Translators have a natural pursuit, which is to gain more readers' recognition and produce social and economic benefits.
, in a broad sense,
is to meet the needs of readers, so as to gain market share to realize the value of the
.
3.2.2 The
and
of
The
here represents the
of the
in the original
, the
form, humanistic features, design
and
-writer interactive
. When the
enters the
to make adaptive selections, it not only can be translated based on the
of the original
, but
can be based on the
the of original
or the
.
, in the
, the
should
analyzeconsider in detail and subject to an analysis in order to discover essential features or meaning
the
based on social values,
expressions and practical meanings. The final
is to achieve level
, cultural
and social meaning
, which are the basic requirements for
, and Cao Yong's
adopts the
strategy, which achieves the
between the
and the original
well.
3.3 The
's restraint mechanism, helplessness to the cultural transfer, and the
's subjective intervention
The
in the Rain is Hemingway's famous short
, the full
is a thousand words, but it spreads endless social information. For translators, they must have
of social and cultural information, but many translators are helpless during the
. Translators are not static in the
of
, and will be affected and restricted by many mechanisms, which cannot achieve the desired effect on the
of the original
in the
.
, translators will inevitably be influenced by the cultural elements of the original
when translating, and
is hard to avoid.
, in the
of translating Hemingway's
in the Rain, the
must do all the
in advance to fully understand the
's
and social
. Hemingway conceived
in 1923, because at that
, he not only had disagreements with his
Hadley from
to
, but
had been influenced by French
RapalItalian painter whose many paintings exemplify the ideals of the High Renaissance (1483-1520)
. In 1924, a
of his friend was sent to Hemingway, which made him and his
very happy. A few weeks later, Hemingway wrote
famous
in the Rain, which described the close
between women and cats. After understanding the above historical
, the
has a better grasp of the overall ideas in the
, but it is helpless that it is not reflected in the
.
, the
is powerless in the face of cultural factors, but there exist exceptions.
, when translating Eugene Onegin in 1964, Vladimir Vladimirovich Nabokov translated the
into 228 pages in total, while the rest were
. He
put forward the point that the length of the notes can exceed the
, which will make it easier for readers to understand the entire content and connotation of the
, and his
of Evgeny Onegin has
achieved academic peak, which embodies the
's subjective intervention and is
the final
of the
's choice to adapt to the
.
From
of Hemingway's
in the Rain based on the
of
, it can be seen that the
occupies a dominant position in the
. Translators must understand the
of the
and the
's living
in detail, and read and scrutinize the original
repeatedly, use their own
and the original
of the
to convert, and achieve the transmission of cultural information
the
.
, the
for readers is presented. The
is the
's interpretation of the
's original
. The
is the
of the original
and the subject of the
. The
will choose many methods and strategies in the
of
. Whether it is
foreignizing or literal Suggestion
a foreignizing or literal translation
, the
is the final
of the
’s
to the
.
, the
is the master of the
, and the
of
is
the
that the
adapts in the
.
4. Conclusion
in the Rain is a short
, the plot and
are relatively straightforward, everything in the
stands for exceptional meaning. Among them, the
, weather,
, heroin, and scenery are regarded as the main images of the
.
, the weather represents the United States before and after World
I, the
of the
is a representative of the
, and the
of the female consciousness of the
is influenced by the feminist
.
, based on the new
, both the original
and the translated
reflect the textuality of
and the historicity of texts. It
can be seen from the
of the
that the
plays a dominant
in the
.Whether it is
foreignizing or literal Suggestion
a foreignizing or literal translation
, the
is the final
of the
’s
to the
. In a sense, the
is a researcher of the original
and the
. The task of the
is to use
as a pure
carrier to find complementary ideographic methods in the original
, and bring the original
to a higher and more pure
atmosphere, so as to achieve a complete fusion of the original
and the translated
.
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Hemingway, E. (1986).
in the Rain
91-94, In our
: Stories. New York: Collier.
Lodge, D. (1980).
and Interpretation of the Realist
: A Pluralistic Approach to Ernest Hemingway's "
in the Rain". Poetics Today, 1
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10.2307/1771885
, D. (2007). A new handbook of literary terms. New Haven, Conn: Yale University Press.
Benjamin, W. (1921/2000). The Task of the
. Translated by Harry Zohn. In L.
(
.) The
studies
. London & New York. 11-22.
Hu, G. (2004). Fan
=: An approach to
as
and
. Wuhan Shi: Hubei
ban she.
Nabokov, V. 1955. Problems of
: “Onegin” in English. In L.
(
.) The
studies
. London & New York. 71-83.
Tyler, Liza. (2002).Women and Men in Conversation in
in the Rain
and “The Sea Change”.
Broer, L. R., & Holland, G.
.) Hemingway and Women: Female Critics and the Female Voice. Tuscaloosa: University of Alabama Press.70-80
Giles, P. (2018). American World
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Kumari, R. (2018). The
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