| It is indispensable for translators to employ their subjectivity in literary translation, and for drama translation, which has dual purposes: for performance and reading, translator′s creativity is more important. Analyzing Tea House translated by Ying Ruocheng and holding that most of the time, the translator is visible in translation. He attempted to employ tree kinds of translator′s subjective strategies: compensation, generalization and parody, to highlight informative, communicative and aesthetic functions of the SL text, making the translation more easily understandable. However, in somewhere, cultural mistranslations emerge. Due to failure in employing translator′s subjectivity, those translations are too faithful to the original, thus bringing more cognitive and cultural obstacles for target readers. |