Translation of Violence in Children’s Literature: Violence in Translated Peter Pan

ABSTRACT This study explores how violence in children’s literature and translated children’s books is displayed for young readers, taking Peter Pan, written by Scottish dramatist James Matthew Barrie, as an example, and selecting two Chinese translations by Shiqiu Liang and Jingyuan Yang to conduct a comparative analysis of the texts. Violence in Peter Pan is represented by verbal violence, metaphorical violence and narrative violence. While anticipating that most elements of violence would be deleted or downplayed by the translators, this paper finds that violence is retained in the two translations based on textual analysis but with some different manifestations. In the translation of violence, Liang is more loyal to the source text and does not mark the special characteristics of figures due to any associated connotation of violence, while Yang’s translation makes the diction livelier in line with children’s language and renders the identities and behaviors of figures with more prominence. Their different interpretations of violence result from their different expectations for their readers.


Introduction
Violence is a dominant topic in literary works.It refers to conflicts in all relationships in society.According to the Oxford English Dictionary (oxforddictionaries.com), violence is defined as "a behavior involving physical force intended to hurt, damage, or kill someone or something, a strength of emotion, or an unpleasant or destructive natural force," which identifies three types of violence.Violence in literature or literary violence means specific injuries inflicted on characters with aggressive and destructive behaviors or violent scenarios narrated by writers for "plot advancement" or "thematic development" (Foster, 2003) at the macro level.They are not two separate categories but overlap because the former describes the violent behaviors that occur among characters, while the latter explains the potential purpose of this narrative perspective.Violence appears most frequently in the literary genres of crime fiction and detective novels.In historical fiction, death and wars with bloody scenes are usually the results of conflicts and external representations of violence.Gender violence caused by gender inequality is another topic.For instance, women are often regarded as victims of sexual violence, while women can also be harassers and men become victims.In addition, domestic violence against women and child abuse are underscored in some literary works, stoking controversy in the media.Apart from manifestations of physical violence, literary depictions of verbal violence may lead to more serious psychological or spiritual damage to victims.Violence is manifested in numerous forms in literary pieces, exerting positive or negative effects on readers of different ages.
Violence, one of the taboo topics in children's books, varies among different countries with distinctive cultures.Taboo topics in children's literature are often banned through censorship of those books, but restrictions in adult literature are not prominent.In the literary polysystem, compared with literature for adults, children's literature has been marginalized.Children's books are under interventions and manipulations by adult subjective judgments from the adult system (O'Sullivan, 1993).For the publication of children's literature, there is not only visible censorship from editors, reviewers, publishers and even readers but also invisible censorship by forces such as government policies and selection procedures in dominant bookselling enterprises (Hunt, 1997).Given these barriers, those inappropriate factors would be eradicated.Despite strict censorship in children's literature, there are elements of violence that are retained because they are of educational significance.Wars, threats and conflicts, as forms of violence, are usually motifs in children's literature.Comic books or graphic novels typically involve violent or bloody scenes.A comic book with violent elements, such as Unknown Soldier, which is replete with violence, war, and militarism, is educational in classes with a historical perspective (Decker & Castro, 2012, p. 178).Children exposed to disasters and traumas are also depicted in stories (e.g., Roysircar et al., 2019;Peltonen & Punamäki, 2010).In classic pieces, such as the fairy tale Snow White, violence from the stepmother is accessible to children to tell a profound truth hidden in the story.Just like most films or dramas, where plots go determines what messages the story conveys to readers.Not all writers intend to threaten children with fresh violent stimuli in children's literature; instead, they pinpoint underlying social causes and a clear distinction between right and wrong with pedagogical meaning.
Translators are "tacit censors" (Gibbels, 2009), who produce an adapted product for readers.Translators of children's literature can manipulate texts in different ways based on two principles: adjusting the texts to make them appropriate for children according to the educational purposes of children's literature and modifying the texts in line with children's ability to understand (Shavit, 1981).Research on translated children's literature is still immature, although an increasing number of children's books in multiple forms are produced worldwide.There are some studies on violence in children 's literature (e.g., McCracken, 1972;Sahin, 2012;Lacassagne, 2016), but few on violence in translations for children examining the works from a linguistic perspective.This paper discusses representations of violence in children's literature and their translations.Peter Pan, written by Scottish dramatist James Matthew Barrie, along with Chinese translations by Shiqiu Liang and Jingyuan Yang, is analyzed to identify elements of violence linguistically in view of the identities of characters.Typical examples of every category will be explained in detail.

Translation of children's literature
Previous research on translated children's books is collected in monographs to illustrate textual, visual, and cultural issues (Lathey, 2006) or reveal the challenges and difficulties faced by translators for youngsters and their solutions (Van Coillie & Verschueren, 2014).Researchers have probed into translated children's literature largely from the following four directions.First, some research focuses on selected genres of translated children's literature, such as novels, as in Australian children's novels translated into German (Gerber, 2008) and the American translation of a Swedish children's novel (Palm Åsman & Pedersen, 2013), fairy tales such as those by the Grimms brothers (Noguchi, 2015) and Hans Christian Andersen (Luo & Zhu, 2019), nursery rhymes (e.g., Nasi, 2012) and picture books such as those in Japanese (Cheetham, 2010) and in Flemish (Joosen, 2010).Second, research discussions focus on the review of translation criticism (Hui, 2013) and translation history (e.g., Mattioni et al., 2019;Ascenzi & Biernacka-Licznar, 2020) relevant to politics and culture in certain periods, for example, the overviews and evolutions of children's literature and translated children's literature are covered by Vanessa Leonardi (2020), as well as the lifetime and achievements of translators and writers, such as Xun Lu and Guisheng Zhou in the Qing Dynasty of China (Shen, 2015;Zhu et al., 2015).At the smallest scale of analysis, emphasis is placed on the writing styles and linguistic features of the texts usually combined with pictures or special fonts, providing children with a multimodal approach to reading which translators reconstruct along with the cultural images.For instance, this strand of the literature examines efforts to reframe linguistic characteristics of children's literature in translation, such as names, idioms, puns, etc. (Epstein, 2012) or how to interpret touches of humor for young readers (e.g., Klos, 2020).Third, the materiality of the text is considered for translated children's literature, including both paper books and e-books.From the perspective of research methods, most studies on translated children's literature use textual analysis, but with the thriving corpus research in the discipline of translation studies (TS), research on translated children's literature tends to be conducted by utilizing corpus tools to make an in-depth analysis relying on qualitative and quantitative approaches, especially for exploring diction in renditions (Čermáková, 2018).
Moreover, prospects for future research on translated children's literature have been outlined by some scholars.For instance, literary theory, sociological theory and the theory of ethics can be applied to translated children's literature (Li, 2014).Other research questions should be further refined, such as translators' subjectivity, which should be given more importance.The translation of Chinese children's books to tell stories with Chinese characteristics has great potential for intellectual yield (Li & Zhu, 2021).Violence in children's books and translated children's literature is not given enough attention, so this study delves into violence in Peter Pan to provide new insights.

Violence in translated children's literature
Violence in translated children's literature is underestimated partially because translators tend to mitigate violence in translation by purifying relevant factors, sometimes owing to requirements from editors and publishers (Travalia, 2019).Peace researchers, political philosophers, and political scientists have attached relatively high importance to violence (Pontara, 1978), and most studies on violence have been published in academic journals related to politics, sociology, philosophy, psychology, health services, etc.In translated children's literature, violence has been mostly elucidated as to the conversion between English and other languages, such as Spanish (Travalia, 2019), and few studies look into Chinese.Marija Todorova (2021) demonstrates five aspects of violence depicted in children's literature and translated children's literature involving nonfiction books, picture books, novels, fiction, and short stories in her monograph, covering war-themed stories, ecological violence, neighboring violence, masculinity and sex, and moral values.In her previously published article, Todorova (2020) concludes that most descriptions of wars and death are mitigated or muted in the English translation of Hedgehog's Home.What Todorova (2021) focuses on is the conversion between English and Albanian, Bosnian, Croatian, Macedonian, Montenegrin, and Serbian in children's books.In summary, violence in children's literature and translated children's literature is shown in various ways, but violence in Chinese-to-English (C-E) or English-to-Chinese (E-C) children's literature should be further examined.

Translation of violence in Peter Pan
This part addresses how violence in Peter Pan with a dual readership (Yuan, 2020) is presented to readers and how elements of violence are translated by Shiqiu Liang and Jingyuan Yang with specific examples of verbal violence, metaphorical violence and narrative violence.In particular, narrative violence contains physical violence, while other scenes with physical violence are translated in similar ways by the two translators, so this paper does not probe into physical violence.
Peter Pan, known as Peter Pan: The Boy Who Wouldn't Grow Up, was created by Scottish playwright and novelist James Matthew Barrie (1911).It debuted in the theater in 1904 and then was made into films in different editions, many of which were produced after Barrie's death.The novel popular among children has been translated into many languages, such as Dutch, German, Spanish, and Chinese.Peter Pan is not only wellreceived among children but also of interest for adults to read.Shiqiu Liang's translated version of Peter Pan in 1929 is the earliest edition in Chinese.Other versions, translated by Jingyuan Yang, Rongrong Ren, Ainong Ma, et al., are popular among readers.There are many republications of the previous translations.
Mingming Yuan from Shantou University in China is an expert on translations of Peter Pan as she published four papers on it, two in 2016 and two in 2020, respectively, on the subjects of translating character names (2016a) and gender (2016b) and the translation of sex-related content (2020a) and Anglophone culture (2020b).The adaptation of Peter Pan into a play or film is another hot topic.However, there is not much research on the translation of violence in Peter Pan, which is explored in this paper.
To investigate how violence is represented in Peter Pan and how depictions of violence are handled by translators, this paper compares the manifestations of violence by category in the two Chinese versions by Shiqiu Liang and Jingyuan Yang, using examples.There are many translations of violence in the two editions that follow similar strategies, but this article only focuses on the differences in the translations of violent elements.These two versions are chosen because Yang's edition is a retranslation based on Liang's edition in which some of Liang's decisions are retained, so these two are more comparable, and it is more valuable to identify different interpretations in Yang's version by drawing on the previous model.This study does not compare the translation of the cover and inside illustrations because no pictures are included in Liang's translation.Translations of Peter Pan by Liang and Yang have been reprinted many times by different presses.Yang's translation was first published in 1991.In this article, Liang's translation (1935) titled "潘彼得" (pan bi de) with two volumes was reprinted by the Commercial Press in Shanghai, while Yang's translation (2016) titled "彼得•潘" (bi de pan) with several inside illustrations by Nora S. Unwin was published by SDX Joint Publishing, also known as Sanlian Bookhouse in Beijing.The translated version by Yang in 2016 tends to be close to the original version.Violence in translated Peter Pan is mainly embodied by the behaviors of Peter Pan and Hook.Peter Pan seems to be naughty, and he is even more condescending in directing his little boys to follow his instructions, upon penalty for disobedience.Likewise, Hook will kill his subordinates with the iron hook at will if they disobey him.
In this paper, a comparative analysis of the two translations and the source texts is conducted to identify elements of violence.Reimer (1997) points out that a violent text refers to a "text that depicts acts of injurious physical force; many commentators further see such depictions as causally connected to the violence of actual readers."This paper concentrates on verbal violence, which involves damage from language, as well as metaphorical and narrative violence, which can be regarded as traditional descriptions of violent characters and scenes.By comparison of the two renditions, elements of violence and corresponding translations are classified with examples as follows.

Verbal violence
Violence not only contains physical damage but also verbally traumatizes victims.Verbal violence is also known as verbal abuse, involving assault, domination, ridicule or manipulation, which exerts a negative impact on the victims' mental health.Verbal violence refers to controlling and maintaining power over others (Karakurt & Silver, 2013).Yakar (2018) points out that posing threats, raising the voice, and treating others with nicknames and disdain can be included in the forms of verbal violence, which, when they appear in children's literature, is conducive to children's preparation for life.Regarding the definition from Yakar, in Peter Pan, verbal violence is mainly reflected in the speech of Mr. Darling, Peter Pan, and the pirate leader Hook.
As to Example (1) in Table 1, Mr. Darling blames Peter Pan because he believes everything about Peter Pan and Neverland is an illusion made up by the children.When Mrs. Darling would like to tell the truth about the shadow of Peter Pan, Mr. Darling is angry at the boy and cries, "That fiend!"In the Chinese versions, Liang translated it into "『那個惡魔！』" (na ge e mo), literally "that demon" or "that devil," while Yang's translation is "那个鬼东西！" (na ge gui dong xi), meaning "that darn thing."Both "那個" (na ge) and "那个" (na ge) refer to the demonstrative pronoun "that" in traditional Chinese characters and simplified Chinese characters, respectively.The exclamation mark accentuates Mr. Darling's indignation.According to the Merriam-Webster Dictionary, "fiend" is used to describe "a person of great wickedness or maliciousness." 1 Until this part in the second chapter, readers can imagine a mischievous little boy instead of an atrocious young man killing the pirates mentioned in the following chapters.In this regard, "惡魔" (e mo, demon or devil) seems to be close to the original meaning of "fiend" and is more formal, while "鬼东西" (gui dong xi, darn thing) tends to be so ambiguous that readers need to imagine the image of Peter Pan by themselves; while the language is informal and colloquial, it is more in line with the kinds of language used by children.Given the circumstances, "鬼东西" does not present any judgment about Peter Pan's violent behavior, such as killing or threatening, which is more consistent with the context, so young readers have more freedom to imagine what Peter Pan looks like.
In Example (2) in Table 1, when the four children are flying in the sky, they see the pirates.Peter Pan decides to kill Hook as an adventure.John asks Peter Pan out of curiosity, "I say!Do you kill many?"The response from Peter Pan is only one word:"Tons."Liang's translation is "『好些噸！』" (hao xie dun), meaning "many," but Yang's is "成吨的海盗。" (cheng dun de hai dao), indicating "[I make] a huge pile of pirates" with more exaggerated speech."噸" (dun) and "吨" (dun) correspond to the unit of weight "ton."However, the two translators employ different accessories to modify "ton" to show the plural connotation.When only one word is translated, extra information needs to be supplemented to explain it more clearly.In Liang's translation, the period is transferred into an exclamation mark to emphasize Peter Pan's excitement.Although there is an exclamation mark, the tone of "『好些噸！』" is weaker because "些" (xie) refers to "some," while "好些" (hao xie) means "many."In Yang's version, this is represented in the indicative mood; "成吨的" (cheng dun de) suggests that Peter Pan takes a great toll on those pirates similar to the phrases "成片的" (cheng pian de, a great number of pieces), "成群的" (cheng qun de, crowds of), etc., to describe a large scale."海 盗" (hai dao, pirate) in the translation both repeats the signified of "a huge pile" to answer the question raised by John and emulates children's speech as children tend to produce multiword utterances by chaining and relating words, often embodied by repetition (Veneziano et al., 1990).Similarly, in dialogs in children's literature, repetition is a good way to emphasize something important.Here, "海盗" does not reappear in the English response, but it is necessary to say it again in the translation to show the strength and bravery of Peter Pan or suggest his exaggerated description.Overall, Yang's rendition is a better demonstration of Peter Pan's arrogance than Liang's.Example (3) in Table 1 delineates the battle between Peter Pan and Hook, which is approaching its climax.When Peter Pan takes off his cloak, Hook is frightened and seems to lose confidence.Hook shouts, "Cleave him to the brisket!" "Brisket" refers to "the breast or lower chest of a quadruped animal." 2 The phrase "cleave him to the brisket" can be used on "Talk Like A Pirate Day," held annually on September 19, to "order to kill a man by cutting across his chest from the shoulders to stomach." 3 Liang's version is "『撕裂他的胸脯！』" (si lie ta de xiong pu), while Yang translated it into "劈开他的胸 膛。" (pi kai ta de xiong tang)."撕裂" (si lie) and "劈开" (pi kai) echo the verbal phrase "cleave . . . to . . .;" "他的" (ta de) means the personal pronoun "him;" "胸脯" (xiong pu) and "胸膛" (xiong tang) correspond to the noun "the brisket."The two translations both express this frightening act."劈开" is to chop something into two parts with a certain tool, which accords with the narrative fact that Hook does not have a right hand since it was cut off by Peter Pan, leading him to replace it with an iron hook.Cleaving Peter Pan's chest with his hook seems to be more violent and bloody.Although "撕裂" can also indicate the violence of the scenario to the readers, Hook's unique tool for killing is not as prominent in this verb.Therefore, Yang's translation embodies the distinct feature of Hook and the hostile relationship between Hook and Peter Pan.
These examples above are indicative of verbal violence by Mr. Darling, Peter Pan and Hook, involving a raised voice, indicated by using exclamation marks, insulting a person with a word such as "fiend," and doing harm to others by describing and expressing one's actions.

Metaphorical violence
Violence is endowed with metaphors in different ways (Sargin, 2016).This study does not concentrate on how violence is represented in various metaphors, but metaphorical violence is redefined to depict violent characters with metaphors or similes.In other words, portrayals of figures labeled as vicious persons handle this rhetorical device.Liang and Yang adopted different expressions to translate these metaphors or similes.Example (4) in Table 2 depicts when Hook is officially introduced in the story for the first time in Chapter 5, "forget-me-not" is used to describe his blue eyes with a melancholy tone.The flower "forget-me-not" has the symbolic meaning of "remembrance."Liang translated it into "玻璃花" (bo li hua), while "勿忘我花" (wu wang wo hua) is used in Yang's translation.They seem to refer to the same thing."花" (flower) indicates the nature of the "forget-me-not" as a plant."玻璃 花," with "玻璃" (bo li) corresponding to "glass" in English, shows the transparency of Hook's eyes as if people can assess him only by looking into his eyes to perceive his cruelty with a little bit of gloom."勿忘我花" is the literal translation of "forget-me-not," which harbors deep feelings.The word is not only used to show his blue eyes but also to highlight his deep sadness, just as mentioned in Chapter 14, in which Hook's recollections about "good form" and fame are written out because he received a good education, in sharp contrast to his ferociousness and brutality.
Example (5) in Table 2 describes the manner of Hook, using the expression "grand seigneur," which means "a great lord or nobleman" or "a man of dignity and aristocratic bearing." 4 It is translated into "大王" (da wang) by Liang and "爵 爷" (jue ye) by Yang."大王" is expressed with obvious Chinese characteristics.If readers just concentrate on the word "大王," they cannot easily judge whether the person is good-or bad-natured."大王" can imply a person with good leadership or a vicious leader."爵爷," indicating lordship, presents an image of Hook as overbearing in front of us, and the suggestion of British noble rank is symbolic of one's social status.It also foreshadows the "good form" mentioned in the following chapter.The two versions adapt the language to the Chinese context and the English context.
In Example (6) in Table 2, when Hook meets children like Smee, who is one of his staff, he regards Smee as a lovable person and is fascinated by the appalling stories told by Smee, which Hook pursues with interest.Here, in the source text, Hook is compared to a "sleuth-hound" that is decoded in Chinese as "獵犬" (lie quan), also known as "猎狗" (lei gou), a dog trained to help humans hunt in Liang's version, but as "警犬" (jing quan), a police dog trained to help detect and solve crimes by Yang."獵犬" and "警犬" in Chinese are both well trained for specific tasks, but their trainers are different: hunters for the former and police for the latter.Moreover, trainers of "警犬" become well educated and equipped with specialized knowledge and skills such as the science of criminal investigation and zoology.Therefore, "警犬" implies more formal and official training than "獵犬" to some extent.Regarding the context, "警犬" is more appropriate than other translations because Hook struggles internally with "good form" over and over again, which signals that once Hook received an education and was a nice person.A similar sense is implied in the annotation in both translations that mention Pop as "an elite social club at Eton College," which is known for its gentleman's culture.
The three examples above are all used to describe Hook, vividly presenting a dual image of the pirate to readers.Hook once received higher education, and yet he eventually became a pirate with brutish behavior.Similes and metaphors are included to make the violent characteristics of Hook prominent.3 indicates that Mr. Darling is often unsatisfied with Nana as the children's nurse.In Chapter 2, Mr. Darling treats Nana as if she were unfriendly.This is a perfect description of Mr. Darling's violent behavior against Nana.Liang and Yang's interpretations are extremely similar.However, there are still subtle differences.Liang used plain language to imply Mr. Darling's violence, with "甜密的話" (tian mi de hua, honeyed words), as an endocentric phrase with the attributive phrase "甜密的" for the nouns "話" and "引" (yin, lure)."密" (mi) is suspected to be an incorrect printed character, corrected as "蜜"(mi).Yang used the Chinese fourcharacter expression "甜言蜜语" (tian yan mi yu, honeyed words), with both "甜" (tian) and "蜜" (mi) referring to "honeyed" and both "言" (yan) and "语" (yu) meaning "words," more vividly showing the means of Mr. Darling's lure.The twosyllable word "引诱" (yin you, lure) is read with a rhythm that emphasizes it."拉" (la) and "拖" (tuo), both indicating the verb "drag," show Mr. Darling's violence toward Nana.
In terms of Example (8) in Table 3, in Neverland, there are many scary beasts like wolves, bears, tigers, etc.In the novel, descriptions are given to the tongues of these beasts twice, i.e., "Their tongues are hanging out . . ." and "The tongues of the pursuers were hanging out."Liang translated them into "舌头都伸了出来" (she tou dou shen le chu lai), while Yang rendered them into "舌头拖得老长" (she tou tuo de lao chang) and "舌头吐 得老长" (she tou tu de lao chang).The latter tends to be more vivid than the former in portraying those "monsters" by using the word "老" (lao) in Chinese, which is colloquially suited to children's language for extending the tongue.This indirectly symbolizes the dangerous environment where the children live.However, Liang's "舌头都伸了出来" is just a straightforward description without harboring strong feelings.
The two translations depict the violent behaviors of Mr. Darling and of the beasts in Neverland.In general, Yang's action scenes are livelier because Yang employs fourcharacter expressions and two-syllable words that approximate children's language in a way that matches the reading habits of children.From this study, violence in children's literature can be translated especially for older children because violence is also educational in children's books, which prepares them with insights to distinguish good from bad and with solutions to cope with violence.In Peter Pan, seeking peace requires bravery in the face of violence.Although there is violent behavior, children should learn to find solutions to problems.Inevitably, there are some limitations in this study.Perhaps it is possible to involve other translations of Peter Pan in other languages and enlarge the research scope.For example, what do children of various ages think of violence, which may be taken for granted from adults' views of the literature, and do children accept the two translations or not?In addition, research on the translation of violent images can proceed, but there are no photographic prints in Liang's publication.
Given the state of studies on the translation of violence in children's literature, paths for future research are put forward as follows.First, conventional textual analysis of translated children's literature has embraced a turn that emphasizes political ideology at the national level and multimodal analysis including paratexts, especially images or illustrations in the translated versions (Todorova, 2021).These events raise questions as follows.Should children's literature concerning violence, such as wars or domestic violence, be included in the school curriculum?If the answer is yes, how is this controlled within an appropriate range?And should children's literature translated from other languages maintain all scenes with violence?These questions can not only spark the interest of translators of children's literature but also attract the attention of editors, reviewers, publishers, and educators, including teachers and parents.Second, field interviews and questionnaires help to make research results more convincing and expose researchers or scholars to children's true feelings toward violence in what they read.Triangulation involving mixed qualitative and quantitative approaches can be applied to the same dimension of a research problem so that it can be better examined (Jick, 1979).
Third, in the long run, when children who have ever read something about violence in their early childhood grow up, does violence in writing exert an impact on their following work and life choices compared with those who have never read about violence but were brought up in a comfortable way?Research on this issue requires long-standing observation for a couple of years or even decades.Nevertheless, research on the translation of children's literature is incipient, especially research combined with cross-disciplinary areas, needing more attention from scholars and even practitioners.

Notes
(2003) uses the narrative communication model to explain the voice of the translator in children's literature.The translator plays the role of storytelling in the narrative descriptions of children's books.Narrative violence in Peter Pan is demonstrated by the author by describing the actions of the characters.The examples that follow are translations of behaviors by Mr. Darling and the beasts on the island.Example (7) in Table

Table 1 .
Comparison of translations of verbal violence.

Table 2 .
Comparison of translations of metaphorical violence.

Table 3 .
Comparison of translations of narrative violence.This paper conducts a comparative study of Peter Pan's two Chinese versions translated by Shiqiu Liang and Jingyuan Yang from the perspectives of verbal violence, metaphorical violence and narrative violence.Yang's translation is produced based on Liang's version and so inherits some of Liang's techniques.Both decide to keep the translation of representations of violence instead of deleting these elements.A comparison of the two renditions reveals that, although Liang's translation makes violence accessible to young readers, it is more formal and loyal to the source text and is centered on an adult system.In contrast, Yang translates Peter Pan more flexibly in line with children's language and marks the identities of the protagonists, including Peter Pan and Hook, by the use of words and expressions.What are the implications of this contrast?Liang maintains that original meanings should be retained with fluency, while in the postscript of Yang's version (2016), Changwen Shen hails Yang as a person who seeks the truth with childlike purity.Yang's works are also based on the values of science and democracy, focusing on individual features.Liang's translation concentrates on the adult system, but Yang's version prefers the child's system.In addition, Yang presents the personalities and identities of protagonists more vividly.To some extent, Liang and Yang may refer to different originals, but analyses of the examples in this study involve technical expressions that do not vary greatly in different English versions.