Lin, Shu

Chi, Yuan-wen. Transforming and translating the form : the examples of Daniel Defoe and Lin Shu. [ID D26910].
One of the chief contributions of Lin Shu's translations lies in the fact that Chinese society first came to be acquainted with the lives, customs and habits of the Westerners and their emotions, feelings and ethos through the vivid dspictions of these rendered texts. Due to the limitations in Lin and his collaborators' knowledge and scope of Western literature, the quality of their joint enterprise was uneven – some translations are so beautifully phrased and structured that they are arguably better than the source texts, whereas some translations do not come close to reflecting the style and content of the original work.
While Lin Shu directed the translation project, his overall control was limited as he had no knowledge about Western literature, and thus had no say in the selection of the texts, which depended entirely upon the literary tastes of his collaborators. From the perspective of translation studies today, the works he chose to translate are strangely characterized by, and fluctuate wildly between, masterpieces and trash.
In his prefaces, forewords, and epilogues of these works, Lin Shu dwells upon his career in translation, his views on literature, and expresses his concern about the fate of the nation. These discourses provide us with valuable insights into the evolution and trajectory of his thoughts on society and culture. Lin Shu lamented the fact that he was too old to serve his country. His contribution to the distinctly national effort was to translate books to encourage the youth to devote themselves to learning science and technology, promoting the didacticism of literature and commenting on the decay and moral degeneration of the age.
Translating into the classical forms of Chinese which were remote and distinct from everyday language usage, Lin Shu's translations are often criticized as being fluent and elegant at the expense of its true novelistic form.
Limited by his own education and background, Lin Shu was unable to catch up with the urgent needs for a clear and simple written vernacular language for the purpose of universal literacy. Although he fiercely defended classical Chinese language and literature, he was fighting a battle which was doomed to lose : "Classical language is not so good as modern language in terms of popularity. The one is finite, whereas the other is infinite".

Lin Shu ist Lehrer für Chinesisch an der Dongcheng Schule in Hangzhou (Zhejiang), dann Dozent für klassischen chinesischen Stil und klassische chinesische Texte am Jintai College (Shandong), Wucheng College (Shandong).

[Stowe, Harriet Beecher]. Hei nu yu tian lu. Lin Shu, Wei Yi yi. [ID D10429].
Lin Shu. Translator's notes to Uncle Tom’s Cabin.
Preface
In American history the enslavement of blacks in Virginia can be dated to 1619, when the Dutch transported twenty African blacks in a warship to Jamestown and sold them. This was the beginning of the enslavement of blacks by whites. That was before the United States had been established as a nation. Later, when the public-spirited Washington governed selflessly, not seeking a private fortune, he was still unable to change the laws on slavery. It was not until Lincoln's time that the slaves were fortunately emancipated.
Recently the treatment of blacks in America has been carried over to yellow people. When a cobra is unable to release its poison fully jt vents its anger by biting wood and grass. Afterwards, no one who touches the poisoned dead branches will escape death. We the yellow people, have we touched its dead branches? Our country is rich in natural resources, but they are undeveloped. Our people's livelihood is impoverished to the extent that they cannot make ends meet. Thus they try to support themselves by going to America to work, and every year send money back to support their families. Of the Americans, the more calculating ones are alarmed at the draining off of their silver and so treat the Chinese workers cruelly so as to stop them from coming. As a result, the yellow people are probably treated even worse than the blacks. But our country’s power is weak, and our envoys are cowardly and afraid of arguing with the Americans. Furthermore, no educated person has recorded what has happened, and I have no way to gain factual knowledge. The only precedent I can rely on is A Black Slave's Cry to Heaven.
This book was originally called The Oppression of Black Slaves, and also appeared under the title Tom's Family Affairs. It was written by the American woman writer, Stowe. I did not like the inelegance of these titles and hence changed the title to the present one. In this book the miseries of black slaves are depicted in detail. This is not because I am especially versed in depicting sadness; I am merely transcribing what is contained in the original work. And the prospect of the im¬minent demise of the yellow race has made me feel even sadder.
The vociferous [antiforeign] libel-mongers these days are too narrow-minded to reason with. Those who favor the white race, on the other hand, under the erroneous illusion that the Westerners are generous with vassals, are eager to follow or join them. In this respect, there are indeed quite a few readers for whom this book should serve as a warning.
The work owes much to Mr. Wei Yi of the Qiushi Academy, who rendered the story orally, which I then put down in writing. It was completed in sixty-six days.
preface written by Lin Shu (Lin Qinnan) of Min county, at Seavieio Tower over the lake, on Chongyang festival of year Xinchou during the Guangxu reign [1901].

Lin Shu : Afterword
Stowe is an American woman. The reason why the title 'Mrs.' was not attached to her name at the beginning of the volume is because according to Western custom men and women are treated as equals. Furthermore she did not call herself 'Mrs.' in the original book and that term appears only at the end of the book, so we have not changed this. According to Stowe herself, the book is largely based on what she personally heard and saw. Seventy or eighty percent actually happened, and only twenty or thirty percent is fiction. The names of men and women in the book are mostly false, but in reality there were such persons.
In translating this book, Mr. Wei and I did not strive to describe sorrow for the purpose of eliciting useless tears from readers. It was rather that we had to cry out for the sake of our people because the prospect of enslavement is threatening our race. In recent years the American continent has severely restricted the immigration of Chinese laborers. A stockade has been erected at the landing place where hun¬dreds of Chinese who have come from afar are locked up. Only after a week do they begin to release one or two people, and some people are not released even after two weeks. This is [like] what is referred to in this book as the 'slave quarters'. Up to the present, letters have never been opened in civilized nations, but now these people are opening all the letters of Chinese without exception. Wherever the word 'America' is mentioned [in a letter], it is taken to be an offense against the nation and no effort is spared to arrest and deport the person. Therefore I ask, do we Chinese have a nation or not?
As we can read in George's letter to his friend, a person without a country will be treated like a barbarian even by civilized people. So if in the future we Chinese become material for slaves, will this not be the basis? The Japanese are of the same yellow race. When the wives of their officials were humiliated by the health examination, they were en¬raged and fought the case in the American courts, organizing groups among themselves in order to resist. How brave the Japanese are! Do not our Chinese officials realize that their own nationals, though guiltless, are ignominiously being put in prison and wasting to death there? This situation of dominating and being dominated is like that of [the ancient states of] Chu and Yue. Our national prestige has been bounded; need more be said?
Fittingly, this book has been completed just as we are beginning to reform the government. Now that people have all thrown away their old writings and are diligently seeking new knowledge, this book though crude and shallow, may still be of some help in inspiring deter¬mination to love our country and preserve our race. Perhaps those gentlemen in the nation who are well-informed will not consider these words too excessive.
Lin Shu, Seaview Tower above the lake, ninth month of Xinchou [1901].

Lin Shu schreibt in der Einführung : "The book tells a fictitious story. But it may become a good lesson to Chinese laborers in the United States. The overseas Chinese in Peru and the Chinese laborers in America are now badly persecuted. It is hard to foretell the miseries of us yellow people. It is my hope that my readers will not take the story merely as fantasy."
Wei Yi schreibt im Vorwort : "In recent years, America has been engaged in expelling Chinese laborers. It is likely that we Chinese would be slaves. To be slaves is shameful. To be slaves in foreign countries is even more shameful. Yet, we are not even allowed to be slaves in foreign countries. I don't really know how we Chinese think of ourselves or how foreign countries regard us Chinese. This novel offers us an important lesson. I sincerely hope our readers will not ignore it as mere fiction but learn from it what we should do with ourselves."

Sekundärliteratur
Ling Shi schreibt in seiner 'review' : "The calamity is not about to befall our yellow race : the exclusion of Chinese labourers in the U.S. and the maltreatment of Chinese in various countries in the West are already a fact. Their predicament was in no way different from that of the Negroes, but worse than the latter. I weep for my yellow people with the tears I shed for the Negroes ; I grieve for the present of my yellow people in the same way I lament the past of the Negroes. I wish that every household had a copy of Uncle Tom's cabin."
Xin Shi schreibt in Xin min ri bao (1903) : "When we think of the grim future of the yellow race, it is not the black slaves that we should grieve over."
Hui Yun schreibt in Guo min : "Chinese laboreers are now shut up in stockades by Americans. How sad it is that China has lost its power, even its national rights. Seeing ourselves in the black slaves, I cannot refrain from weeping for the yellow race."
Jin Yi schreibt : "The black slaves are able to sing of freedom after the Civil War while it is now the yellow men's turn to be slaves. They have to bow their heads and be submissive even if they are shut up in chicken coups or pigsties.
A.R. Davis : Lin had adopted an especially patgriotic note, comparing the situation of the slaves with the treatment of Chinese labourers in America, a topic of high indignation in late 19th century China.
Martha Cheung : If Stowe was motivated by humanitarian and religious reasons to write, then Wei Yi and Lin Shu were motivated by political and patriotic reasons to translate, particularly by their anxiety about the fate that awaited the Chinese if they became a people without a nation.

Lin Shu ist Übersetzer des Translation Bureau of Capital College für die Commercial Press = Shang wu yin shu guan in Beijing (Qing shi yi shu ju). Er beherrscht keine Fremdsprachen, sein Erfolg beruht vor allem auf seiner schriftstellerischen Fähigkeit und seiner Beherrschung eines eleganten klassischen Stils.

Uganda Kwan : Lin Shu translated H. Rider Haggard 's works with a political purpose in mind. By contextualizing the translation background, analyzing the discourse by Lin Shu at the paratranslation level in his translations of Haggard's works and highlighting Lin's treatment of gender, Lin Shu appropriated Haggard's work to refresh the national imagination of China by means of a new allegory – the juvenile boy. Lin Shu adopted a gender-inclusive Chinese term, 'shao nian', to denote the notion 'juvenile'. Through his use of an ostensibly gender-neutral termin reference only to the young male protagonist, Lin Shu exploits and extends Haggard's colonialist politics into a discourse whose intention is to mobilize male Chinese readers to rejuvenate China. His aim was to persuade his audience that China was not a moribund nation despite repeated defeats by foreign powers, and that the country would soon be reborn as a young nation, full of energy, virility and possibilities. To understand Lin Shu's presumed intention, the historical context of Victorian Britain and the ideological importantce of juvenile literature of the kind written by Haggard are examined. Whether British or Anglophone audiences saw more in Haggard than simple adventure stories is unknown, but it is clear that Lin Shu understood their ideology.

Lanmu, Cha'ersi [Lamb, Charles]. Yingguo shi ren yin bian yan yu [ID D10417].
Lin Shu's translation of Tales from Shakespeare contains twenty stories based on the Bard's plays, it was the second earliest introduction of Shakespearean works into China.
Lin Shu schreibt im Vorwort : "When the Europeans criticize our country, they usually say that China is becoming increasingly weak and ill-fated because she is narrow in her view of the world, outdated in her thinking, allowing her past to dominate her present, and too fond of gods, fairies, ghosts, and demons. The young and audacious in our country are going all out for reform and change. They embrace only the new, mocking the old tradition and practice and discarding past history and heritage.
There are certainly justifications in what these people are doing. But, if they think that all things Western are new to China, they are wrong, for it would be like glorifying somebody by exaggerating his merits or destroying somebody by magnifying his faults. Aren't Hardy and Shakespeare literary giants of the great civilized England ? Look at Hardy's books that I have translated ; there are taboo snakes and condemned ghosts all over the place. Shakespeare's poetry is quite comparable to that of our [great poet] Du Fu, but he often conjures up images of gods, fairies, ghosts, and demons. If the Westerners are so civilized, then maybe these works mentioned should be banned and burned so as not to interfere with scientific knowledge. As far as I know, however, Shakespeare's poetry is held in high esteem among the well bred [in the West]. There his works are not only read and recited in every household but also performed in theaters, where men and women are moved to tears as they hold each other's hands listening to every word, where no one is ever tempted to call him old-fashioned or accuse him of having a fetish about gods, fairies, ghosts, and demons. Why is this the case ? Certainly, many old things are useless today, for example, the cooking vessels and drinking cups from the Bronze Age, heavy and rust eaten. But no expense should be spared to obtain, preserve, and display, say, a distinguished suit of armor once worn by a great personage from an illustrious family. People who are affluent and not troubled by the material needs of everyday life turn their interest to the past in pursuit of new personal enrichment. This is just like what [Su] Dongpo said, that when one has had enough rich meats and fine grains he starts to miss the snails and clams [of the old days].
Running a country and educating its people are two important matters that do not depend on arts and literature. When all is well with the country and its people, good arts and literature can add more luster; but when good arts and literature is all a country has, they do not benefit either the governing or educating. That's why the Westerners make government and education their priorities, gathering wealth and building military strength. They are so rich and powerful that no outsiders dare to humiliate them. It is only then they begin to enjoy arts and literature in their leisure time. Maybe Mr. Hardy and Mr. Shakespeare are old-fashioned and using gods, fairies, ghosts, and demons too much, but the civilized Westerners are certainly not complaining.
I am old, and I do not use the same language as Hardy and Shakespeare, but I am particularly fond of these two gentlemen's works. My good friend Mr. Wei Chunshu, from Renhe [Hangzhou, Zhejiang] —young, erudite, and a master of Western languages—and I teamed up to do translations at the Translation Studio of the Jingshi Daxuetang (Capital University). After Mr. Wei orally translated the works to me, I put them into [Chinese] literary form. In about two years we translated about three or four works, of which the most massive one is the Biography of Napoleon. We are about to graduate from the studio early this coming autumn. When free one night, Mr. Wei picked up some Shakespeare by chance; I started scribbling away by the night lamp. Twenty days later we have a book of Shakespeare's poetic tales.
The British certainly embrace new ideas in running their country, but they do not discard Shakespeare's poetry. Now that I have translated the book of Shakespeare's poetic tales, won't those blievers in new things reject it ?
There are some different versions of Shakespeare's poetic tales coming into our country. There are similarities and differences in the selections of tales as well as in the contents of actual tales themselves. My book contains bwenty tales, each of which has a new title by me for the purpose of highlighting."

Tian Han schreibt : "The novels translated by Lin Qinnan [Lin Shu] were very popular then and they were also my favourite type of publication. I was really interested in Lamb's Tales from Shakespeare which was translated als 'English poet, reciting from afar on joyous occasions'. I've been unconsciously influenced by this book. I read The tempest, Hamlet and Romeo and Juliet in the originals when I grew up, but it seemed to me that Lin's way of telling these stories as fairy tales was more appealing."

Li Ruru : Lin Shu adapted his Tales into Chinese. Taking the extract quoted earlier as an example, his version, compared to the original account by the Lambs, is tinged with more personal feelings evoked through the use of dialogue. His style is influenced by traditional Chinese story telling, which alternates freely and frequently between firs-person expression and third-person narration and commentary.

Hagete [Haggard, H. Rider]. Aisilan qing xia zhuan. Lin Shu, Wei Yi tong yi. [ID D12115].
Lin Shu schreibt im Vorwort : "The people of Iceland were uncivilized. As I see it, both their men and their women were bellicose. If they feld humiliated, they would resort to sword and shield. Their acts seem not far from those of bandits, but in their tribes they had fathers and elder sons to dispense justice, which is similar to our ancient clan system. Though they did not reach the apex of civilization, they would never suffer any humiliation without taking revenge. Most of this book is about assault and robbery, which are far from civilized, but the speech and spirit in it are heroic.
The reason that the translation is entitled The story of an amourous cavalier from Iceland is that it tells of the amorous affairs between a man and a woman, hence part of the title suggests the romantic substance of the novel ; however, my true intention is to tell the readers of the valour of the hero. The chivalrous trait of the hero is thus emphsized for the purpose of arousing my people from their lethargic sleep and spurring them on to vrave deeds."

[Defoe, Daniel]. Lubinsun piao liu ji ; Lubinsun piao liu ji xu ji. Lin Shu yi. [ID D10426].
Lin Shu schreibt im Vorwort :
"The English man Robinson, because he is not willing to accept the golden mean as a doctrine for his conduct, travels overseas alone by boat. As a result, he is wrecked in a storm, and was caught in a hopeless situation on a desert island. There he walks and sits alone, lives like a primitive man. He does not go back to his native country until twenty years later. From ancient times to the present, no book has recorded this incident. His father originally wished for him to behave according to the doctrine of the golden mean, but Robinson goes against his will, and in consequence, becomes an outstanding pioneers. Thereupon, adventurous people in the world, who are nearly devoured by sharks and crocodiles, are all inspired by Robinson."

"As I read it, I saw all the more clearly how best to handle loneliness and deal with extremity. You handle loneliness with your will, extremity with your own effort. When you are first confronted with loneliness, you are overwhelmed by anxieties, worries, fears, and frustration, you know not where to turn for help. But it is not loneliness that leads your to such a state... When Crusoe is first stranded on the island, he too is troubled and tormented with worries, but when he is resigned to the fact that there is no help and he is entirely on his own, when he knows that worrying would not do him any good, he reins in his fear of death, and he seeks spiritual support in religion. Having attained a measure of peace, he could apply all his energies to survival. It is important to remember that a person will forget his worries if his mind is occupied. During the day, Crusoe focueses his mond on his work - growing crops, building shelters and the like ; at night, he focuses his mind on religion. Through such steadfast discipline, he finally attains equanimity, his thoughts are serene, his words generous and kind. Twenty-seven years later, Crusoe returns to England, disposes of his property and uses his wealth for the care of his relatives and friends ; as head of family, he acts generously and humanely. For having undergone the most trying of all human experiences, he knows how difficult it is for man to bear with difficult circumstances, and so in all his dealings, he keeps in mind the workins of human nature. In this, he truly abides by the Doctrine of the Mean."

"Translating is unlike writing. The writer can write about what he has seen or heard, either in vague expressions or in detailed descriptions, that is to say, he can write about whatever subject and in whatever manner he likes. However, when it comes to translating, the translator is confined to relating what has already been written about, how is it, then, possible for him to adulterate the translation with his own views? When religious inculcations are found in the original text, he must translate them ; how can he purge his translation of that discourse just for tabboo's sake ? Hence, translation must be done exactly like what has been written in the original."

Sekundärliteratur
John Kwan-Terry : It is in the context of a Confucian ethos that Lin Shu discusses Crusoe's appeal to him in his 'Preface'. As Lin sees him, the Confucian hero whose life exemplifies the true principle of the golden mean is a person who is firm and steady of character and who does not tend to extremes of behavious ; he is not fickle in his emotions and beliefs and, far from deviating from the path of truth when under the severest pressure, will be ready to fight and die for it. On the other hand, the vulgar concept of the golden mean projects a man whose idea of not living an excessive life is to spend countless hours in comfort and safety with his wife ; though such a man has not committed any bad deeds, he is but middling and one among the very common. Crusoe, according to Lin, is not of this middling sort. His life shows a man of dynamism, of an independent, adventurous spirit, who is defiant of death, who faces the raging elements with courage, and overcomes the most adverse circumstances with ingenuity and resourcefulness. Such vitality of temperament supports the realization of the ideal mean which lies, not in a mere avoidance of extremes, but in an orderly fulfilment of responsible actions within society, within the family, within the time of human life. In this last observation, Lin has not overlocked the fact that there is little family or society to speak of in Robinson Crusoe, at leas in the sense of extended, overt reference. By its very nature, Lin's Confucian outlook on life has a 'this-worldly' orientation, in which ethical definitions are directed primarily towards the creation of social harmony. This means that Lin takes for granted Crusoe's social context, whether such a context has been elaborately fashioned or merely implied ; without such a context, Crusoe's extraordinary life becomes ultimately meaningless. Lin would have noticed that such a context has been established on the very first page of the novel, where Crusoe supplies details of his date of birth, the history of his name, his family's immigration into and subsequent naturalization in England – genealogical and sociological details that people in the traditional Chinese world, whether in real life or in literature, seldom overlook.
A nameless Crusoe, however heroic, who lives and dies alone on an island, will be an image of little consequence to Lin. If Lin has emphasized Crusoe's existential image, it is because, having taken Crusoe's social context for granted, he finds that this image is highly attractive and meaningful fo Lin's world-picture. Thus he does not find it awkward, while discussing Crusoe's dynamic personality, to give as much space in his preface to discussing Crusoe's relationships with his father, his wife and friends even though they appear but briefly in the book. It is from the same Confucian standpoint that Lin interpreted Crusoe's religious experience, his family and social relationships and his mythic significance. In his preface, he makes it clear that although he has translated Crusoe's Christian cogitations and prayers faithfully, he does not accept them. The religious sense, however, that they occasionally, and Crusoe's attitude always, impart, he understands and associates with the Chinese consciousness of the tao.
Lin's subsequent description of Crusoe's development shows, he can tolerate Crusoe's invcoations to God and Christ as occasions illuminating the emotional and psychological states that accompany the hero's efforts to make sense of his condtion.
Crusoe began with a love of adventure, Lin explains. His first act, in disregarding his parents' advice and admonition, was an act of ignorance. But paradoxically, it was also an intuitive reaction of his 'tao' and, if not an act of wisdom in itself, it led to wisdom, to that process of self-discovery in which widom lies. Initially, however, it saved Crusoe from settling down to that kind of 'middling' life that his father had advocated and that exemplifies the 'vulgar concept of the golden mean'. Once on the island, away from men, Crusoe's religious consiciousness began to develop. At first, alone and confused, he suffered from severe psychological disorientation, as nay normal man would, and became successively passive and apathetic, and obsessed with fencing himself in to keep out predators, both real and imagined. Crusoe's isolation had been beneficial in another way. As he arrived at an understanding of his condition, he gave thanks that with all its hardships and miseries, it had not been worse, indeed that it probably was much better than what many people had to suffer. With this realization, self-pity gave way to a mind at peace and a heart in closer sympathy with other men. Thus, 'after reading Robinson', Lin maintains, "I understand how to fight loneliness and difficulties. Loneliness is fought through the heart, difficulties are fought through power".
Lin adds : "Crusoe's treatment of his father shows that not all Westerners are unfilial, that he who knows how to fulfil filial obligations knows how to be loyal and care for his country. In this way, filial piety can be extended beyond family bonds to serve the purpose of national wealth and harmony. Since not all Westerners are unfilial, we cannot commend China and deprecate foreign countries. The reason Western learning has not spread all over China lies precisely in the mistaken notion held by a few conservatives that Westerners know no fathers."
Lin regards Crusoe as a model of heroic endeavour for his readers. The political implications of an example what is Western in nature and conception are not lost on him. While enthusing over Crusoe as the embodiment of individual vitality, he is sufficiently convinced of its essentially predatory nature to feel apprhensive of what the type means in the historical context of his time. The arrival of Friday in the story is thus seen as a signal for the subjugation, however benevolent, of the inferior for the benefits of the superior.
The translation of Robinson Crusoe, in Lin Shu's hands, becomes not so much a problem of literal accuracy as a work of interpretation and cultural transplantation. Lin has not hesitated to delete and abridge, to add a few words of his own to make the meaning clearer or supply his own metaphor to heighten the effect of the original, or to intersperse in the translated text his own annotations or critical comments in order to bring out a point or draw some conclusion. All the liberties that Lin took with Defoe's text served to record his appreciation or explication of the original work, its theme and art. In Lin Shu's Chinese eyes, Crusoe represents an image of human achievement that is both inspiring and threatening, an image, at the same time, that is seen to evolve within the contextual framework, not from book-learning or philosophical speculations but from experience, from the actual efforts at making a life worth living.

Hagede [Haggard, H. Rider]. Hong jiao hua jiang lu. Lin Shu, Wei Yi yi shu. [ID D10423].
Lin Shu schreibt im Vorwort : "The advocacy of deminism presupposes the education of women ; the educated woman would weigh the pros and cons in matters concerning her own matrimony, knowing only too well that indiscretion would not bring her any good, and therefore she would refrain from doing nything reckless... People would learn of the lasciviousness of the Western customs, and then would talk no more of the education of women, but still regard a woman as being virtuous if she has had no education at all. However, this is not what I want to see."

Aufführung eines Aktes von Cha hua nü yi [ID D23857] nach der Übersetzung von Lin Shu und Wang Shouchang, Adaptation von La dame aux camélias von Alexandre Dumas fils, durch die Spring Willow Society, unter der Regie von Fujisawa Asajirô mit Li Shutong als Marguerite und Zeng Xiaogu als Armand's father, im Tokyo YMCA in Kanda-mitoshirocho.

Sigede [Scott, Walter]. Shi zi jun ying xiong ji. Lin Shu yi. [ID D10420].
Lin Shu schreibt im Vorwort : "Today's China is feckless and declining. It's a great pity that I do not have a wide knowledge, so that I could come up with original works for publication to inspire my countrymen. What I can do now is to translate as many as I can of the stories of Western heroes in order that my people can, by learning from these heroes, get out of their state of lassitude and isolation, and catch up with the strong rival nations. Would that not bring me consolation any the less ?"

[Dumas, Alexandre fils]. Cha hua nü yi shi. Xiaozhongma zhu ; Leng Hongsheng [Lin Shu], Xiaozhai Zhuren [Wang Shouchang] yi. In : Leng, Hongsheng [Lin, Shu]. Wei lu cang ban. Fuzhou : [s.n.], 1899. = (Shanghai : Wen ming shu ju, 1903). Übersetzung von Dumas, Alexandre fils. La Dame aux camélias. Vol. 1-2. (Paris : A. Cadot ; Bruxelles : Lebègue, 1848). [Übersetzt 1898 ; vermutlich der erste ins Chinesische übersetzte Roman ; Vorlage zur Oper La Traviata von Giuseppe Verdi].
巴黎茶花女遗事

Habolan [Haberlandt, Michael]. Min zhong xue. Habolan yuan zhu ; Luwei yuan yi ; Lin Shu, Wei Yi tong yi. (Beijing : Da xue tang guan shu ju, 1900). Übersetzung von Haberlandt, Michael. Völkerkunde. (Leipzig : G.J. Göschen, 1898). (Sammlung Göschen ; 73).
民種學

[Stowe, Harriet Beecher]. Hei nu yu tian lu. Shituohuo zhu ; Lin Shu, Wei Yi tong yi. Vol. 1-4. (Wulin : Wei shi cang ban, 1901). Übersetzung von Stowe, Harriet Beecher. Uncle Tom's cabin ; or, Life among the lowly. Vol. 1-2. (Boston : John P. Jewett ; Cleveland, Ohio : Jewett, 1852).
黑奴籲天錄

[Arnold, Thomas]. Buni di’er ci zhan ji. Lin Shu, Wei Yi yi shu. (Beijing : Jing shi da xue tang guan shu ju, 1903). Übersetzung von Arnold, Thomas. History of Rome. Vol. 3 : From the end of the first to the end of the second Punic war. (London : B. Fellowes, 1843).
布匿第二次戰紀

Lanmu, Cha'ersi [Lamb, Charles ; Lamb, Mary]. Yingguo shi ren yin bian yan yu. Shashibiya yuan zhu ; Lin Shu, Wei Yi yi. (Shanghai : Shang wu yin shu guan, 1904). (Shuo bu cong shu ; 1, 8). Übersetzung von Lamb, Charles ; Lamb, Mary. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807).
英國詩人吟邊燕語

Hagete [Haggard, H. Rider]. Aisilan qing xia zhuan. Hagete yuan zhu ; Lin Shu, Wei Yi tong yi. (Shanghai : Shanghai guang zhi shu ju, 1904). Übersetzung von Haggard, H. Rider. Eric Brighteyes. (London : Longmans, Green and Co., 1891).
埃司蘭情侠傳

[Erckmann, Emile ; Chatrian, Alexandre. Hua tie lu zhan xue yu xing ji. Lin Shu yi. (Shanghai : Shanghai wen ming shu ju, 1904). Übersetzung von Erckmann, Emile ; Chatrian, Alexandre. Waterloo, suite du Conscrit de 1813. (Paris : J. Hetzel et A. Lacroix, 1865).
滑鉄廬戰血餘腥記

[Erckmann, Emile ; Chatrian, Alexandre]. Li bi se zhan xue yu xing ji. Lin Shu yi. (Shanghai : Shanghai wen ming shu ju, 1904). Übersetzung von Erckmann, Emile ; Chatrian, Alexandre. Histoire d'un conscrit de 1813. (Paris : J. Hetzel et A. Lacroix, 1864).
利俾瑟戰血餘腥記

Zengmi [Alden, William L.]. Meizhou tong zi wan li xun qin ji. Zengmi ji ; Yading ji ; Lin Shu, Zeng Zonggong yi. (Shanghai : Shang wu yin shu guan, 1904). (Shuo bu cong shu chu ji ; 9). Übersetzung von Alden, W[illiam] L. Jimmy Brown trying to find Europe. (London : Sampson Low, 1889).
美洲童子萬里尋親記

Hagede [Haggard, H. Rider]. Jiayin xiao zhuan : yan qing xiao shuo. Hagede yuan zhu ; Lin Shu, Wei Yi yi . Vol. 1-2. (Shanghai : Shang wu yin shu guan, 1905). (Shuo bu cong shu ; 13). Übersetzung von Haggard, H. Rider. Joan Haste. Vol. 1-2. (London ; New York, N.Y. : Longmans, Green & Co., 1895).
迦茵小傳 : 言情小說

Luojiade [Lockhart, John Gibson]. Napolun ben ji. Luojiade yuan zhu ; Lin Shu, Wei Yi fan yi. Vol. 1-2. (Beijing : Jing shi xue wu chu guan shu ju, 1905). Übersetzung von Lockhart, John Gibson. History of Napoleon Buonaparte. (London : John Murray,1829).
拿破崙本紀

Sakexun [Scott, Walter]. Sakexun jie hou ying xiong lue. Lin Shu, Wei Yi yi. Vol. 1-2. (Shanghai : Shang wu yin shu guan, 1905). (Shanghai : Shang wu Yin shu guan, 1913). (Shuo bu chong shu ; 27). Übersetzung von Scott, Walter. Ivanhoe : a romance. Vol. 1-3. (Edinburgh : Printed for Archibald Constable ; London : Hurst, Robinson and Co., 1820).
撒克逊劫后英雄畧

Hagede [Haggard, H. Rider]. Gui shan lang xie zhuan. Vol. 1-3. Hagede yuan zhu ; Lin Shu, Wei Yi yi. (Shanghai : Shang wu yin shu guan, 1905). (Lin yi xiao shuo cong shu ; 17). Übersetzung von Haggard, H. Rider. Nada the lily. In : Illustrated London news ; Jan.-June (1892). (London : Ingram Brothers, 1892).
鬼山狼俠傳

Hagede [Haggard, H. Rider]. Ying xiao zi huo shan bao chou lu. Hagede zhu ; Lin Shu, Wei Yi tong yi. Vol. 1-2. (Shanghai : Shang wu yin shu guan, 1905). (Lin yi xiao shuo cong shu ; 5). Übersetzung von Haggard, H. Rider. Montezuma’s daughter : a romance. (London ; New York, N.Y. : Longmans, Green, and Co., 1893).
英孝子 火山 報仇錄

Hagede [Haggard, H. Rider]. Yu xue liu hen. Hagede yuan zhu ; Lin Shu, Wei Yi yi shu. (Shanghai : Shang wu yin shu guan, 1905). (Shuo bu cong shu ; 32). Übersetzung von Haggard, H. Rider. Mr. Meeson’s will. (London : S. Blackett, 1888).
玉雪留痕

[Defoe, Daniel]. Lubinsun piao liu ji ; Lubinsun piao liu ji xu ji. Dafu yuan zhu ; Lin Shu, Zeng Zonggong yi shu. Vol. 1-4. (Shanghai : Shang wu yin shu guan, 1905-1906). Übersetzung von Defoe, Daniel. The life and strange surprizing adventures of Robinson Crusoe, of York, mariner : who lived eight and twenty years alone in an un-habited island on the coas of American, near the mouth of the great river of Oroonoque, having been cast : on shore by shipwreck, eherein all the men perished but himself. The farther adventures of Robinson Crusoe : being the second and last part of his life, and the strange surprizing accounts of his travels round three parts of the globe. Vol. 1-2. (London : W. Taylor, 1719).
魯濱孫飄流記 / 魯濱孫飄流續記

Busibai [Boothby, Guy Newell]. Nü shi yin jian ji. Busibai yuan zhu ; Lin Shu, Chen Jialin yi shu. (Shanghai : Shang wu yin shu guan, 1917). Übersetzung von Boothby, Guy Newell. Love made manifest. (London : Ward, Lock, 1899).
女師飮劍記

Zhang, Wanli. "Hei nu yu tian lu" de xu shi zhe yu yi wen cao zong. Xianggang : Zhong wen da xue, 2000). Diss. Xianggang Zhong wen da xue, 2000. [Study of Lin Shu and Wei Yi's translation of Uncle Tom's cabin by Harriet Beecher Stowe].
黑奴籲天錄的敘事者與譯文操縱

Chi, Yuan-wen. Transforming and translating the form : the examples of Daniel Defoe and Lin Shu. In : Tamkang review ; vol. 36, no 4 (2006). [Paper presented at the Transculturalism : an international conference, Institute of European and American Studies, Academia Sinica, Taipei.