《红楼梦》里多次出现《牡丹亭》戏文及其折子戏名。杨宪益和霍克思的《红楼梦》英译本对小说中《牡丹亭》戏文戏名的翻译采取了不同的方法,因而呈现出不同的风格。本文将《红楼梦》所引《牡丹亭》戏文戏名的两种英译文字拈出,依次进行比较评析,并提出自己的观点。在笔者看来,杨宪益对中国古典文化更加熟悉,翻译时词语用得更加准确、到位。他更偏重语义型翻译,和原文紧密联系,所以很大程度上保留了古典戏文的文化信息,遵循了戏文独有的文化特点,传递的文化色彩较为浓郁。而霍克思则是以读者为中心,注重将西方读者熟悉的文化和背景知识融汇于译文中,努力追求东西文化的交融,意在引领读者进入本来不熟悉的中国古典文化中。 There are many times “The Peony Pavilion” opera and its surname play name in A Dream of Red Mansions. Yang Hsien-yi and Horace’s English version of A Dream of Red Mansions adopted a different approach to the translation of the play name of The Peony Pavilion in the novel, thus presenting a different style. In this paper, two kinds of English translations of “The Peony Pavilion” operatic mode quoted in “A Dream of Red Mansions” are extracted, followed by comparative analysis and put forward their own views. In my opinion, Yang Hsien-yi is more familiar with Chinese classical culture, and the words used in translation are more accurate and in place. His emphasis on semantic translation is closely linked with the original text. Therefore, he largely preserved the cultural information of classical opera and followed the unique cultural features of the traditional opera. While Hawkes is a reader-centered, focusing on Western readers familiar with the cultural and background knowledge in the translation, efforts to pursue the blending of Eastern and Western cultures, intended to lead the reader into the otherwise unfamiliar Chinese classical culture.