本文以無名氏撰《貨郎旦》為例，分析元雜劇在法國的翻譯、改編及其接受過程所衍生的意義流動。本文首先關注法國漢學家巴贊（Antoine-Pierre-LouisBazin）收於《中國戲劇選》（Théâtre chinois，1838）裡的《貨郎旦》譯本，根據譯本對於「貨郎」等關鍵詞和概念的理解，以及譯本文字增刪、形式調整等面向，從而檢視譯本與原作之間的敘事視角差異與主題偏移。為了解時人對於《貨郎旦》的接受，本文根據馬南（Charles Magnin）的評論進行分析，指出法國讀者如何看待《貨郎旦》所揭示的中國社會與風俗。此外，本文也進一步以俞第德（Judith Gautier）根據《貨郎旦》改編的《賣笑婦》（La Marchande de sourires）為例，說明中國戲曲的域外傳播是如何通過翻譯的再翻譯進行跨文化的實踐。

This paper aims to analyze the translation, adaptation, reception, and transformation of meanings of Yuan drama in France, using Huolang Dan (author unknown), as an example. The main text under analysis is the French translation of Huolang Dan by the French sinologist Antoine-Pierre-Louis Bazin, which was included in Théâtre chinois (published in 1838) that he compiled. My interests focus on Bazin’s understanding or misunderstanding of the key words and concepts, such as the “Huolang” profession as practiced in ancient China. Moreover, I will examine the differences between the original text in Chinese and the French translation in terms of their content and dramatic forms. Due to Bazin’s misinterpretation, the motif and the narrative perspective of the original text were partly modified in the translation. I will also survey the reviews by Bazin’s contemporary, Charles Magnin, to discover how the French readers observed the Chinese society and customs in the play, and to analyze the reception of the play during the nineteenth century. In addition, I am interested in the adaptation of Huolang Dan by Judith Gautier, titled La Marchande de sourires, which was based on Bazin’s translation. Using La Marchande de sourires as an example, this paper demonstrates how Chinese drama spread through the intercultural practice of translation and adaptation based on the translation.