When we investigate the translated works in Chinese literature, especially those produced by the great translators ever since the late Qing dynasty, we can learn that modeling on the original style and language structure is the last thing they wanted to do, instead they are bent on how to cater for the taste of Chinese readers by drawing heavily on classical Chinese and Chinese language conventions in their translation. Yan Fu（严复）, the first person introducing into China systematically the works of western social sciences at the turn of the twentieth century, takes as his model of translation the classical Chinese 2000 years ago in order to satisfy the expectation of men of letters and officials who are well-cultivated in classical Chinese, while Lin Shu（林纾
www.751com.cn）, translator of the same age, who is claimed to have translated more than 180 western novels, also adopts classical Chinese in his translation. It turns out his works have become a great success as it is evidenced by Hu Shi’s （胡适）comments on his work, “Lin Shu is the first person trying to translate western novels with classical Chinese, and to be honest, he succeeded because in Chinese literature there has never been emerging a full-length novels written in classical Chinese. Moreover, classical Chinese is not adept to present comical flavor, but Lin Shu can in his translation of Washington Owen and Charles Dickens. Classical Chinese is not good at depicting psychological change of a character, but Lin Shu can in his translation of Aux Camelias” (范伯群，2009) .
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