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