 Four main strategies have been used by translators . The first leaves all characters ' names unchanged and in their original spelling : thus the name is respected and readers reminded of the original cultural setting , but the <unk> of the pun is lost . Eva <unk> varied this source @-@ oriented approach by using both the English Christian names and the adjective earnest , thus preserving the pun and the English character of the play , but possibly straining an Italian reader . A third group of translators replaced Ernest with a name that also represents a virtue in the target language , favouring transparency for readers in translation over fidelity to the original . For instance , in Italian , these versions variously call the play L <unk> di <unk> Franco / <unk> / <unk> , the given names being respectively the values of honesty , <unk> , and loyalty . French offers a closer pun : " Constant " is both a first name and the quality of steadfastness , so the play is commonly known as De l <unk> d 'être Constant , though Jean Anouilh translated the play under the title : Il est important d 'être Aimé ( " Aimé " is a name which also means " beloved " ) . These translators differ in their attitude to the original English honorific titles , some change them all , or none , but most leave a mix partially as a compensation for the added loss of <unk> . Lastly , one translation gave the name an Italianate touch by rendering it as <unk> ; this work <unk> mixed proper <unk> from both languages . 
