xx大学英语本科毕业论文标准格式正文

AＣomｐａraｔｉｖeSｔuｄyoｆEnglｉｓhVｅrsionsofＬiｕZonｇyｕan’sＪiangｘue—fromｔheＰｅｒｓpectivｅof“ThreeBeaｕties”PrincｉpleIntroｄuctｉｏｎWithitｓextｒemｅlyｔerseａｎｄiｍｐｌｉciｔcharactｅristics，ClassicalCｈinesepoｅtrｙｉsanａrtofｌanguageandaｇoldenhｅritａgeｏｆＣhineｓeliｔｅraｔuｒetothewoｒld，whichisalsｏafiｎｅiｎtegraｔionoｆｂｅautyｉnsense,soundａndｆorm.LiｕZongyuan，oneof“EigｈtGreａtPｒosｅMasterｓoftheTａnganｄＳoｎgDynaｓｔiｅｓ”，hａsmadegｒeａtconｔｒｉbuｔionsｔoChｉneseｐoｅｔrｙ,ｏｎeofwｈicｈisJｉａnｇxｕe,afiｖe－ｃharacterｑuａtraｉｎ，ｈonorｅdaｓ“ｔｈｅshｏｒｔeｓｔLiSaｏ”。Ｊiａngxueisａmaｓtｅｒｐiecｅｂearingbeaｕtyiｎｓeｎｓe,soundａｎdforｍsotｈaｔithaｓａpｐeaｌedmanyexcellenttｒansｌatorsｔoreproｄucetｈeoriginalbeautｙ,amｏngｗhomXuＹuａnｃhong，ZｈaoZhentao，WｉtterBynner，WuJuntａoaｒeontheｌiｓｔoｆthemostｉnｆluentialｏｎes。ItiｓｗidelｙbelｉｅvedthatpoetrytranslａtioｎiｓmuｃhmｏrｅdｉｆficuｌtthanothｅrcomｍｏntranslａtiｏnsｂutlｅｓsdifｆｉcuｌtthaｎclａssicalCｈiｎeｓepoｅtrytｒanslation．１Ｆorｔunately，withunremitｔingｅndｅａvorｂymanyscholars，boｔｈaｔｈomｅandabｒoad，ｍａnypｒacticaltranslａｔｉｏntheｏrieｓａreputfｏrｗard．Oneoｆtｈｅmisthewelｌ—ｋnown“ThｒeeBeaｕties"prｉnciple-beａutyinseｎsｅ,souｎdanｄｆorｍ，oｎeoｆthemostｗidｅｌｙａcceptedandaｄmirｅdtｒａnsｌatioｎpriｎciｐles，ｗposｅdbyProfesｓorXuＹuanｃhong,anoutstandiｎganｄｐｒolifiｃtrａｎｓlaｔｏr。Bytｈｅway,ａｌｌｔherｅferencesIcoｌlecteｄmainlyanaｌｙｚｅｄiｆferentＥngliｓｈvｅrsiｏnｓｏfJiangxuefromｔheperspectiveｏf“ThreeBeａutｉeｓ”pｒiｎcｉpｌｅｔｏhiｇｈlighｔthispositivｅtｒanｓlatiｏnmetｈod．Ｂutwｈat’sｗelｌｗｏrｔhｍymeｎtiｏningistｈattheｒearefewpaperｓｓtudｙinｇｔhｉstｏpicinＥnglishaｎdｔheanalysisofthｅdiffereｎtＥｎｇlishveｒsionsofJiangxuｅiｎmｙthesiｓismorecomprehensiveanｄpｅｒsuaｓive.Ｔｈｉｓｔhesisｉｓvｅthat,byｓtudyingｄifｆeｒeｎtEｎｇlishvｅrsiｏnｓoｆJｉaｎgxue，ＸuYuanchｏｎg'ｓtｒａｎslatｉoｎbasedonhis“ThrｅeＢｅａuties”prｉnciｐｌe,aimｉnｇtｏmaximizethereprodｕctiｏｎoｆtheoｒｉginaｌbeautyinｓense，souｎdandfｏrm，haｓｐrovidedafinemanifestｆｏrabｅｔｔerundersｔａndinｇofｔｈeprincipleitselｆ,ａgoodsourcｅofｒeferencetotｈeaｎaｌyｓisandapｐreciａｔiｏnofothertranｓlationworkｓaswellasabｅａcontoabｅtｔercommanｄofｔhispriｎｃipleanｄaｎadｖancｅdlevelｏｆclasｓｉcaｌChinｅsepoｅtｒyｔrａnslａｔion.Thｉsthesisiscｏmposｅdoｆtｈreepaｒts，excluｄingｉntｒoductionaｎdcｏncｌusioｎ.PａｒtｏｎeisatheorｅticaｌexpｌoratｉonoｆXuYuaｎcｈｏｎｇ’s“ThreeBeauties”principle。ParｔtwｏｉｎcludesabrｉefiｎtrｏｄuctiｏntoLiuZongyuaｎ’slｉfeexpｅrｉｅnces,tｈeanaｌｙsisandaｐprｅciaｔiｏnofJiaｎｇxｕe，ａｎdthekeyaｎｄdiffｉculｔpointsｉｎtranslaｔinｇJiａｎgｘue．ＰarttｈrｅｅfｉｒsｔpresｅntsthedemerｉtsaｎdｍeritｓoftheＥngliｓhｖeｒｓioｎｓinreprｏduciｎｇtheoriginalbｅａutyiｎfrom，ｉnｌightoftheｐｕｎｃｔuations,ｔｈechｏｉceofｗoｒdsandｔhｅdegreeofthｅaｎtithesiｓ；andthenｉtfocusedontherｅproductionoｆorｉgiｎａlbeａutyｉnsoundbyanａlyzingtherhythmaｎｄrhｙme;ａndfiｎallyitｒevealshowtoreproduｃetheorｉgiｎalｂeautyinsｅnｓｅineachvｅrsiｏnｉnterｍｓoftheirｔrａｎｓlatｉｏnsoｆtheorｉginalｔiｔlｅandmaｉnpoetiｃimａｇesｂasedonｔｈe“ThreeBeａｕtｉes"ｐrinciple.＝１＼*ＲOMAＮＩ。ATheoｒｅtｉｃalExｐｌorａtionofXuＹuanchong’s“ＴhrｅｅBeauｔies"ＰrincipleＰrofeｓsｏｒXuＹuanchong,proclaimedaｓtｈeoｎlyｅxpertintｈewoｒldwhocａntraｎｓlateＣhiｎeｓeｐoｅtrｙintｏbothＥnglishanｄＦrenchversiｏn,hａｓmaｄｅgｒeａtｃoｎtriｂutiｏntothefieldｏftraｎslation.Tｈe“ＴhｒeeBｅautiｅs”pｒiｎcｉpｌe，aperfectintegratiｏｎofbｅauｔyiｎｆoｒm，ｓouｎd，ａndseｎse，isａrｅpｒｅsentaｔiveｏｎｅoｆhisbrｉllianｔａｃhiｅvemeｎｔs,whiｃhisｗeｌlwortｈstｕｄyinｇforａｌoｎｇｔiｍe.ＮotonlyisthｉsprinｃiｐleabｅaｃonｔotranslatｏｒsinthｅdomainofCｈｉneｓe-to—Ｅngｌｉshpoeｔryｔranｓｌaｔioｎ,ｂｕtａlｓoｉtpavesthｅｗayｆorsprｅadｉｎgoｕrclaｓsiｃallｉｔerａturetｏfｏｒeｉgｎｃｏuｎtriｅs。A.TｈeSoｕrｃeoｆ“ThreｅBeauｔies”PriｎcipleThｅ“ThreｅＢeauｔies”pｒincｉplｅｏfｔranｓlatingderivesfｒｏmanｉdｅａofＬuXun。InhiｓｗorｋOｕtｌiｎeofHistorｙoｆＣhinesｅLitｅraturｅ,LuXuｎｆｉrｓｔpｒopｏsｅda“ThreｅBｅaｕties”principle,whｉchaｉmｅdtocｈoosｅthｅbeｓｔＣhinｅｓeｃharaｃｔｅrｓinwritiｎg.Hesays,“Ｗhenitcoｍｅstoliｔeraryｗｏrk，iｔsｃoｎtentemｂｒacｅsthreｅbｅautiｅs:ｎaｍeｌy,beaｕtyinsensetotｏｕchreａｄers’hearts，ｔｈisisthefirｓｔpoinｔ；beaｕtyｉnsoｕｎdtｏstimuｌａterｅaders'ｅars,thｉsisthｅｓｅconｄｐｏiｎt;beａｕtyinｆｏｒmtoaffeｃtｒeaders’eｙes，ｔｈisisthｅｔhirdpoinｔ.”2PrｏfeｓsｏrXｕaｐpliedthisprincｉplｅtotheCｈｉneseｃlassｉcalpｏｅｔryｔｒanｓlatｉon。The“ThreeＢeauｔｉes”ｐrincipｌe,pｕｔforwardｂyXufｏrｔhefirｓｔtimｅ，ａppeaｒsinｔheｐrefaceｏｆtheＣhinese－tｏ-EnglishａndｔheChinｅse-tｏ—ＦreｎchｖeｒｓionsofThe4２CｏlｌectiｏnsofＣhairmａｎMａo’sPoetｒy.Ｌateroｎ,ｈethrｅwaｂｒighｔｅrlightuｐonｔhisprｉncｉｐｌｅinＴheAｒtofＴranslａtiｏｎ:“Theａrｔoｆtrａnslatioｎistoｒeｐroducetheorigiｎalcｏｎtｅnｔaｎｄmｅaningthroughtheｆｏrｍofthｅtraｎslationｏnｔhebasisofcomprehensｉｏnｏftheｏｒiginaｌcoｎtentthroughitsform。Thisｒeｐｒodｕctionisａbsoluｔeｌynotamechaｎicａlｗoｒd－for-wordtransｌａtｉon，butａｒｅcｒeationofｔhebeaｕtyinseｎsｅofｔheｏrｉginaltext。Intｈｅｐrocesｓofpoeｔｒｙｔrａnslatｉon,tｒanslatorsｓhｏulｄaｌsｏｒeｐrodｕcｅｔhebｅaｕtyinsoｕndaｎｄtｈebeａutｙiｎformｂｅsｉdeｓtｈｅbeautｙｉnsenｓeoftheｏrｉgiｎaｌｔext。”Inａｄdition，ProfesｓorXｕhasｐublｉsｈedＡＮｅwTranslatｉoｎofThｒeｅHunｄredTａnｇPoemsandverｓionｓｏfothercｌassicalCｈineｓepｏｅtｒy，inwhｉchthisprｉｎcipleｉsｅmboｄiedｃoｍpletｅly.B。ＴheEｓｓｅｎceof“ＴhreeＢeａuties”PｒｉｎcipｌｅFｏrmｗhａthaｓbeenmentionedａboｖｅ，it’ｓｋnｏｗntｈattｈe“ThreeBeautiｅs"ｐrincｉplｅreferstotheｒeprｏdｕcｔiｏnofthｅoriｇｉnalbeａutyinｓenｓe，sounｄanｄｆorｍintrａnsｌａｔion。Neverthelｅsｓ，noｔallthebeautieｓａrｅequallysｉgｎificaｎt。AsProfｅssｏrＸuputｉt,beautｙinｓｏundisｍoreimpｏｒtantｔhanbeaｕｔｙinｆorｍbutlesｓimporｔａntthanｂｅaｕtyｉｎsense。3Ｔhａｔis，ａlｔｈoughaｌｌtｈethｒeｅbeautiｅsareｄeｓirａbｌｅ，ｗe’ｄbettｅrgｉvｅpｒioritytoｒeproduciｎgtheｏrｉginａlｂｅautyiｎsｅｎsｅ，thｅnconveytheｂｅauｔyinsｏundasmｕcｈａspossiｂｌeandtaｋethebeautyiｎfoｒmintｏthefｉnaｌcｏnsideｒａtｉｏniｆwecaｎnｏｔrealizｅallｔheｔhｒeebeaｕtｉesintｒanslatioｎ。Beaｕtｙinｓeｎseａimsaｔｒeｐrｏducingｔheｌｉteｒaｌmeａnｉnｇandtheartｉｓtiｃcｏncｅptiｏnoftｈeorｉginaｌcoｎteｎtａccuratelｙ.Mｏｒｅｓpeciｆicａlly，ｔhereisnｏneedtｏtraｎslaｔealｌｔhｅiｍａｇesintheoｒigiｎalcoｎtentbuｔaneｍpｈaｓisonｍｏvｉngthereａdersbysugｇestｉngthesａmeｐictuｒeastheoriginaloｎedｏｅs。Themetｈoｄｔoachｉevethisgoalissomewhaｔｋindoffｒｅetｒanｓlationbutｍoreｄｅmａndiｎgthaｎit．Aｃasｅinpointis“欲穷千里目，更上一层楼。Ｙoｕｃaｎeｎjoｙagrａnｄersｉｇhｔ，ifyouｃｌimｂtｏａgreaｔｅrheiｇhｔ.”４Fromｔｈeafoｒｅsaiｄexamｐlｅ,wｅcanｅaｓiｌｙseetｈatｔｈerｅisnocounterparttoｔheChiｎeｓecharaｃtｅr“楼”。Butapicｔureofｇｏiｎguｐｓtaiｒsｃanprobablｙcomeiｎtoｏurmｉndwhｅnreaｄingthewoｒd“clｉmb"。Lｉkewise，thetwoｗordｓ“graｎder"aｎd“gｒeater",similarｉnsｏundａndspｅlliｎg,reｐｒodｕｃethｅimageｏfａscenｄiｎｇaheｉghｔtｏenjoyadｉsｔａntviｅｗ．Aｃｃorｄinｇｌy,wｈat'swellｗoｒthmyｍｅntioningｉsｔｈａtthｅiｍagesinｐｏeｔrysｈoｕldn'tbｅnｅｇlectedonａccountofiｔｓsiｇniｆｉcaｎceinｃoｎvｅyingmeanｉnｇ.Beautｙinsoｕnd,inProfｅsｓｏrXu’sｏpiniｏn,consistsｉnthｅｓａｍesｗｅet—soundingｒhythmandrhymｅａstheｏｒigｉｎalpoeｔry．Tｏｒeａlｉｚethisbeauty，alｌitｅration，aｓｓｏnance，ｒepｅｔiｔiｏｎ,etc。areｇｏodreｆｅｒｅnｃes．Apoeｍwiｔhasｔｒongrhythｍaｌwayscaｎｓtrｉkｅａresponsｉvecｈｏrdwithreaders,sotｈereｉsｎodenyingｔhａtｂeauｔyinsｏundｉｓofgreaｔsigniｆicaｎceandachａrmｏfｔhepoem.Ｓomｅonｅonceｐoiｎtｅｄoｕｔ，“whｉletraｎslatinｇ，onｅsｈｏuldｎoｔoｎlｙｓｔrivetoaffecttｈerｅａderｓ’feeｌingsthroughｔhemｅaniｎginwords,bｕtaｌsotｏtｏucｈtｈeｒeａｄers'hearｔｓthrｏｕｇｈtheｓouｎdinｗｏrｄssｏthatreadｅrｓｃaｎｆｅelreaｄingaｐoｅmlｉkｅsingingasｏng。Tｈeｒeisatyｐicaｌexaｍｐlｅasｆｏllows:寻寻觅觅,冷冷清清，凄凄惨惨戚戚。ＩｌookｆorｗhaｔIｍiss;Ｉｋnowｎoｔｗhaｔiｔis。Iｆｅeｌsoｓad，sodreaｒ,Soｌonelｙ,ｗitｈｏｕtcheｅr.HowhａrｄisitＴｏkeepmefitIｎｔhｉsｌingerｉngcolｄ!5Fromtheｆｉrsｔｆoｕrlineｓ，tｈｅreare２rhｙmeｓ(misｓ-is;drear－chｅｅr)aｎd１ａｌｌiterａtｉon（so－saｄ）,whｉｃhmaketｈｏselinessocatchｙｔhａtｉtｃaｎprｏbablyimpｒesｓtheｒeａders．Inawｏrd,bｅautyinｓｏuｎdcanbeemｂodｉedindifferentｗａｙsaｎdit’sｏneofhighｌigｈtｓiｎapｏem.Beaｕｔyinfｏｒmreｆerｓtoｔhesimiｌａｒityinfｏrm，wｈichｐｒimarilydealswｉtｈtheleｎgthｏfthｅverseandtheantithｅｓis—wheｔｈｅrｔｈｅnuｍbersoｆpunｃtｕａｔiｏns,worｄs，linesanｄverｓeｓareiｎａccoｒdancewｉtｈtheｏrigｉｎalｐoｅtry。Ｌeｔｍeelaｂoraｔｅｔhisinthｅfollｏｗingeｘampｌe：“无边落木萧萧下,不尽长江滚滚来。Theboｕnｄleｓsfｏrestｓheditsleavesｓhｏweｒbｙｓhower;Tｈｅｅndlessrｉｖerｒollｓitswaveｈourbｙhour。"6Thｅreｉsnodｅｎyingｔhatitｉｓagoodexaｍｐleofaｎtｉthｅsis.Thｅsubjｅｃtfｏｒestversustheｓubjecｔrｉver;thｅadｊectｉvｅboundlessverｓｕｓｔheaｄjeｃｔivｅｅndleｓs；tｈepｒｅdictive,theobjｅｃtivｅaｎdtheaｄverｂiａlarealｌｉntｈeｓameｓtrｕcture.Suchaneatantitｈesisdｏestｈｉsveｒｓiｏneｍｂracethaｔitisrecｏｇnizedｂymoｓtpeoｐｌe．Inaｗord，itcannoｔｂetｏｏmｕchemphasｉｚed，foｒｍypａrt,thatThe“TｈｒｅｅBｅauties”prｉncipleisanorganｉｃintｅgｒaｔion。Diffｉｃuｌtastheｉntegrａtionoｆthetｈrｅebｅａutｉesis，trａnｓｌａtorｓshouldbｅinpurｓｕｉｔofthisgoal.Ａｓaｓayingwellgoes，“noｔhｉｎｇisdiffiｃulttｏapeｒsonwhowｉlｌtrｙ".C。ＴheIｍpｏｒtanceof“TｈrｅeBｅauties”PrｉncipｌeOntheonｅhand,it’ｓgeｎerallyｂeｌiｅｖedthａtｔhecｌassｉｃaｌＣhineseｐoeｔrｙ，withtｈetraiｔsｏfsｕccinctdiｃｔｉon，uniqueimageｒy，beauｔifｕlｒｈyｍeaｎdstrｉcｔsentｅncｅｐattｅrn，enjoysagooｄｒｅpuｔaｔiｏnofashiｎniｎgpearlinChiｎeｓｅｌiteratuｒe。Foｒthｉsreaｓoｎ,iｔiｓａlwayｓａｃｈａllenｇeｆｏrtranslatorstoconveｙｔｈeoriginalｂeautｙandesｓeｎceｏfthｅChiｎｅsepoetrｙｉnotｈerlanguageｓ。Foｒｔuｎately,ｗｉththeproposａloftｈe“TｈreeＢeａuｔies"principｌｅ,ｉtdoeｓplａyacｒuciaｌrolｅinthｅtheorｅｔicalｆieldoｆtｒａnslatinｇthｅclasｓicａlpoetry。Guideｄbyｔhisprinciｐle，XuＹｕａnchonghasａchievｅｄｇreatsuccesｓintraｎslatinｇTanｇｐoemsinｔoEngｌiｓｈanｄＦrenｃhandpｕblishedlotsoｆexceｌlｅntworks，whiｃhisaviviｄrｅfｅrｅncetoｔhｅaｎalysisanｄａpｐrｅciationofＥnglishveｒsｉonｓforｒeaｄeｒｓandｔhetransｌationofothermasterpieｃes.Ｏntｈeoｔherhand，notｏｎｌｙisthｅ“ＴhｒeeBｅautｉes”ｐriｎｃipleｏfｇreatvａlueiｎtｒａnslaｔiｎgclassicalChｉnesepoetｒy，ｂｕtaｌsoithasfar—reaｃhｉnginflueｎceonEｎglisｈ－to—Chiｎｅｓetranslaｔioninotheｒfields。Sｕchasthenamesoｆmanyｐrｏｍinentbｒａnds，ｔhｅnamesofmanyeｍiｎｅntfｉlms，etｃ.Foｒexampｌe，Suｎｔory,aＪaｐancoｍpany，istranslatedintotｈeseＣhｉnesechａracteｒs“三得利”basｅdｏntｈe“ThｒeeＢeautｉes"princiｐlｅ．Bｐarinｇｔhe“Sｕntory”wiｔh“三得利”,ｗecanｅasｉｌｙｕnderstandtｈeｂeａｕtyinsenｓe（“三”ｓtandsforｅｎtｅrｐｒisｅs，consumｅrsaｎdtｈeｓociety）andtheｂeauｔyiｎsound(tｈreesimilarsylｌabｌｅｓ）。７Foranｏtherｅxamplｅ，aｆilmnａmedAHａｐpｉnｅsｓOneNiｇhtistrａnｓｌatedｉnto《一夜风流》.Aparｔｆromtheｃlearmeaningｏfthenamｅ,itｓbeａuｔyｉnｆormcaｎeasｉlycatchouｒeyes。８Allinall，ｔｈe“ThrｅeＢeauties”priｎcipｌｅiscｏｎsideｒedasaspａrklｉｎgstarｉnthｅfｉeldoftrａnslation．II.ＡＢriefIｎtrodｕcｔioｎtoLiuZoｎgyuan’sJｉangxueaｎdtheDiｆfiｃulｔieｓinTraｎｓlatingItLiｕZoｎｇyuan，ｏnｅｏf“EiｇhtGｒeaｔProｓeMastｅrsｏfｔheTangａndSoｎｇDynasties"，enjoyｓahigｈrepｕｔationbｏthathomeanｄabｒoaｄ.Heｉsonｅoｆｏuｔstandiｎgpoets，philosophers，CoｎfｕｃiａnｓandstatesmｅninTangｄyｎasty.Ｕniqｕeiｎｔalent，pｒoliｆicinａcaｄｅmicｒesearcｈesａndlｉteraｒyworｋsandoriginａliｎstyle，LiｕＺonｇyｕandidｍａkeｇreａtｃonｔributioｎｔｏtheＣhinｅseｌiterature.YａｎgWanlioncｅｃoｍmented,“Ｗhｅｎiｔcｏmestothｅｓubtle,ｅlｅgａｎtandmeaningfｕｌfive—cｈaｒacteｒquａｔrａin，ＴａoYuanmingaｎdＬiｕZongｙuanａｒeｔhebｅstrepｒesentatｉves．”9ButtheｒeissｏmｅtｈiｎgｄisｔinctinLiu’spｏem—thａtis,ｈisoｗnｆeｅlingoｆdrｅarinｅsｓaｎddｅspair。Acaseinｐｏintisthｅwell－knｏwnＪianｇxue.Thisｍaｓterpiece，ｐｒａisｅdas“ｔｈeshｏrteｓtＬiSao”amongCｈｉnesepoetry,ｍａnifｅsｔｓahａrｍoｎiousiｎtegratｉonofbeａutyinsense，bｅautyinsｏｕndanｄｂｅautyinｆoｒｍ.Sucｈａquintessenceｉｎfiｖe－charaｃteｒqｕatｒainｓisitthatmaｎyexｃellenttｒanslatoｒshａvebeeneｎgagingｉｎtrａｎｓlａｔinｇｉtａndsｏmepaｉntersｖｉsualiｚeｔhepoeticimaｇeｒｙbyｄrawiｎｇ.Aｃcordiｎgly,theｒeiｓapointinstudyingtｈeEnglishveｒsionsoｆtｈispｏem．Ａ。TheLiｆeＥxperiencesofLiuZongｙｕanAｓaprｏmｉnentpｏｅｔ，philosｏpｈeｒ,Ｃoｎｆｕｃianeveｎouｔstandingｓtatｅｓｍan，LiuZoｎgyuａｎ,alsooｎeｏfｔｈeEｉghtGreaｔProsｅMaｓteｒsｏｆtheTanｇaｎdSong,ｗasborｎinastronｇlycuｌture—ｆlaｖoｒeｄfamｉｌyｗhichhadprｏｄucedgeｎｅrationｓｏｆgoｖerｎｍｅnｔofficiａｌsduriｎgtheＴａnｇＤynasty，wｈentheTanｇDyｎastyｈａdｂｅengrａduaｌlyfａｌｌingiｎtoｄecay.Liｕ’smotheｒ，ｋinｄandknoｗlｅｄgeable,ishiｓfirstteaｃher.Youｎgashewas，hisｍothertaughthimtoreciｔetheanciｅｎtｏｄeｓ.IｔwａｓherenｌightenmｅntｔｈatarｏusedLiu'ｓstｒongｉnｔｅrestinliterａｔｕrｅ.DｕｒinｇtｈｏseｄaysｉnCｈａnｇ’anwheｎLiｕwasalｉttｌeboｙ，heeｘpeｒiencｅｄthecorrｕptionatroyａlcｏｕrtinａrestlesｓsocｉｅty.10In７93，havinｇｐaｓsedtheｈiｇhestimｐeriaｌexａmination，ＬiuZonｇyｕanstartedhiｓcivｉｌｓerviｃe.Ｉn801，Ｌiuwasａpｐｏｉnｔedaｓ“Lantianｏfｆｉciaｌ”Hｉｓｃiｖilsｅｒvｉcecareerwaｓinitiａllyｓuccｅssful,butin805heｇotouｔofｆaｖorｂeｃaｕsｅofhispaｒtｉciｐatiｏninａpoliticaｌinnovａtｉoｎmovemeｎt。Afｔertｈefailureｏfｔｈｅｒefoｒｍationｍｏｖemｅnt，LiuZonｇyｕaｎwasbaniｓhｅdｔoYongｚhouwｈereheｓpentｔenyeａｒｓ，whｉchwastheｋeytuｒｎｉngpointofhｉswhoｌelife。Withthｅcruellypolitiｃalpeｒsecuｔｉoｎsaｎdavariｅtyｏfｏrｄealｓinliｆe，Liｕ,fｕllofgriｅfaｎdｉｎｄｉgnation,cｏntinuｅdhｉsstｒｕggｌｅtoideologicalfieｌd.Tｏone’sdｅliｇht，hｉsliterarycareｅrwasｆlｏurishing，prodｕcingｐoｅｍs,fａｂｌｅs，refleｃtivｅtrａｖeloguesａｎdeｓｓayssｙntｈeｓizｉｎgeleｍentsofCｏｎfuｃianｉｓm,TaoｉｓmandBｕｄｄhism.Lｉu'sbｅst—knowｎtｒａｖeｌpiecesaretｈeＥighｔRｅcoｒｄsofEｘcursionｓinＹoｎgzｈouandＪiａnｇｘueisoｎeｏfhismｏｓtouｔｓｔａndｉngpoｅｍs.11Unforｔuｎａtely,laｔｅrhｅwａｓexiledtoＬiuｚhouwherｅheeｎdedhisｌｉｆｅiｎ819.OneｏftheｍｏstiｎfluentiaｌmoｖeｍeｎtsＬｉutookpａrtｉｎｗasthe“MovｅmeｎtofＡncienｔChinｅｓｅＰrosｅ"ａdvoｃａtedbyHanYu,whｉchcｏntriｂutｅstotheprｏmiｓiｎgpｒospectofChinｅseProse.Inaｗord，LiｕZonｇyuan’slｉfｅwasｆｕllofupsaｎdｄｏｗns,bｕtｈewａsindomiｔａble,ｈigh-ｈeartedanｄfuｌｌｏfyearning，ｗｈichｗasfｕllyemｂoｄｉedinＪianｇxuｅ．B.ＴheIｎtｅrpretaｔionandApprecｉatiｏnofＪiangxｕeAsoneoftheoｕｔstanｄiｎglａnｄscapepoｅtryofLiｕZoｎgyuan，JianｇxｕewaswrittenwhenLiｕwaｓbaniｓhedtoYoｎｇZhou。WｅnYiduｏoｎcesａid:“foｒtheｗholｅculture，ｔheｐoｅt’sｃontributioｎtoｐｏｅｔryisasecondａｒｙｉｓsuｅ,wｈatmａｔteｒsmostｉsthehｕmansｐirｉtualsｕstenance．”JｉａngXueisjustｓｕcｈamａｓterｐieｃe.Thｅpoｌitiｃａｌfrｕstｒaｔｉｏｎandtｈｅtoughlifｅgaveaｂiｇbloｗtｏhｉｍ.Aｌthｏughｈeｈａsｈigｈaｓpirations，ｈefｅelsｈelｐlessatthattime.Witｈeｘｔｒeｍｅdｅsｐａiranｄlonｅｌiｎess,Liuｒｅvealswhatｈethiｎｋsandfｕtｕｒeｅｘpectationsbyhｅｉghtｅnｉnｇatransｃeｎdenｔａｎdｅxｔｒaｏrdiｎaryaｔｍoｓpheｒｅwithsuchimagesasｔheｌｉttlebｏａtaｎｄｏldfisherｍan．ThenthrouｇhｓuｃhsｕccincttwｅntyＣhinesｅcharacｔeｒｓ，ｗｅcaｎｅasｉlyvｉsｕaｌiｚeapictureinoｕrminｄwhereｉtiｓsｅverｅｌycoldanｄsｉｌeｎｔ，thewholewoｒlｄｉsshｒｏｕdediｎasheｅtｏfsnow,ａｎdthｅreareroｌlinｇｍouｎtａinswitｈouｔabiｒｄaｎｄcrossinｇpaｔｈsｗｉｔhｏｕtanypersonｂutaｓtraw－cloakeｄmａｎwhoisｆishｉｎｇbyｔheriver．“千山鸟飞绝，万径人踪灭。孤舟蓑笠翁,独钓寒江雪.”12Thefirsｔtwｏlines，“千山鸟飞绝,万径人踪灭".“山”isaｓtaticimagewhile“鸟”iｓadynaｍiconｅ．“千"suggestｓasｅnseoｆｍaｇnｉficenｃeaｎdｖastnesｓ.“山”and“鸟"maｋesaｓharpｃｏntｒastwｈiｌeｉtisaｌsoacｏｍbｉnａｔionoｆstaticandｄynamicstate，wｈiｃhiｓtheｉntｕiｔｉｖｅoｂjｅcｔsoｆthemainsubｊect。“千"aｎd“飞”,ｔwoadｊｅctiveqｕａlｉfieｒs，ｂroadｅnstｈecovｅrageof“山”ａnｄ“鸟”．Wｉthｔhesｈiftｔoｔhｅｃharaｃtｅｒof“绝”,ｔhereisnodeｎｙingthatｉｔisjｕｓtaneｇation—anegａｔｉonｏｆｈumaｎfｅelinｇ.Thａtis，whａtthesｕbｊectseｅsｑuiｔediｆｆｅrfrｏmthｅｎormalnatｕｒewｈereｏriginａllytｈereaｒｅtｒacesoflives．“径”,madebｙhｕmanbeings，iｓakiｎdoｆrｏad．Asｓomeonehａｓｐutｉｔ，“Ｏriginalｌｙtｈerｅiｓｎopathinthiｓworｌd，butwhｅｎmｅnpaｓsoneway,arｏadismａｄe。”“人”ｉｓtｈesｕbjeｃt’sunderstandiｎgofｈimseｌf。“万”ｉｓａreflｅｃｔｉonｏfhｕｍaｎconｆusｉonbｅforethecｏmplexcｒｅａtiｏｎｓbyhｕmanｂｅｉｎgs。“踪”revealｓtheｄesireｆorｐursuinｇ.Wiｔhthefeelingaｔｓｅａinｆrｏntoftheoｒiginaｌlｙbｕstlingwoｒｌｄ，thｅpoｅtwrｉtｅｓdｏwnthecharacter“灭”ｅmbodieｓthatｔhｅsｕbjectrｅsoluｔeｌydiscardhisownideａ.Tｈesetwolinｅsproviｄｅanextｒeｍｅtrａnquil，dｒｅary，vastaｎdchiｌlsettｉng。Ｔheｌasttｗｏliｎeｓ,“孤舟蓑笠翁，独钓寒江雪”.“孤”ａｎd“独"ａｒeintendedfｏrdescribingthｅｆishｅｒmａn.Thetwocharactｅrsrevｅａlthatｈｏwｅｖerｈeａvythｅsnｏwisaｎdhoweｖerｃhiｌlyiｔis，ｔhｅoldfisｈeｒman,higｈ－ｈearｔedａｎdpridｅ，isjusｔbentoｎfiｓhingbyｔheriveranｄｈeseemsａwｅsｏmｅanｄｉndｏｍitable.“舟”，aｃonjoiｎedｉｍage，ｓugｇeｓｔsaｓeｎseofdynamicinｔhｅsｔaｔｉｃｓｔatｅwhiｌe“钓”，amaｎifestｏfｃoｍplaｃｅncｅ,realizestheｃontｒadictｏｒysense.“寒江雪"ｉsｎｏｔhingbuｔasｔｒokeｏfｇｅnｉus,whiｃhrelates“江”ｔｏ“雪”ｔacｔｆully，cｏmbiｎiｎgvirtualsceneｓandrｅalｉtｙｓoｔhataｎintｅgralpictureflasｈesinreaders’mｉnds.Ｍeａnwhilｅ,ｉtalｓoｂeautifiesthefiｓｈerｍan’ｓｉmaｇe.Inotheｒwords，ｉtemｂｏdｉesthｅｓpiｒitofｎotsucｃuｍbinｇtotｈｅｓeｖeｒeｅｎvirｏnmenｔ。ＦroｍwｈatＩhavｅinterｐrｅtedabovｅ,wecaneaｓｉlyunderstａndｔhａtthｅfishermanisｏbｖｉouslｙtheporｔraｙaｌｏｆtｈeｐｏetｉtｓelf。Ａccｏｒdｉngly,thispoemexpressesｔhataｌthoughLiuｉsｉｎadeｓｅrtedanddesolaｔｅdsｉｔuatｉonａftertｈｅfailureoｆthepolitｉcaｌrｅfoｒmａtｉoｎ,hestｉlｌreｍaiｎsｉnｄomiｔable，ｈigｈ－hｅaｒteｄａndfullofyearning。C.ＴheKeｙandＤiffｉcuｌｔPointｓinＴranslatingＪｉangxueItiｓｗiｄeｌｙｂeｌieveｄthａtChineｓeandEｎgｌｉsｈaretｗoｄｉｓtiｎctlaｎguagｅs。Chｉnesｅisａtonｅlａnguaｇe，ａndｉthａsｆｏurpｒoｎuｎciaｔｉonｓ,formiｎｇuｐsaｎｄdownｓｉｎｔeｒmsｏftoｎeｓ，throughwhichChineserevｅａｌsamusiｃalfeaturｅ．Meanwhiｌe,Cｈinｅsebasiｃallｙcoｎｔaｉnsaｓiｎglesｙllablｅ.Ｂesｉdesthｅfoｕｒｔonesoｆmorethａn1３00singleｓylｌaｂles,ｔhｅreareonlｙ429syllａblesoｆwhiｃhhｕｎdredsｏfｔｈｏusaｎdsoｆｐhｒａsesｃaｎbｅcoｍpoｓed．ＷhiｌeＥnｇliｓhiｓinｔonatiｏｎｌaｎguａgeandwｏrdsareｍoreｏftenmonoｓyｌlａbic。Thｅrebeｉｎgaｐpｒoxｉmaｔely1200syｌｌaｂleｓ,nofourtonesｂuｔsｔresｓsouｎdｅｘｉsts。BacktothispoemＪiａngｘueitｓelf，beｓidestｈerhyｍeoftheｔone，thｅｒearetwoｄifｆerentkindsofgroupiｎgmoｄeｌｏfsyllaｂleｓ-２/2/1and２/3.Wecａneasｉlyaｒriveaｔtｈｅagreementtｈａttheｆｉrsttwｏliｎesｉnｔhepｏemａｄoptｔｈｅformeｒmodｅｌwhilｅthelasttｗoｌiｎｅsapplythelａtｔｅｒｏne。Forthisreａsoｎ，ｔhｅbeaｕtyiｎsouｎddoｅsｍａketｈeChiｎｅse—tｏ-Engliｓhtranslaｔionmorｅdeｌｉcａｔe.Thiｓｉswhatthefirsｔｋeyａndｄｉfficulｔpｏintintransｌatiｎgliesin。Ｃonceｒnｉngｔhebeautｙinｆｏrm,Ｉｂelｉeｖetｈｅexｃelｌｅｎtantithｅｓisiｎthepoeｍattｒａｃtsreaderｓ’eyesinmｏstcirｃuｍstaｎcｅsinwhich“千山”ｖersus“万径",“鸟飞”versus“人踪"，“绝”ｖeｒｓus“灭"，ｅtc..Andｉｔmａkeｓrｅａdersfeelｉtcleaｒａtaglance。Thｉsｉsalｓoａnimｐortａntpｏｉnｔforgoodtraｎslatiｏn。Ｂesides，whenｉtcoｍestoｔheorｉｇｉnalbeａuｔyinsensｅ,italsochallengｅsｔｒansｌａtｏrs.Bｅcａusetheｒeareｍaｎyｉmａgesｉｎｐoeｍ,buthoｗｔocoｍbｉnetｈoｓｅiｍａgestoexpresswhattheautｈorｉｓfeeliｎgatｔｈattimeorwｈｅtherthｅreｉsaneedtotｒanslatinｇallｔheiｍaｇesｉntheorigiｎaｌpoemｏrnotiswhattheｄiffiｃulｔycoｎsistsiｎ．What'ｓｍore,EｕｇeneNidaalsopoiｎtsthatｔｈebiｇgestdifｆerenｃeｂetｗeeｎCｈｉneselaｎguａgｅandEnglisｈｌaｎｇｕａｇeiｓ“cｏｎtrastbetweenpaｒataｘisａｎdhｙpotaxｉs”.１3ItiｓcerｔaｉntｈatＣhineseｉsalanguageofｓｕbjecｔｉｖeideoreaｌm，attaｃhｉngmoreimpoｒｔancetｏthewholｅｓeｎseaｎｄleｓstotｈｅlogｉcａnalｙsis；lｉkewise,Eｎglishpaysmorｅattｅntionｔoobjectivedescｒｉptｉｏn,logicaｎaｌysiｓ。Thｅrｅfｏre，ｔhereisｎｏdoubtthaｔmaｎｙｔraｎslaｔiｏｎｗorkｓareｆinishｅdimpｅｒfectly。Thisｉsasecｏndpointwｏrthgreaｔａｔｔｅntioｎ.＝3\＊RＯＭAＮＩII。ADetaiｌedＡnalysiｓoｆtheFouｒＶerｓｉonｓoｆJianｇxueInpersｐecｔiｖｅoｆ“ＴhｒeeBeautｉeｓ”principlｅ,ｔhischａptｅrwillｍａkｅｅｘｐlorationofｔｈｅｒeprodｕctiｏnoftheorｉgｉnalｂeaｕtｙinｆｒｏｍ，soｕnｄaｎdsenseinｔhefourEnglisｈversｉoｎsbyXuYuancｈonｇ,ＺhaｏZhｅntao，WitterBynnｅr,ａｎｄWuJuntａｏ，whosetrａnｓｌaｔｉonｓareａｓfｏllows:FisｈingiｎsnoｗFromhilltohillnobirdiｎflight,Frompathtopaｔhnｏｍaninｓｉghｔ。Asｔraw-ｃloａk’dmaｎaｆloat,beholｄ!Isｆisｈingｓnowｏnriｖercolｄ.14ＳｔreamａndsnoｗＯ'eraｎyhillsｎobirdsaｒeｓeｅn；Inanyｐathsｎｏfootpｒintsshoｗ。Ｏnａｂｏatoｌdmanincｌoakａndhat，Ａnｇｌesalonｅinstreａｍandsnｏw。１5RivｅｒsnｏwAhuｎdred,mountainsandnoｂird，Ａthoｕsaｎdpaｔhswithｏutafｏｏｔprint，Ａlittｌeboat,aｂａｍboocloａk,Ａnoｌdmaｎfishｉnｇｉntｈecoldｒivｅr-ｓｎoｗ.1６ＴheｓnｏwｂｏundriverO’eｒmountainsandｍountaiｎsnobｉrdisonthewｉｎg；Onthousａndlｉnｅsofthｅpaｔｈwaysthere’ｓnｏfootprint.Inalｏneｂoatonthesnｏwｂoｕnｄrｉver，anoldmaｎ，Ｉnｐaｌｍ-ｂａrｋcａpeａｎdstｒａwhat,ｄｒopshｉsanｇleｓtring．17ThｅReｐroducｔioｎofｔheＯｒｉginａlBeaｕtyｉｎFormItisclearｔhattｈeｒeproductioｎｏｆbeautyinformisｍaｉnｌyrelaｔedｔotheｌengthｏftｈｅvｅrｓeａndtheaｎｔｉthesiｓ。Tｈaｔis，whｅtherthｅｎumbeｒｓofpuｎcｔuaｔｉｏnｓ，words，linesandｖersesaｒeｉnaｃcordancewｉthｔheorigiｎalpoetｒy．ＡnｄtａkiｎgtheｆｏrmofJiangｘuｅintoconsiｄｅｒatｉoｎ,thissectionｗｉlｌaｎalyzeｔhereprｏｄｕctｉonoｆｂｅautｙｉnformfromtheｐuncｔuａｔiｏnｓ，ｃhoiceｏfwordsandthｅdegreｅｏftheantｉthｅsis.Punctuatｉonmark，aｖeｒｙｅffｅctivecohｅsｉon，iｓanimpoｒtantpａrtinpoｅtry。Thereｆore，skillｆｕllyｕsｉnｇpｕnctuａtionisimpoｒtantfｏrEnglishlanguａｇｅlearnersinaｂetterundｅrstaｎdｉnｇofthｅtexttransｌaｔion。１8Ｂesｉdｅs,choiceofwordsiｓtoaｐoemwhａtchoiceofbrickｓistoabuｉlｄing，wｈichdireｃtlｙiｎｆluencｅsｔhereaders’ｓｉgｈt。Ａsｆortheantiｔhesiｓ，wecanｅａsiｌyseetｈeorｉｇｉｎalｐｏemiｓthevｅryｏｎe，wｈｉcｈisａｓｈinningchａｒmofthepoeｍ。Fｏrtｈiｓreasoｎ,itreaｌlydeserveｓtranslａtｏｒs'ｅffｏｒｔs.１。PｕnctuationsiｎEａchVeｒｓionAsatranslａtｏｒ，ｈｅorshesｈouldattaｃhmoreｉmportａｎcetothepunctｕatｉonswhichisofgreａtsiｇniｆicａnceinｐｏetrｙ,witｈwhichthｅaｕthorcanconveyhiｓoｒheｒowｎemotiｏnsｉntｈetrａnｓlatingprｏｃｅｓs。Neｅdlesstoｓay，punｃｔuatｉｏnｓcandelivｅreacｈsenseｇroupinaｒeasoｎａｂlｅway．Ａｆｔeraｃareｆｕｌｓｕmmａriｚatｉｏn，tｈisｐaperhaspresｅｎtedａdiagrａｍｏfthefｏurｔranslatiｏｎｓ,asｆolｌｏｗs:Punctuatｉons。／．，；！ToｔalLiuZonｇｙuａn22004ＸuＹuaｎｃhong２2０１5ZｈaoZheｎtａo21１0４WiｔｔerBynner1４00５WuＪuntao23106（Diaｇｒam１）Formｔhestatistiｃsabove，itｉｓoｂvｉｏｕsthatthetranslatｉonbyXuYuanchoｎgａndZｈａoＺheｎtaｏ’ｓvｅrｓｉoｎbeartｈemoｓtsｔｒikiｎgresｅmblａｎｃetoｔheoｒigiｎaｌｏnｅtｏtｈeexｔｅntoｆｂｅauｔyｉnｆorm。２。ChoiｃeｏｆWordsiｎＥachVersiｏnＴｈeｒeiｓnｏdeｎｙiｎgthaｔeａｃhtraｎslatorhａsautopiaoｆｔｒａnslatｉoｎ。Nevｅｒtheleｓs，thereisnoａbｓｏluteequivａlenceｉntranslaｔion.Eｖeniftｈeｙarｅeqｕiｖａlenｃeｌｉteraｌlｙ,theｙmａynoｔbeeｑuｉｖalｅntinmeaning，andviｃｅversa.Ｔｈereｆorｅ，tochooseeｘtreｍelｙaｃcｕraｔewｏrdsｉｓnoｔsｏeasy。Onｅcanonｌｙｄoutmoｓｔtoachｉｅｖethemaximuｍsamenesｓｏrsimilａrityoftheoｒiｇinaｌoneiｎtｈetraｎslａtinｇｐroｃｅｓs.Jiaｎgxuｅ,boasｔingasimpleｆｏｒm，iｓcｈaracｔeｒizｅdbyitsｓｕｃcｉｎｃtｗordｓaｎdcｏmmonｌyuｎderｓｔaｎdableｍｅａning．WiｔhtwentyChｉｎｅｓｅchａｒacters，Jiangxuehasfourlｉnes，ｆｉvechａractｅｒsandｔhreｅsenseｇroupsineａcｈｌineeqｕalｌy.Ｉntｈisoriginａlpoem,ｔherｅare3ｒｈyｍes(绝ｊuｅ，灭mｉe,雪ｘue）and1alliteration(独du,钓diａo).Ｉnｇeｎeｒal，aｌlthefourEnglishｖersionsbasｉcalｌyｒemainsｔｈeconｃiｓestyｌeｉnｔheaspｅctｏfｃｈoosinｇｗｏrds.InＸuYｕaｎchoｎg’ｓtｒanｓｌａtion,thereare27worｄｓiｎtotａｌ,includiｎg2rhｙmｅs（ｆlｉｇhｔ－siｇht;ｂｅhold－cold），3ａlliterａtionｓ（hilltoｈｉll,patｈtｏｐａtｈ;ｆrom—fligｈｔ—fiｓｈｉｎg）8syllablesinｅａchlineｗiｔhａneａtlyiambictｅtｒameter，wｈｉchissimilartoｔhｅorｉｇｉnaloｎethoughｔheｉｒnumｂersaｒenoteｘａctlyeqｕａl.Ｂesides，the“fｉｓｈingiｎsnow”eｃhoesthｅtitle，ｗhicｈｉｓａccordancｅwithｔｈeｏriｇｉnaｌoｎｅ．Butaflyinthｅｏiｎｔmｅntcouｌdbetheword“beｈolｄ”，whiｃhseemsjuｓttoｓｅrvｅtheｒhｙmesｏthａtｔhebeautyｉｎsensｅfaｄesalittle．Likeｗisｅ，ＺｈaｏZｈeｎtaｏ’svｅｒsiｏn,wiｔh28wｏrdstoｔally，consistsof1rhｙme(show－snｏw）,almoｓt8syllａｂleｓoｎａverａge,wｈｉchfａdesnexttｏtheＸu’sveｒsiｏn。Ｂuｔoneｂｒigｈtpｏiｎtｉstｈｅallitｅｒａtion（stream—ｓnow),wｈichisecｈｏediｎtheendｏfthepｏｅｍ。ComｐaｒeｄwitｈtheXu’sversion,thecｈoicｅoｆwoｒdsｏｆthisoneｉｓaliｔtlebrieｆer。Ｍｅanｗｈｉle,ｔherearｅtotaled26wｏrdsintｈetｒanslationbyＷｉｔterBｙnneｒ．Wiｔhouｔacertainｆeｅtorａrhyme，whatiｓｗeｌlworthmentioｎｉnｇiｓthｅ2aｌｌiteｒatｉonｓ(ａ-ａnd－an，boａt—baｍboo)andtｈｅｃhoiceｏfwｏrds（nｏbird；wiｔhoutafoｏtprｉｎt，etc.）,wｈichissoｌｉｔeralanｄmoｒeａpｐrｏｐriａtｅtothebrevityｏｆtｈeｏｒｉginalonｅ。Ｆinａlly，ｉnWuJuntａo's４1wｏｒds，ｔhemａxiｍumlｅngｔhamｏngthefourtransｌatioｎsiｎcluｄｅsarhyme(ｗing－strｉng）and２allitｅｒations（mountａinstｏmountａins,thousand—theｒe,a-an-and,o’er-ｏn-old)。Theｒeaｒetoomａnｙsyｌlabｌｅs;ｔhｅyaｒewordybycｏｍpａrｉsoｎaｎdsomｅsｈortｓentｅｎceｓiｓiｎthｅtrａnsｌation，wｈｉchiｓnoｔｉnaccoｒdancewｉthoｒiｇｉnalbrevity.Anｏtｈｅrｐoｉｎtｉstｈeworｄo'erwｈichistheｅqualｍｅaningoｆoｖer.Butinmyeyes，overiｓmｏrefａmiｌiａｒanｄsiｍpｌe，wｈｉｃhiｓbeｔｔeｒｔｏｒepｒoｄucetheoriginalｓucciｎctｓｔyｌe.Thefollｏwｉngdｉagｒammaｋｅsthｅａnalｙsisｃlearer.DicｔionAlliｔerationssyllａblesRhｙmesTotalLｉuZonｇyuan1５/5/5/532０XｕYuanchonｇ38／8/８/８227ＺhaoZhｅntａo０7/7/９／71２8WittｅrByｎneｒ28/9／８/1１０26WｕＪuｎtao213/13/1３/１3141(Diagram2）Theｒeｕpｏn,ｔａｋingthebeautyinfoｒmintoaｃcount，Xｕ’ｓtrａnsｌaｔｉonｉsmoreapproximａｔeｄtoｔheｏriginａlｏne．3。ＴｈeＤｅgｒeeofAntithesisinＴrａｎslaｔｉｏnsbyXuYuanｃhongaｎdZhaoZhｅｎtaoTakingｐoetｒyiｎtｏconsideration，theanｔithesisreferstotｈesiｍiｌarｉtyｏｆthｅsｔｒucture，theｎumberofworｄsoｒsylｌaｂles,andthepaｒｔoｆsｐeechinthesａｍeplace.Ａcａseｉｎｐoiｎｔｉsjustthefｉve-charａcterqｕatraｉnJiａngxue．Ｉtisｅasiｌyｓeｅntｈattheｆｉrｓttwｏlｉｎｅｓiｎｔhiｓpoeｍｉｓafineantithesis（千山--万径;鸟飞—－人踪；绝——灭）.Ontheonehａｎd，ａfｔerreａdiｎgthｅXuＹuanｃhong'stranslatｉｏn，onehastoadｍiｔtｈattheａnｔiｔheｓisinｔhefｉｒsttwolinesiswelldone.Whｅthertheｎuｍbeｒofwordsandｓyllablｅsｏｒthｅｌengthｏfeachlineoｒthepaｒtｏfspeecｈofeachwｏrd(fromhillｔohｉlｌ—frompathtoｐaｔh；nｏｂｉrd—nｏman，inflｉｇht—inｓiｇｈt)，allｏfｗhichｐrovｅthｉsｖersｉontoｂeａｆiｎesyｍmetrｉｃalone，shｏｗingfｉdelitｙtoｔheorｉginalｆｏrm。Wｈereas，wiｔhｏｕｔanytraｃeofａｎtithesisbｕtarｈyme，tｈｅtranｓlaｔｉoｎoflasttwoｌｉnesisinferioｒtothefｉrsttwolｉneｓ。Ontｈｅｏthｅrhanｄ，ｗｈilｅreaｄinｇＺhaoZhentao’sversiｏn,thereｉsaｄefectintranslatinｇthｅfirsｔtｗoｌｉneswheretｈefirｓｔlinｅiｓusｉｎgａｐａsｓｉvevoiｃe（areseｅn—ｓhow）whiｌeｔheｓecondlineisusingaactｉvｅvｏice，whichisnoｔsymmｅtrｉcalatallanｄdｏｎoｔreｐｒoducｅtｈeorigｉnａlｂeａutyinform.Bｕtthelaｓtlinｅsａrｅｔrａnsｌａteｄｉｎaproperway,wｈiｃhiｓasimpleｓentence-ｓｕｂject+predicaｔe(oｌdｍａｎ+ａngles）．Aｎdｔｈisismｏｒecoｎｃiseａｎdａpprｏｘimateｄtotｈｅｏｒiginalfｏrm.ＴheRｅpｒoductionofｔheOrｉｇinａlBeａutyｉnSｏundBeａutyiｎsｏunｄrｅfeｒstoｔheｍeｌodiｏusandbeautifulrhythminpoｅtrｙtｒaｎslaｔion。CｌasｓicａlCｈinesepoeｔryatｔacheｓmｕｃｈiｍpoｒtaｎcetｏthｅhar