从功能对等角度分析英译唐诗中的意象翻译

AnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheory从功能对等角度分析英译唐诗中的意象翻译AnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheoryAbstract:AsasymbolofChineseculture,TangpoetryplaysanveryimportantpartinChineseculturalinheritance,sohowdoesthetranslatordealwiththeculturaldifferencestoexpressthemeaningoforiginalpoetryisaverydifficulttaskintranslation.ManyscholarshavemadeoutstandingcontributionstothetranslationofTangpoetryfromancienttomoderntimes，anddifferenttranslatorwoulddealwiththistaskthroughdifferentapproaches.Thispaperwillusethefoundationofmoderntranslation,thefunctionalequivalencetheory,whichwasproposedbyEugene.A.Nida,toanalysehowthetranslatorsdealwiththeimagesinTangpoetryduringtranslationbyusingXuYuanchong’sversionofEnglishtranslationofTangpoetryasasample.Keywords:Functionalequivalencetheory;Tangpoetry;images;poetrytranslation从功能对等角度分析英译唐诗中的意象翻译摘要：唐诗作为中国文化的象征，在中国文化传承中起着十分重要的作用，古往今来不少学者在唐诗英译中做出了杰出的贡献，如何处理文化差异，表达原诗的意义，是翻译中的一项十分艰巨的任务，也是唐诗翻译中的难点，不同的译者也会有不同的处理方式。本文将运用现代翻译理论，利用尤金提出的功能对等理论，以许渊冲版本的英译唐诗为例，分析译者在翻译过程中如何合理的处理唐诗意象的翻译。关键词：功能对等理论；唐诗；意象；诗歌翻译ContentsAbstracts i摘要 iIntroduction 51.LiteratureReview 51.1TheDefinitionandDevelopmentofFunctionalEquivalenceTheory 61.2TheFormerStudyofEnglishTranslationofTangPoetryfromthePerspectiveofFunctionalEquivalenceTheory 72.FunctionalEquivalenceTheoryinTranslation 92.1FourAspectsofFunctionalEquivalenceTheory 102.2HowFunctionalEquivalenceTheoryGuideTranslation 113.AnalysisofEnglishtranslationoftheimagesinTangpoetrythroughFunctionalEquivalencetheory 113.1TheTranslationofNaturalImagesinTangPoetry 123.2TheTranslationofCulturalImagesinTangPoetry 133.3TheTranslationofSocialImagesinTangPoetry 14Conclusion 15Bibliography 16AnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheoryPAGEPAGE17IntroductionIntheearly1960s,Nidafirstputforwardthetheoryofformalequivalence,andthendevelopitcontinuously.Fromthelinguisticpointofview,accordingtotheessenceoftranslation,Nidaputforwardthewell-known"dynamicequivalence"translationtheory,namelyfunctionalequivalence.Nidabelievesthatintheprocessoftranslation,thetranslatorshouldconveynotonlythelexicalinformationoftheoriginaltext,butalsotheculturalinformationinside.Therefore,functionalequivalenceintranslationincludeslexicalequivalence,syntacticequivalence,textualequivalenceandstylisticequivalence.Functionalequivalenceemphasizestheuniversalityoflanguageandthestandardizationoflanguagetransformation,requiringthetranslatortoconsiderthedifferentculturalbackgroundfactorsbetweenthetargetreadersandtheoriginalreaders.Ontheotherside,asarepresentofChineseculture,Tangpoetryhasbeenfocusedbythetranslatorallaroundtheworldsincealongtimeago.ThefamoustranslatorXuYuanchongisoneofthem.HebelievesthatsinceclassicalChinesepoetryisthecombinationofbeautyinsense,soundandform,atranslatorshouldtryhisorherbesttoreproducethe"threebeauties"oftheoriginalpoetry.Thistheoryhasprofoundhistoricalandculturalfoundation.SinceXu’s“threebeauties”arerecognizedbymoreandmorepeople,hisversionofEnglishtranslationofTangpoetryisgettingmoreandmorerespected.Asanimportantbridgeforpoetstoconveytheirfeelings,imagesinpoetryplayanimportantroleinpoetry.Therefore,inthefollowingpart,thispaperwilltakeXuYuanchong'sEnglishversionofTangpoetryasanexampletoanalysetheimages’translationinTangpoetrythroughthetheoryoffunctionalequivalence.LiteratureReviewDuringthepastdecades,oneofthemostimportanttranslatingtheorymustbethefunctionalequivalencetheorywhichwasproposedbyEugeneA.Nida,andmanyscholarshaveappliedthistheoryintotheirtranslation,discussingwhetherthistheoryisappropriateornot,somealsopayalotofattentiontodiscussandanalysewhetheratranslatedtextisexcellentornotaccordingtothistheory.Eventillnow,therearestillmanyscholarsdiscussthistopic.Andthispartofthethesisisareviewofthedefinitionanddevelopmentofthefunctionalequivalencetheory,whichconcludesthereasonandmeaningofusingfunctionalequivalenceratherthandynamicequivalence,theextendedofthefunctionalequivalence-thefouraspectofthefunctionalequivalencetheory,andalsoareviewofthepreviousstudyontheEnglishtranslationoftheimagesinChineseTangPoetry.TheDefinitionandDevelopmentofFunctionalEquivalenceTheoryThefamoustranslationtheoristNidadefinesthattranslationconsistsinreproducinginthereceptorlanguagetheclosestnaturalequivalentofthesourcelanguage,firstintermsofmeaningandsecondlyintermsofstyle.Andhistheoryofthefunctionalequivalencetheoryoftranslationwhichconsistedofthedynamicequivalenceandformerequivalencehasplayanveryimportantroleinthedevelopmentoftranslationtheory.Inhisbook,TowardsaScienceofTranslating(1964),heputforwardanddistinguishedwhathecalled“thedynamicequivalence”forthefirsttime,andthenheextendedthedefinitionofdynamicequivalenceinthebook,TheTheoryandPracticeofTranslation(1969).Atthattimethedynamicequivalencewasdefinedintermsofthedegreestowhichthereportersofthemessageinthereporterlanguagerespondtoitinsubstantiallythesamemannerasthereportersinthesourcelanguage.(Nida,1969)Itemphasizestheequivalenceinresponsebutnottheequivalenceofform.Andtoavoidbeingmisunderstandingandprovideaclearermeaning.Andlater,sincethe1970s,especiallyafterthe1980s,Nida'stranslationthoughtshaveenteredanotherstageofdevelopment.Duringthisperiod,Nidaconstantlyrevisedanddevelopedhistranslationtheory.Nidabelievesthatformisalsomeaningful.Translationisnotonlytotranslatethecontentofthetext,butalsotoachievetheclosestapproachtotheformofthetext.Ifformandcontentconflict,thenformshouldgivewaytocontent.Aqualifiedtranslationmustbeabletoconveytheinformationtheauthorwantstoconvey;secondly,itneedstoconveythestyleandcharacteristicsoftheoriginaltext;thirdly,languageandformatmustbestandardizedandconsistentwiththerequirementsofthetargetlanguage;finally,itshouldbeabletomakethetranslationproducesimilarresponsestothereadersoftheoriginaltext.Nidareplaced“dynamicequivalence”bythe“functionalequivalence”inthebookFromOneLanguagetoAnother(1986).Nidaexplainedthathechangeshisstatementbecausesomeonethoughtdynamicequivalenceonlyemphasizetheeffectsofthetranslatedtext,inordertoeliminatethismisunderstandingandalsoinordertoemphasizetheconceptof“function”,heusedfunctionalequivalencetoreplacedynamicequivalence.Thefunctionalequivalencerepresentsthattranslationdoesnotrequirerigidcorrespondenceonthesurfaceofwords,buttheequivalencebetweenfunctionintwolanguages.Inthistheoryhepointsoutthatthetranslationshouldneversoundlikearealtranslationandtranslationistoreproducethesourcelanguageinformationfromthesemantictothestylisticlanguageinthemostappropriate,naturalandequivalentlanguage.Andthedynamicequivalencewhichisalsocalledfunctionalequivalenceconsistoffouraspect:lexicalequivalence,syntacticequivalence,textequivalenceandstylisticequivalence,accordingtoNida,anexcellenttranslatedtextshoulddowellinallthesefouraspect.Thebasicideaoffunctionalequivalenceistocomparethewayreadersresponseandappreciatetheoriginaltextwiththewaytherecipientsofthetranslatedtextunderstandandappreciateit.ItcanbeseenfromthissentencethatNidabelievesthattranslationoffunctionalequivalenceisnotonlytheequivalenceofinformation,butalsotheclosestreactionbetweentherecipientofthetranslationandthereaderoftheoriginaltext.Fromthecontentabove,itcouldbeeasilyfoundthatthefunctionalequivalencefocusesonthereaders’response,thismeansthattheresponseofthereadersofthetranslatedtextisassameastheresponseofthereadersoftheoriginaltext.AccordingtoNida'stranslationtheory,thesettlementofculturaldifferencesiscloselyrelatedtothereproductionofthesourcelanguagefromthesemantictothestylistic.Translationcanonlyberegardedasanexcellentworkwhenthestyleandspiritofthesourcelanguagearereproducedfromthelinguisticformtotheculturalconnotation.Butthisleveloftranslationisveryhardtoreachbecauseitrequiresthesourcelanguageandthetranslatedlanguagearehighlysimilartoeachother.TheFormerStudyofEnglishTranslationofTangPoetryfromthePerspectiveofFunctionalEquivalenceTheoryPoetryisaveryimportantformofliterature.Thelanguageusedinthepoetryisrefined,harmoniousandfullofculturalbeauty.Thepoetryusesthemostrefinedwordstoexpressthemostcomplexfeelingofthepoetandalsofullofthebeautyofrhythm.TangPoetry,asanrepresentativeformofChinesetraditionalliterature,wasfamousforitsrefinedlanguage,complexmeaning,andfulloftheChinesetraditionalculturalbeautyandrhythmicbeauty,everysinglewordscouldsymbolizetheinnerfeelingofthepoet,asTangDynastyisoneofthemostthrivingandprosperousdynastyintheworldhistory,it’salsothemostprosperoustimeofChinesetraditionalpoetry.TangPoetryisanepitomeofthebloomingcultureatthattime,andmanyscholarshavetranslatedfamousTangPoetryintoEnglish,andoneofthemostfamousscholarswhotranslatedtheTangPoetrymustbeXuYuanchong.Afterthat,therehavebeenmanystudiesusingthetranslatedversionofXuYuanchongasthecorpus.In2014,ZhaoWenstudiestheEnglishtranslationofimagesinTangPoetryfromtheaspectoffunctionalequivalencetheorybutshedoesn’tlistanexample,sheimpliesthattheaimofusingimagesistoexpresstheirfeelingsorsharetheirexperiencesthroughdifferentimages,andmostofthetimetheimagesinChineseandinEnglishsharethesimilarmeaning,butwhenitcomestothetimethatthesameimagehavedifferentmeaning,thetargetreaders'acceptabilityshouldbetakenintoconsideration,ratherthanthewordcorrespondence.Alsoin2014,WanXiao’anusesthefunctionalequivalencetheorytoanalysetheEnglishtranslationofLiShangyin’sToUnnamedOne:《无题》李商隐相见时难别亦难，东风无力百花残。春蚕到死丝方尽，蜡炬成灰泪始干。晓镜但愁云鬓改，夜吟应觉月光寒。蓬山此去无多路，青鸟殷勤为探看。ToUnnamedOneLiShangyinIt’sdifficultforustomeetandhardapart,theeastwindistooweaktoreviveflowersdead.Springsilkwormtillitsdeathspinssilkfromlovesickheart,andcandlesbutwhenburntuphavenotearstoshed.AtdawnI’mgrievedtothinkyoumirroredhairturnsgray,atnightyouwouldfeelcoldwhileIcroonbymoonlight.Tothethreefairymountainsitisnotalongway,wouldthebluebirdoftflytoseeyouontheheight.(许渊冲译）InWan’sthesis,heanalysesthesentence“theeastwindistooweaktoreviveflowersdead.”,the“eastwind”representswarmspringwind,butinEnglishtheeastwindmeanscoldwind,sohereiftranslateditdirectly,themeaningcouldnotreachtheequivalence.Andinthesentence“Tothethreefairymountainsitisnotalongway,wouldthebluebirdoftflytoseeyouontheheight”,inthesourcelanguage“蓬山”and“青鸟”allcomesfromculturalclassics,thetranslatortranslatetheminto“threefairymountains”and“bluebird”,changetheChineseimagesintothedifferentwesternimageswhichsharethesimilaroriginsastheoriginalwords,Wanholdtheviewthatthistranslationiseasierforthereaderstounderstandbutspecifically,the“蓬山”andthe“threefairymountains”couldnotreacharealequivalence.In2017,ZhouChangjun,studiestheXuYuanchong’stranslationofLiBai’spoetryfromtheperspectiveofthefunctionalequivalence,inherstudy,shementionedtwokindsoftreatmentwhiletranslatingthesepoetryintoEnglish,thefirstoneischangethestableimagestomovableimages,ZhoutakesthesecondsentenceinToMengHaoranasanexample“Red-cheek’d,formcaptocabyoukeptapart;White-haired,youliebeneaththepineandcloud.（红颜弃轩冕，白首卧松云）”,sheholdtheviewthat“红颜”“白首”arenounsinChinese,whichrepresentmen’syouthandold-ageperiod,butXutranslatestheminto“Red-cheeked”and“White-haired”,emphasizethechangefromyouthtoold-ageperiod.Thesecondoneischangetheabstractimagesintospecificimages.Inthesentence“Ourfriendshipwilloutshineallearthlylove;Nexttimewe’llmeetbeyondthestarsabove.（永结无情游，相期邈云汉）”,theword“云汉”representtheMilkyWayintheancientChinesebutthereisnotsuchexpressioninEnglish,soXuchangesitintothespecificword“stars”,thishelpsthereadersofthetranslatedtexttohavethesameresponseasthereadersoftheoriginaltext.AlthoughtherearesomanypreviousstudiesabouttheEnglishtranslationofTangpoetryfromtheperspectiveofthefunctionalequivalencetheory,mostofthemareverygeneralandtheimagesinTangpoetryarejustaverysmallpartoftheirstudy,andrarelybeingfocusedon,sothispaperwillusethefunctionalequivalencetheorytoanalyseTangpoetryfromamorespecificaspect,theimagesinTangpoetry.FunctionalEquivalenceTheoryinTranslationAccordingtoNida’stheory,thebestversionoftranslationshouldneverbelikeatranslation,thetranslatorsshouldtrytheirbesttomaketheirtranslationtoconveythesamemeaningandemotionsastheoriginalversion.inhistheory,translationusesthemostappropriate,naturalandequivalentlanguagetoreproducethesourcelanguageinformation,includingthereproductionfromsemanticstostyle.Thatistosay,inNida'sview,functionalequivalenceshouldtakeprecedenceoverformalequivalence,butitisnotjustaboutcontent,regardlessofform.Inordertoachievecontentinformationequivalence,itisnecessarytoachieveformalequivalenceasmuchaspossible,butinboth,contentequivalenceshouldbegivenpriority,andaftersummarizingthesetheories,fourmainpointsoffunctionalequivalencetheoryhavebeenformed:lexicalequivalence,syntacticequivalence,textualequivalenceandstylisticequivalence.2.1FourAspectsofFunctionalEquivalenceTheoryThelexicalequivalencemeans,thetranslatorsshouldrememberthatthemeaningofawordliesinitsuseinlanguage,soduringtranslation,translatorsshouldfindoutthesimilarmeaninginthetargetlanguage.Thesyntacticequivalencepointsoutthatinordertofindoutthebestformofthetranslation,translatorsshouldnotonlyknowwhetherthetargetlanguagehassuchastructureinthesourcelanguage,butalsounderstandthefrequencyofitsuse.Besides,thetextualequivalencerepresentsthatindiscourseanalysis,weshouldnotonlyanalyzethelanguageitself,butalsoseehowthelanguageembodiesitsmeaningandfunctioninaspecificcontext.First,translatorsshouldtakecontextintoconsider,judgewhetherthetranslationofsemanticsisproperornotbasedontheanalysisofthelanguageofthecontext.Then,translatorsshouldalsopayattentiontospecificpeopleandthingsinvolvedincommunication,communicationchannelsandtherelationshipbetweenparticipantsandpsychologicalfeelings,inpoetrytranslation,translatorsshouldpayattentiontothesituationbetweenthepoemandwhatkindofemotionthepoetwantstoconvey.Finally,translatorsshouldnotforgetthesocialandculturalbackground,historicalandculturaltraditionandsocialbackgroundoflanguageuse.What’smore,thestylisticequivalencefocusonlinguisticfeaturesofthesourcelanguageandthetargetlanguage.Thestylisticequivalenceemphasizesthattranslationworksofdifferentstyleshavetheirownuniquelinguisticfeatures.Onlywhenboththesourcelanguageandthetargetlanguagearemasteredatthesametimeandthetranslatorsareskilledinusingbothlanguages,canthetranslatorscreatetranslationsthattrulyreflectthestyleofthesourcelanguage.So,inconclusion,functionalequivalencetheorymainlyguidestranslationpracticethroughthefollowingfourcriteria:toconveyinformation;toconveythespiritandstyleoftheoriginalwork;Languagefluency,inlinewiththegrammaticalrulesandexpressionhabitsofthetranslation;Readers'responsesaresimilar.2.2HowFunctionalEquivalenceTheoryGuideTranslationInordertoaccuratelyreproducethesourcecultureandeliminateculturaldifferences,translatorscanfollowthefollowingthreesteps:Firstly,effortsshouldbemadetocreatetranslationsthatconformtoboththesemanticsofthesourcetextandtheculturalcharacteristicsofthesourcetext.However,thetwolanguagesrepresenttwototallydifferentcultures,andculturesmayhavesimilarfactors,buttheymaynotbeidentical.Therefore,itisimpossibleforaperfecttranslationworktofullydisplaytheculturalconnotationoftheoriginaltext.Thetranslatorcanonlyreproducethecultureofthesourcelanguagetothemaximumextentpossible.Secondly,ifbothmeaningandculturecannotbetakenintoaccount,thetranslatorhastoabandonformalequivalenceandachievethegoalofreproducingthesemanticsandcultureofthesourcetextbychangingtheformofthesourcetext.Thirdly,ifthechangeofformisstillinsufficienttoexpressthesemanticsandcultureoftheoriginaltext,thetranslationtechniqueof"recreation"canbeusedtosolvetheculturaldifferencessoastoachievetheequivalenceofthesourcelanguageandthetargetlanguageinmeaning."Recreation"referstothetransformationofthedeepstructureofthesourcelanguageintothesurfacestructureofthetargetlanguage(GuoJianzhong,2000,P67),thatistosay,theculturalconnotationsofthesourcelanguagearticlesareelaboratedandexplainedintermsofthevocabularyofthetargetlanguage.AccordingtoNida'stranslationtheory,thetreatmentofculturaldifferencesiscloselyrelatedtoreproducingthesourcelanguageinthetargetlanguagefromsemanticstostyle.Onlywhenthestyleandspiritofthesourcelanguagearereproducedfromthelinguisticformtotheculturalconnotationofthetranslatedtextcanitbecalledanexcellentwork.Guidebythesethreesteps,thetranslatorscouldcreateaexcellentversionoftranslation.3.AnalysisofEnglishtranslationoftheimagesinTangpoetrythroughFunctionalEquivalencetheoryThereasonwhyitisdifficulttotranslateTangpoetryisthatTangpoetryisanimportantcarrierofChinesecultureandhistory,andithasitsuniquefeatures.ForeignreaderslacktheknowledgeofChineseculture,anditisdifficulttoappreciatethecharmofChineseTangpoetryfully.Therefore,howtotransfertheknowledgeofChinesecultureinTangpoetryskillfullytoforeignreadersintheprocessoftranslationisthemostimportanttaskofthetranslators.Theword"image"isanimportantconceptinancientChineseliterarytheory.TheancientsthoughtthattheintentionwastheinternalAbstractmind,andthattheimagewastheexternalconcreteimage;theintentionoriginatedfromtheheartandwasexpressedbymeansoftheimage,andtheimagewasactuallytherepositoryoftheintention.ThetraditionalChinesepoetrytheoryactuallyreferstotheartisticprocessingskillsofexpressingfeelingsinscenery,expressingfeelingsinsceneryandblendingscenery.Theprocessofpoetrycreationisaprocessofobservation,feeling,gestationandexpression,andaprocessofreappearanceoflife.Whentheauthorfeelssomethingabouttheoutsideworld,heplacesitonaselectedimage,makesitmergeintotheauthor'sownemotionalcolor,andcreatesaspecificartisticworld,sothatthereadercanmakeasecondcreationaccordingtotheartisticworldinhisheartandpermeatehisemotionalcoloronthebasisofrestoringwhatthepoetseesandfeels.TheimagesinTangpoetryalwaysplayanimportantroleinconveythepoets’emotionsandperceptions,forthesamething,apoetcanshowatotallydifferentartisticconceptionbyswitchingoneexpression.What’smore,becauseoftheusageofmetonymyinpoetry,theimagenotonlyrepresentsitself,butalsorepresentthevehicleinside.ThereisnodoubtabouttheimportanceofimagetranslationinthetranslationofTangPoetry.Inthetranslationofimages,thethreestepcouldplayanimportantrole.Sointhefollowingpart,thispaperwillanalysetheimagetranslationfromdifferentaspectsofthefunctionalequivalencetheorythroughtheanalysisofseveralsamples.3.1TheTranslationofNaturalImagesinTangPoetryInTangpoetry,imageusuallyreferstothenaturalimage,thatis,theimagetakenfromnaturetoreposeemotions,thepoetspreferusenaturalimagestoimplytheirinsidemeaning,forexample,inthefamouspoemofLiBai,TheRuinoftheCapitalofYue（《越中览古》）,theverse”Hispalacethrongedwithflower-likeladiesfair;Nowweseebutaflockofpartridgesflyingthere.(宫女如花满春殿，只今惟有鹧鸪飞）”,LiBaiusesthenaturalimage”partridges”toexpressthatastimewentby,theonceprosperouspalaceisnowmiserable.Thisisonlyoneexampleoftheusageofthenaturalimagesinpoetry,andbesidetheanimalimagesabove,thenaturalimagesalsoincludesthenaturallandscapeimagessuchasmoon,runningwater,inclinedsun,wind,smoke,frostandsoon,andtheplantsimagessuchaswillow,fallenflowers,pine,chrysanthemum,plum,sycamore,duckweed,theyallplayanveryimportantpartinTangpoetry.Whenwetalkaboutlandscapeimages,themostrepresentativeimagesmustbethemoon.Poetsalwaysusemoontoexpressthesorrowofhomesickness,forexample,inLiBai’sThoughtonaTranquilNight(《静夜思》),“Lookingup,Ifindthemoonbright;Bowing,inhomesicknessI’mdrowned.”the“moon”inthisverseisobviouslyusedtoexpresspoet’shomesickness,andthetranslator,XuYuanchong,choosesnottobringitoutdirectly,butkeepthemeaningontheappearance,becauseinthelatterhalfofthisverse,thepoetalreadypointsouthisemotion.3.2TheTranslationofCulturalImagesinTangPoetryTheexampleaboveisatypicaloneofliteraltranslation,whichmeansthetranslatorsdonotneedtoconveytheinnermeaningtohelpthereaderstosharethesameemotionwiththereadersoforiginaltext,butmostofthetimethetranslationofimagesinTangpoetryneedstoconsidertheexpressionofinnermeaning.TakeLiShangyin’sTheSadZitherasanexample:《锦瑟》锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，望帝春心托杜鹃。沧海月明珠有泪，蓝田日暖玉生烟。此情可待成追忆？只是当时已惘然。TheSadZitherWhyshouldthesadzitherhavefiftystrings?Eachstring,eachstrainevokesbutvanishedsprings:Dimmorningdreamtobeabutterfly;Amorousheartpouredoutincuckoo’scry.Inmoonlitpearlsseetearsinmermaid’seyes;FromsunburntjadeinBlueFieldletsmokerise.Suchfeelingcannotberecalledagain:Itseemedlostevenwhenitwasfeltthen.Fromthetitleofthispoem,theskillsoftranslationarealreadydifferentfromtheexampleabove.Theword“锦瑟”isakindofChinesetraditionalstringinstruments,whichisalsoainstrumentunfamiliartoforeignreaders,sothetranslatorstakethepoet’semotioninthispoemoutanduseasimilarinstrumentsthattheforeignreadersaremorefamiliarwithtoreachtherequirementoffunctionalequivalencetheory,thesimilarresponseofthereaders.Inthefamousverse“庄生晓梦迷蝴蝶，望帝春心托杜鹃”therearetwoallusionimagesthattheforeignersarenotfamiliarwith,“庄生晓梦”representsafabledstoryZhuangZi，afamousphilosopheroftheWarringStatesPeriod，dreamedofbeingabutterflyandwhenhewokeup，hewassoconfusedthathecouldnottellwhetheritwashimthathaddreamtofbeingabutterflyoritwasabutterflythatwasthendreamingofbeinghim,and“望帝”isalegendarykingwhohadanaffairwithhisprimeminister’swifeandafterhisdeathhisspiritchangedintothecuckoo．Thepoetusesthisallusiontoexpressthathislifeisunsuccessfulandhisambitionisnotrewarded.Inordertoreachtheequivalence,thenamesofZhuangshengandWangdiareomitted.Aftertranslatingtheallusion,thereadercanunderstandthesceneofthesentenceconstruction,butcannotunderstandtheoriginofallusions.AnothersimilarexampleisLiuYuxi's“后庭花一曲，幽怨不堪听”（《金陵怀古》），Mr.XuYuanchongalsoadoptedthemethodofdirectlyreplacingallusions.：“Ohearthecaptiveruler’ssong!Howcanyoubearhisgriefforlong?”Theword“HouTinghua”referstothesong"YushuHouTinghua",whichwaswrittenbyChenShubao,theemperoroftheSouthernDynastyChen.Latergenerationsgenerallyuse"HouTinghua"tosymbolizetheextravaganceofChenShubao,wholedtoChen'sdemise.Mr.XuYuanchongavoidedthetranslationoftheimageof"HouTinghua"anddirectlyinterpreteditas"thesongofthecapturedruler"tohelptheforeignerunderstandthepoet’semotionhidingbehindtheverse,whichdidnotprovidereaderswiththeopportunitytounderstandtheallusion,sothereadersmayhavesimilarresponses,buttheculturalinformationinsidetheverseisstillremainundercover,whichmeanstheforeignerscouldnothavethesamefeelingsafterreadingthispoem.3.3TheTranslationofSocialImagesinTangPoetrySometimes,thesocialthingschantedinthepoems,thecharactersportrayed,thelifescenesdepicted,thesociallifeplotsandhistoricalfactslaidoutinthepoemsarealsousedtoexpressfeelings,whicharealsoimages.Thatis,thesocialimagerelativetothephysicalimagesandthenaturalimages.Andpersonimagesisanimportantkindofsocialimages.WecanalsotakeDuFu’sComingAcrossaDisfavoredCourtMusicianontheSouthernShoreoftheYangtzeRiverasanexample:江南逢李龟年岐王宅里寻常见，崔九堂前几度闻。正是江南好风景，落花时节又逢君。ComingAcrossaDisfavoredCourtMusicianontheSouthernShoreoftheYangtzeRiverHowoftinprincelymansionsdidwemeet!AsoftinlordlyhallsIheardyousing.NowtheSouthernsceneryismostsweet,ButImeetyouagaininpartingspring.Therearethreehistoricalfiguresinthispoem:"LiGuinian","Qiwang","CuiJiu",firstofall,thetitleof"LiGuinian