翻译美学视角下古词意境美感再现的研究——以李清照词为例

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StudyontheAestheticReproductionofArtisticConceptionsofCiPoemsfromthePerspectiveofTranslationAesthetics一勋砌曙LiQingzhao'sCiPoemsforExampleZhaoShanUndertheSupervisionofProfessorCheMingmingAThesisSubmittedtotheGraduateSchoolofXi’anUniversityofTechnologyinPartialFulfillmentoftheRequirementsfortheDegreeofMasterofArtsXi’an，China2013 独创性声明本人所呈交的学位论文是在导师指导下进行的研究工作及取得的成果。尽我所知，除特别加以标注的地方外，论文中不包含其他人的研究成果。与我一同工作的同志对本文的研究工作和成果的任何贡献均已在论文中作了明确的说明并已致谢。本论文及其相关资料若有不实之处，由本人承担一切相关责任。论文作者签名：．色捌．≥1)年弓月如日学位论文使用授权本人作为学位论文作者了解并愿意遵守学校有关保留、使用学位论文的规定，即：在导师指导下创作完成的学位论文的知识产权归西安理工大学所有，本人今后在使用或发表该论文涉及的研究内容时，会注明西安理工大学。西安理工大学拥有学位论文的如下使用权，包括：学校可以保存学位论文；可以采用影印、缩印或其他复制手段保存论文；可以查阅或借阅。本人授权西安理工大学对学位论文全部内容编入公开的数据库进行检索。本学位论文全部或部分内容的公布(包括刊登)授权西安理工大学研究生学院办理。经过学校保密办公室确定密级的涉密学位论文，按照相关保密规定执行；需要进行技术保密的学位论文，按照《西安理工大学学位论文技术保密申请表》内容进行保密(附《西安理工大学学位论文技术保密申请表》)。保密的学位论文在解密后，适用本授权。论文作者签名：鱼巡导师签名：函『；年弓月；‘)日 摘要论文题目：翻译美学视角下古词意境美感再现的研究——以李清照词为例学科名称：外国语言学及应用语言学研究生：赵珊指导教师：车明明副教授摘要中国古代的诗词歌赋是中华民族辉煌灿烂的古代文化中重要的组成部分，其中，古词在中国古典文学史上占有非常重要的地位。词的起源虽早，但词的发展高峰则是在宋代，因此后人便把词看作是宋代最有代表性的文学，与唐代诗歌并列。但宋词的形式更加灵活，能更细致更精妙地表达情感，因此赢得了广泛的关注和赞誉。李清照便可称为是这一时期最著名的女词人。她善用白描手法，她的词语言清丽、韵律工整、柔美温顺，总能表现出别具一格的意境。“意境”是创作主体的思想感情和创作客体的客观形象的结合物。它是情与景的水乳交融，同时也是主观与客观的统一。意境是中国古代诗词文学追求的一种理想的审美形态，是古诗词的重要特质，也是古代文论的核心范畴。中国古词之所以历久弥新，为人们畅吟不衰，很大程度上是由于诗词所营造的或优美、或深远的意境。翻译与美学的联姻是中国翻译理论的重要特色之一，翻译与美学的有机结合一直以来就备受译界学者的关注。许多译界学者的研究表明，译者要想再现古词的意境美，就必须将翻译美学的相关理论知识运用到古词的翻译实践的过程中，理论联系实际，真切而深刻的再现古词本身的美；使译语读者也能像原语读者一样切身感受到中国古词的魅力。本文以李清照的词为研究对象，从翻译的客体和主体两大角度，探究翻译审美再现的类型。论文采用分析问题解决问题的哲学方法和思路，在对“意境美”做了相当充分的了解后，提出以模仿、移情、象征和拟人等美学翻译手段来再现李清照词中意境之美感。这些方法的提出和运用不仅有助于在汉英翻译中完美地再现中国古诗词意境之美感，同时也有助于弘扬中国绚丽灿烂的诗词文化。关键词：翻译美学；古词；意境；美感再现 ABSTRACTTitle：StudyontheAestheticReproductionofArtisticConceptionsofCiPoemsfromthePerspectiveofTranslationAesthetics—TakingLiQingzhao'sCiPoemsforExampleMajor：ForeignLinguisticsandAppliedLinguisticsName：ShanZHAOSupervisor：AssociateProf．MingmingCHEAbstractSignature：TheclassicalChinesepoetryisanimportantpartofthebrilliantancientChineseculture．Intheclassicalpoetry,CipoemsoccupyaverysignificantpositioninclassicalChineseliteraryhistory．AlthoughCipoemseme唱edearly,itsdevelopmentsummitWasinSongDynasty；therefore，CipoemshavebeenregardedasthemostrepresentativeliteratureoftheSongDynasty,whichenjoyanequalfameasthepoetryofTangDynasty．TheflexibleformsofCipoemsconveymoredetailedandsubtletyfeelings，whichiswhytheyhavewonwidespreadattentionandpraise．LiQingzhaoWasindisputablythemostfamouspoetofSongDynasty．Shemakesgooduseofsimpleandstraightforwardstyleofwriting，yetherCipoemsdemonstrateuniqueartisticconceptionswithbeautifullanguage，neatrhythms，andsoftfeelings．Theartisticconceptionisacombinationofthoughtsandfeelingsofthecreatingsubjectandobjectiveimageofthecreatedobject．Itistheperfectharmonyoffeelingandsetting，aswellastheunityofobjectandsubject．Theartisticconceptionisakindofidealaestheticform，whichisthepursuitofancientChinesepoetry．Itisnotonlytheimportantfeatureofclassicalpoetry,butalsotheCOrecategoryofancientliterarytheory．WhytheChineseCipoemshavebeenshrivingtimelesslyandCanbechantedpermanentlyislargelyduetothebeautifulandfar-reachingartisticconception． 西安理工大学硕士学位论文ThecombinationoftranslationandaestheticsisoneoftheimportantcharacteristicofChinesetranslationtheory,whichhasbeenamajorfocusofthetranslationindustry．Thestudiesofmanytranslationscholarshaveshownthatthetranslatormustapplytherelatedtheoryoftranslationaestheticstotheprocessof仃anslationpractice，combinethetheorywithpractice，andreproducethebeautyofCipoemstrulyandprofoundly；SOthatthetargetlanguagereadersCanbetouchedbythecharmofChineseCipoemsasdeeplyasthesourcelanguagereaders．Inthisthesis，theauthorregardsLiQingzhao’SCipoemsasthestudysubjects，exploringthetypeoftranslationaestheticreproductionfromtwoangles，namely,translationaestheticobjectandtranslationaestheticsubject．Thisthesisadoptsphilosophicalmethodsandideasofanalyzingandsolvingproblems，puttingforwardsuchtranslationmeansasimitation，empathy,symbolizationandpersonificationtoreproducethebeautyoftheartisticconceptionsofLiQingzhao’SCipoems．TheproposalandapplicationofthesemethodsarenotonlyhelpfultotheperfectreproductionofthebeautyoftheartisticconceptionsofChineseCipoems，butalsocontributetocarryingforwardChina’SbrilliantandsplendidpoetrycultureKeyWords：translationaesthetics；classicalCipoems；artisticconception；aestheticreproduction CONlENTSCoNTENTSACKNoⅥ几EDGEM哐NT⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯。i摘要．．⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．⋯⋯．iiiAbstract⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯⋯⋯⋯．vCHAPTERONEINTRODUCTION⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．11．1ResearchBackground⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯11．2PurposeoftheResearch⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯21．3SignificanceoftheResearch⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．21．4S缸uctl】reoftheThesis⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．3CHAPTERTWOLITERATUREREVIEW⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯52．1TranslationAesthetics⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯52．1．1TranslationAestheticsinChina⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．62．1．2TranslationAestheticsintheW色st⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．72．2TheArtisticConception⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯92．2．1IntroductiontotheArtisticConception⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯92．2．2AestheticFeaturesoftheArtisticConception⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯112．3CiPoems⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯142．3．1TheGentleandRcstrainedSchoolandtheHeroicandUnconstrainedSchool⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯152．3．2OrderlinessandUnevenness⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．152．3．3LocutionaryandIllocutionary⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯16CHL心TERTHREETHEARTISTICCHARACTE砒STICSOFLIQINGZHAO’SCIPOEMS⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯173．1BriefIntroductiontoLiQingzhao⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯173．2nleArtisticCharacteristicsofLiQingzhao’SCiPoems⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．183．2．1TheImageBeauty⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯183．2．2ThePaintingBeauty⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯203．2．3TheMusicBeauty⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯213．2．4TheImplicitBeauty⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯233．2．5TheTragicBeauty⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯24CHAPTERFoURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMS⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯274．1TheTranslationAestheticObject⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．274．1．1ConstituentsoftheTranslationAestheticObject⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯27 里窒里三垄堂塑主兰堡垒查．——4．1．2AttributesoftheTranslationAestheticObject⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．294．1．3TheTrallslationAestheticObject---theTranslatedText⋯⋯⋯⋯⋯⋯⋯．304．2nleTranslationAestheticSubject⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯j24．3TheAestheticReproductionofLiQingzhao’SCiPoems⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．334．3．1Imitation⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯344．3．2Empathy⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯384．3．3Symbolization⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯414．3．4Personification⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯··454．3．5Metaphor⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．48CHAPTERFIVECONCLUSION⋯⋯．⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯··⋯⋯⋯⋯⋯⋯⋯··⋯⋯·⋯535．1MajorFindings⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯，fj5．2Limi位壮ions⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯54BIBLIOGRAHY⋯⋯⋯．⋯⋯⋯⋯⋯⋯⋯．．．⋯⋯⋯⋯⋯⋯⋯⋯⋯．．⋯⋯”⋯⋯⋯⋯⋯⋯⋯·”⋯⋯⋯55 CHAPTERONEINTRODUCTIONONEINTRODUCTION1．1ResearchBackgroundTranslationisakindofhumansocialpracticewhichtransfersalanguagetoanother,ifwetracetheoriginoftranslation，wecantracebacktotheancientsocietyofthousandsofyearsago．Formanyyears，translationtheorieshavebeenconfinedtothescopeoflinguistics；however，thecombinationoftranslationtheoryandaestheticsenablesUStorealizethattranslationisnotonlytransferenceofinformationatlinguisticlevels，butalsoaprocessofaestheticrepresentation．Aestheticsisabranchofphilosophy；theWebster’SNewWorldDictionaryshowsthat，“Aestheticsisthestudyoftheoriesofbeautyandofthepsychologicalresponsestoit；especiallythebranchofphilosophydealing、析tllart，itscreativesources，itsformsanditseffects”(VictoriaNeufeldt，1988：136)．Somescholarsthinkthattheaesthetic‘isanoldscience，becauseintheancienttime，therewerealotofscholarswhoputforwardmanyinfluentialandvaluableunderstandingof“beauty”．Forexample，Confuciusoncesaid：“beingideal，beingperfect”(尽美矣，又尽善也)，andMenciussaid：“Enrichingisbeauty”(充实之谓美)，andalsotheancientGreecescholarPlatoraisedtheaestheticthinkingbasedon“idea'’；atthesanletime，someotherscholarsadvocatedthattheaestheticisayoungsciencebecausetheterm“Aesthetics’’cameintobeingonlyafterthe18也century．GermanphilosopherAlexanderGottliebBaumgarten(1717-1762)wasconsideredas“thefatherofaesthetics”，heWasthefirstpersonwhoputsforwardthebirthofanewsubjectinhismasterpieceAesthetics(LiuMiqing，2005：7)．Fromthenon，aestheticsbecomesanindependentsciencewhichhasitsownstudyobject．Witllrefinedlanguage，gentlestyleandrichcultureimages，CiPoemsareconsideredatreasureofChineseclassicalculture．SongCialsomentionedasSongLyricsorCiPoems，aspecialsectofliterature，playsasignificantroleinthehistoryofChineseclassics．Inrecentyears，translationhasmadeagreatprogress；however,itisnotenough，especiallythetranslationofChineseclassicalworks．Somanyscholars 西安理工大学硕士学位论文haverealizedthattheCipoemswhicharethegemofChinesetraditionalculturecontainendlessculturevalues．TheyhaveintroducedandspreadtheoutstandingworksofCipoemsofChinatotheworld，like100Tangandso鸭CiPoemsbyXuYuanchong，LiQingzhaoCibyXuYuanchong，100ChineseCiPoems砌EnglishVersebyXuZhongjieandSOon．ThetranslationofCipoemsisdifferentfromtheotherliteraryforms；themostimportantfeatureofCipoemstranslationisnotpracticalityorutilitarian，butpureappreciationofthebeauty．Theconciselanguage，simpleform，jumpingrhyt№，harmoniousrhythm，naturalassociation，beautifulmood，ere．ofCipoemsCanbringenjoymenttotheonewhoappreciateit．SongCiemphasizesthecreationoftheartisticconception，SO，thetranslationofCipoemsshouldpursuethebeautyoftheartisticconceptionfirstly，andtrytokeeptheartisticconceptionoftheoriginal(YanZhangrong，2005：293)．Onlywhenhegraspstheessenceoftheartisticconceptionsoftheoriginalworks，Canthetranslatorfullyreproducethebeautyoforiginalworks．1．2PurposeoftheResearchTherearealotofresearchesconcemedaboutCipoemsandthebeautyoftheartisticconception，whileonlyarelativelysmallnumberofresearchesareconcemedabouttheaestheticreproductionoftheartisticconceptionofCipoemsfromtheperspectiveoftranslationaesthetics．ItishopedthatthisresearchmayshedsomelightontheaestheticreproductionofartisticconceptionofCipoems．AndthepurposeofthisresearchistohelpimproveunderstandingofthetranslationaestheticstotheappreciatorofthetargetlanguageandhelpfurtherpopularizeofthetranslationofChineseclassicalworks．1．3SignificanceoftheResearchThisthesisselectedChineseancientpoetessLiQingzhao’SCipoemsasthetheme，usedthetheoryoftranslationaestheticstothetranslationofCipoems，andreproducedthebeautyoftheartisticconceptionofCipoemstothereadersofthe CHAPTERONEINTRODUCTIONtargetlanguage．Thiskindofinterdisciplinaryresearchissupposedtoexpandourthinking，enrichtranslationaestheticscontent，andwhatismore，itwillmakeanin-depthanalysisofthereproductionoftheartisticconceptionofCipoemsontheleveloftranslation．1．4Struetu他oftheThesisThisthesisisaimedatexploringhowtoassociatethetranslationaestheticstothetranslationofCipoems，andatthesametime，reproducingthebeautyofartisticconceptionofCipoem．Thefirstpartisanoverviewofthebackground，purpose，significanceands仃ucnlreoftheresearch．Next，thethesisprobesintoanoverviewofthetranslationaesthetics，theartisticconceptionandChineseclassicalworks—Cipoems，andintroducestherelateddefinitionsandtheories．Then，inordertogivereadersabetterunderstandingofaestheticcharacteristicsofCipoems，aminuteandintensiveanalysisofaestheticcharacteristicsofLiQingzhao’SCipoemsinChineseversionispresented．BySOdoing，itnotonlyhelpstheappreciatorshaveabriefunderstandingoftheaestheticcharacteristics，butalsolaysafoundationtotheaestheticreproductionoftheEnglishversioninthenextpart．TheforthpartstudiestheaestheticreproductionofLiQingzhao’SCipoems．Thetranslationaestheticobjectandtranslationaestheticsubjectarepresentedatthebeginningofthischapter,andthenitanalyzeshowtoreproducethebeautyofLiQingzhao’SCipoemsduringtranslatingtheoriginalworktoEnglish，andfollowedbyfivemethodswhichCanhelptoreproducethebeautyofLiQingzhao’SCipoems，namely,imitation，empathy,symbolization，personification，andmetaphor．Thelastchapterofthethesisistheconclusion．Thispartmakesageneralsummaryofthewholepaper,statesthelimitationsandgivessuggestionsforfurtherresearches． 西安理工大学硕士学位论文 CHAPTERTWOLITERATUI己EI也VIEWTWOLITERATUREREⅥEWItcanbedividedintotwoparts，translationaestheticobjectsandtranslationaestheticsubjects．Thesetwopartsaretwoindispensableconceptsandcategories，andtheyakindofinterdependentrelationship．Undertheperspectiveoftranslationaesthetics，thetranslationofCipoemsshouldpaymoreattentiontothetranslationofaesthetics，notthepracticeorutility．LiQingzhao’SCipoemsarewidelycirculatedisexactlybecauseherCipoemsalwaysbringreadersthefeelingsofbeautyfromtheanglesofartisticconception，SOthetranslationofartisticconceptionoftheCipoemsisveryimportantandhasagreatsignificanceforthespreadanddevelopmentofclassicalliterary．2．1TranslationAestheticsAsfortranslationaesthetics，multitudedefinitionsCanbefound．FangMengzhidefinedthe“translationaesthetics”intheDictionaryofTranslationStudieslikethis，‘'translationaestheticsproclaimstheaestheticoriginoftranslation；investigatesthesignificanceofaestheticstotranslation；learnsthescientificandartisticfeaturesoftranslationfromtheperspectiveofaesthetic；putsforwarddifferentcriteriaforevaluatingdifferenttextsbyapplyingfundamentalaestheticprinciples；analyzes，expoundsandresolvesaestheticproblemsininter-lingualtransference；analyzestheaestheticcompositionsoftheaestheticobjects(theST)andthebasicpropertiesoftheaestheticsubject(translator)basedonafullunderstandingofthebasicattributesofthetwo；definestherelationshipbetweentheaestheticsubjectsandobjects；raisestypesandwaysofreproducinggoodnessintranslationandguidesthetranslationpractice(FangMengzhi，2004：296)”．ⅥmatCanbeseenfromaboveauthoritativedefinitioniSthatthetranslationaestheticscombinestranslationandaestheticsduringtheprocesswestudytheaestheticsubject，aestheticobjectandtherelationshipbetweentheaestheticsubjectandobjectandtheappreciator．Therefore，thetranslatorshouldunderstandand 西安理工大学硕士学位论文flexiblyusetwolanguages；themostimportantclaimistomergeaestheticelementsintotheprocessoftransferringthetwolanguages．Andweallknowthatthetranslationistransferringthemeaningoforiginalworkfromthesourcelanguagetothetargetlanguage．SoasimpleunderstandingoftranslationaestheticsCanbeconcludedlikethis，translationaestheticsstudieshowtotransferthebeautyortheaestheticelementsofthesourcelanguagetothetargetlanguagesuccessfully．2．1．1TranslationAestheticsinChinaChinesetranslationhistoryhaslastedmorethantwothousandyears．Inthelong-termpracticeoftranslation，thefundamentalissueistranslationcriterionwhichthetranslatorCannotaffordtoavoid．The“faithfulness，expressivenessandelegance’’(信，达，雅)criterionwhichWasproposedbyYanFuinthelate19mcenturyhasthegreatestinfluence．AlthoughYanFuhimselfdidn’tgiveadetailedandspecificexplanationtotranslationaesthetics，hiscriterionof“faithfulness，expressivenessandelegance”succinctlyembodiestheessenceoftranslationaesthetics．Besidesthetranslationcriterionof“faithfulness，expressiveness，andelegance”，thetheoryof‘‘spirit’’byZhuShenghaoandthetheoryof“closenessofspirit’’byFuLeiinthe1950tIIadvocatedtotranslatetheoriginaltextintheformofthetargetlanguage．WhileQianZhongshuconsideredthatthe‘‘conversion’’isthehigheststateoftheliteraturetranslation，“totranslationalanguageintoanother，youshouldnotonlyappearthemechanicaltracecausedbythedifferentlanguagecustom，butalsokeepthelocalstyleoftheoriginaltext，thatCanbecalledstepinto‘sublimation’”(QianZhongshu，1964)．TheothertranslationcriteriahavegreatsimilaritieswiththethreetranslationcriteriaofYanFu．TheChinesetraditionalculturalthinkinghashadgreatinfluenceontranslationaesthetics．InthetraditionalaestheticsenseofChina,theimplicitnessandfuzzinessaretheimportantconcepts．“Thegreatformhasnoshape．Greatsoundishardtohear'‘大象无形．大音希声(LaoTzu，TaoTeChing，qtd．inHeHong，2005：170’emphasizesnottheclear，vivid，thorough，orspecificfeeling，butakindofmysteryandambiguity，andistheaestheticfeelingofvacantandvaguesemblance．LaoTzu CHAPTERTW0LITERATUREI也VIEWoncesaidthat“’Tao’arousesallphenomenaoftheworldalthoughitisSOimmeasurable；’Tao’gestatesandcreatestheuniversealthoughitisSOinexpressible；Tao’isfar-reachinganddark，butthesmallestmicrohypostasisthatcreatestheworldiscomefromit_惚兮恍兮．其中有象；恍兮惚兮。其中有物。窃兮冥兮．其中莓劳(LaoTzu，TaoTeChing，qtd．inHeHong，2005：85)．LaterChuangTzualsoinheritedthisidea,advocatedchaosandemptiness，andbelievedthemostbeautifulthingisthemysteryrealm．Thiskindofaestheticsensewhichpenetratedintothetextsandpictureshasbecomethedominantideology，andalsoamajorfeatureofChinesetraditionalaesthetics．Besidesthoseearliertranslationaestheticthoughts，thecontemporarytranslationaestheticsalsohasmadeconsiderableprogress．Thecontemporarytranslationaestheticsisakindoftranslationtheorystudies谢tllChinesecharacteristics，itistheinheritanceanddevelopmentoftheChinesetraditionaltranslationaesthetictheories，andalso“itistheintegralpartofChinesetranslationstudies，theimportantfeatureoftheChinesetranslationstudies，andoneofthemainbuildingoftheChinesetranslationstudies”(LiuMiqing，2005：83)．Thecontemporarytranslationaestheticstheoryisacombinationoftraditionandmodem．Itfocusonthepioneeringinthediscardandinheritance，thekindofpioneeringistoexpandandscientifictransfertheessenceoftraditionaltranslationtheories，‘'thustoenableittopossessthevitalityofanewtheory，whichisadequatetoaddressnewissues”(LiuMiqing，2006：177)．AsCanbeseen，thehistoryofChinesetranslationhasbeencloselyrelatedtoaesthetics，whichiswhytranslationaestheticsCanberegardedasatypicalChineseaestheticphenomenon．2．1．2TranslationAestheticsintheWestInthewest，translationaestheticscandatebacktoCiceroandHorace．CiceroandHoraceinBChadproposedthatthetranslationshouldpayattentiontothebeautyoflanguage，andhadraisedthetranslationaestheticconceptof“nature’’and“harmony”．‘‘Theythinkthattheimitationoftranslationshouldnotincompatible、析t11thenatureoftranslationidea,whichCanmakethetranslationaccordwitllnature．attributetoharmony，andachievetheunityofbeauty”(LiuMiqing，1989：11)．一7 西安理工大学硕士学位论文In1791，EnglishtranslationtheoristA．F．TytlerproposedthethreecriterionsoftranslationinEssayonthePrinciplesofTranslation，whichis“First，atranslationshouldgiveacompletetranscriptoftheideasoftheoriginalwork．Second，thestyleandmannerofwritingshouldbeofthesamecharacterasthatoftheoriginal．Third，atranslationshouldhavealltheeaseoftheoriginalcomposition”(A．F．Tytler，1791)．FrenchmanCharlesBatteux(1713．1780)inthe18mand19mcenturiesdidthebiggestcontributiontothetranslationtheorywhobelievedthatintheprocessoftranslation，thetranslatorisinasubordinateposition，theoriginalauthoristhemasterandthetranslatoristheservant．Andwecangeneralizeitintosixpoints：first，keeptheoriginalwordorderasfaraspossible，second，keeptheorderoforiginalexpressionmeaning，t11ird，thesentenceoftranslationtextshouldhasthesamelength丽t11thesentenceoforiginaltext，forcll，reproducetheconjunctions，fifth，avoidparaphrase，sixth，theoriginaltextcanbecorrected，butthereciprocityofformshouldbeemphasizedfirstly．Inthe19tllcentury，BellinskyinRussiaproposedthatpeopleshouldattachimportancetotheideologicalcontentofproductstobetranslated，hemaintainedthatthecontentandformshouldbeunified，andattachedgreatimportancetoreadersoftranslationtext．BenedettoCroce(1866—1952)whowasItalianfamousestheticianandliterarycriticbelievedthat“speechactsCannotberepetitive，SOtheliterarytranslationcannotreproducetheoriginaltextperfectly；literarytranslationistheprocessoftheartreproduction，thetranslationtextcouldnotbecometheindependentartworks；theliterarytranslationshouldbesmoothandnatural，andCannotbetoorigidlystick’’(LiaoQiyi，2000：6-22)．TheformerSovietUniontranslatorEvgrafStepanovicFyodorovhasproposed‘恤eequivalenttranslationtheory”inl953，hebelievedthat‘'theequivalentofthetranslationiscompleteaccuracyofexpressingtheideologicalcontentoftheoriginaltextandcompleteidenticalwiththeoriginaltextatthepartofroleandrhetoric”(CaiYi，1987：19)． CHAPTERTWOLITERATUI也I也VIEWThewesterntranslationownsalotofexcellenttranslationtheoriessinceancienttimes，theseexcellentliteraryworks“theoreticallymadeamoreprofoundandsystematicdescriptiontothetranslationprincipleandcategoryandtranslationmethodandtechniquesatvariouslevels，whichenablethewesterntranslationtheorytohaveamoreprolificresultsandheritages”(YangZijian，LiuXueyun，1994：680)．Therefore，thewesternhistoryoftranslationisthatoftranslationaesthetics．2．2TheArtisticConceptionTheartisticconceptionisanidealaestheticformofthepursuitoftheChineseancientpoetryliterature，anditisanimportantcharacteristicofancientpoetryliterature，whichiswhyitisthecorecategoryofancientliterature．2．2．1IntroductiontotheArtisticConceptionThetheoryoftheartisticconceptionoriginatedfromtheTangdynasty；theTangdynastypoetWangChanglingWasthefirstpeoplewhofoundedtheword‘‘ArtisticConception”inhisliteraryworkWayofCreatingaPoem(诗格)，andheseemedasaninsurmountableoneinthepersonwhodidtheresearchoftheartisticconception．WangChangling’StheoryofthreeconceptionsisinstructiveforUStounderstandtheartisticconceptiondeeply．“Thepoetryinvolvesthreerealms．Thefirstoneistherealmofthephysicalworld．Ifyouwanttocreatealandscapepoem，youshouldputyourselfintoabeautifulsituationwhichfullofmountainandriver，appreciatethescene丽tllyourdeepheart．Whenyougraspthebeauty，andgetthesceneinyourmind，thenyoucanbeginyourcreation．Sincethebeautifullandscapeisveryfamiliartoyou，yourdescriptionofthelandscapewillbeasvividastherealworld．Thesecondoneistherealmoffeelings．Alltheemotionsarecomefromthefeelingswhenyouexperiencesomethingpersonally，thenitwillleaveadeepimpressiononyou，andyourcreationwillbemoreappropriate．Thethirdoneistherealmofidea．Afterthepositivethinking，youCanhavetheenlightenmentfromwhatyouseeandfeel”(诗有三境：一日物境。欲为山水诗，则张泉石云峰之境，极丽绝秀者，神之于心，处身于境，视境于心，莹然掌中，然后用思，了然境象，故得形似。二日情境。娱乐愁怨，皆张于意而处于身，然后驰思，深得其情。三日意境。亦张于意而思之9 西安理工大学硕士学位论文于心，则得其真矣)(ZhangShaokang，1999：172)．TheillustrationofWangChangling’StheoryofthreeconceptionsshowsthattheartisticconceptionhaditshistoryasearlyastheTangdynasty．WangGuoweihasathoroughexpositionabouttheartisticconception．Hedistinguishedtheartisticconceptionimo“theartisticconceptionwhichtheauthorfeelsinit'’and‘'theartisticconceptionwhichtheauthorevenforgetswhoheis”inJen。ChienTz’U．Hua(人间词话)，hebelievedthat“itisbenertopayattentiontotheartisticconceptionthantopayattentiontotemperamentortheromanticcharm．Theartisticconceptionistheessence，whilethetemperamentandtheromanticcharmarethesubordinancy．Theothertwowillfollowwhenthereistheartisticconception’’气质。言神韵。不如言意境。有意境．本也：气质、神韵．末也，有境界勋二者膳之矣。(WangGuowei，1960：191)ZongBaihuaoncesaid‘'theartisticconceptionisnotamonolayer，plane，andnaturalreproduction，whileitisacreation谢t11adeeprealm．Itcontainsthreelayers；theyarecopytheintuitivesense，transferthevividlife，andenlightenthehighesthopehabitat”(ZongBaihua,1981：74)．TheartisticconceptionisakindofaestheticcategoryofChinesetraditionalarttheorywhichreflectsalonghistoryaestheticpsychologyoftheChinesenmion．Compared丽t11theWesterntraditionalarttheory，especiallythetypicaltheory，theartisticconceptionownsitsuniquevalue．Asakindofliteraryandartisticcreationphenomenon，theartisticconceptionexistsinthewesternlyricalpoetryandlandscapepaintingoccasionally．However，althoughthereisthediscussionabouttheaestheticrelationshipbetweenhumanandnatureinthewesternarttheoryandaesthetics，theaestheticcategoryof“artisticconception”hasnotbeenrefinedandsummarized．Hence，the‘‘artisticconception'’becomesauniqueaestheticcategoryofChineseaesthetics．AsTaiWanscholarYaoYiweioncesaid‘'theword“artisticconception’’isauniquewordofChinesenationwhichisanimportantterminartcriticismandliterarycriticism．However，themeaningoftheword‘‘artisticconception’’isSOabstractandambiguousthattherealmosthasn’tasameterminwesternaestheticsortheartsystemwhichisratherpractical”(YaoYiwei，1987：306)So，asanaesthetic CHAPTERTWOLITERATUREREVIEWcategory，the“artisticconception”isnotonlyaChinesenationalcharacteristic，butalsoauniquecontributiontotheworldaestheticsfromChineseaesthetics．Theartisticconceptionisthecombinationoftheemotionsofcreatingsubjectandtheimagesofcreatedobject．Theartisticconceptionisnotonlythehigheststatewhichpoetryaimstopursue，butalsothehigheststateoftheCipoems．Asuccessfulwritingofagoodpoetryultimatelydependsontheartisticconceptionwhichthewritinghaselaboratelybuilt．2．2．2AestheticFeaturesoftheArtisticConceptionTheartisticconceptionisanimportantcategoryofChineseclassicalaestheticswhichhasprominentaestheticcharacteristics．Itisamajortaskinaestheticstodoasumming·upandanalysisdiscussionontheaestheticcharacteristicsoftheartisticconception．Thesummaryandanalysisnotonlycontributetotheunderstandingandcomprehensionofthenatureoftheartisticconception，butalsomakeupforthelimitationswhichtheacademiccirclestendtohaveontheresearchoftheartisticconception，andalsothistaskitselfhasbecomeacontinuationoftheaestheticactivity．Theancientpeoplesummarizedthefeaturesoftheartisticconceptionusing“thereisanendtowords，butthemeaningisendless”，‘‘itisperceivablebutindescribable”，andSOon，theyareundoubtedlyvividandcorrect．TheartisticconceptionsometimesCannotbetransferredbywords；onecallabsorbtheessenceonlybyhisfeelingsandimagination，however，therearestillsomeaestheticfeaturesoftheartisticconceptionCanbesummarized(LiHongxin，2008：275-276)．Thefirstoneisthefullblendoffeelingandsetting．Itisademonstratingcharacteristicofthecreationoftheartisticconception．The“feeling’’and“setting’’hereshouldbeunderstoodas：“setting’’isactuallythe“emblem’’intheliteraryworkwhichincludesthescenery，object，peopleandthing；“feeling’’isactuallythe“emotion”，itisnotonlytheemotiontheauthorexpressed，butalsocontainedtheideologiesandtheideastheauthormeanstoexpress．Feelingandsetting，withmeaningandemblemaretwopairsofbasiccontentsofliteraryandartisticwork．Anypoemisacombinationofwiththeemotionandideaoftheauthorandthescenery11 西安理工大学硕士学位论文describedbytheauthor．Thesettingintheliteraryworkwhichcompletelyblends、析tllthefeelingoftheauthorisnotandsettingisnotjustthecommonsetting，butthesettingthatisusedtoexpresstheemotionoftheauthor．TheclassicalChinesepoetryattachgreatimportancetotheblendingofsettingandfeeling，theisolatedsettingandfeelingaredifficulttoformtheartisticconception，andonlytheorganicintegrationofsettingandfeelingCanproducetheartisticconception．Fromtheblendoffeelingandsettinghaveseveralpatterns：Firstly，feelingcomesfromcircumstances．Theauthordoesn’thaveanyconsciousemotions，whilewhenhemeetssomet11ing，somesentimentwillsuddenlyappears，theemotionswillfullofhisheart，SOhewillexpresshisemotionsthroughthedescriptionofsetting，toachievetheblendedoffeelingandsetting．Secondly，bringthefeelingintocircumstance．Theauthorofthepoetryattachtheoutsidephysicalconditionwiththestrongsubjectemotion，puthisemotionintoit，andexpresstheemotionwiththehelpofphy7sicalconditiondescribes，thentheobjectsettingwillhavetheauthor’Ssubjectemotion．Thirdly，thesettingwillappearintheprocessofexpressingthefeeling．Thiskindofcreationideaoftheartisticconceptionalwaysexpressdirectly．Sometimestherehasnoneedtodescribethesetting，whilethesettingseemslikejustrightbeforeyoureyes．Theauthorofthepoetryopenanaestheticimaginationspacetothereaders，inthisspace，everythingbecomesthetangiblepicture．Thesecondfeatureofartisticconceptionisthecombinationofnlhilityandreality．Theartisticconceptionofpoetrydefinitelyneedthevividdescriptionofthespecificimage，thiskindofviewwhichCanbeseenbyeyesisreality；whilethiskindofdescriptionalsoneedtoexceedthespecificimageitself,andhavetheeffectofimaginationandassociation，whichsuggestsdeeperartspace，thatisthecombinationofnihilityandreality．Theartisticconceptionofpoetryistheproductofthecombinationofnihilityandreality．Fromthiswecanseethattheaimoftheartisticconceptioncreationistoopenuptheconceptionofnihility．Theartisticconceptionisactuallytheproductofthecombinationofnihilityandreality．Generallyspeaking，theconceptionofnlhilityisthesublimationoftheconceptionofreality，anditreflectstheintentionandgoalofthecreationoftherealityconception，reflectstheartistictaste CHAPTERTWOLITERATUI也I也VIEWandaestheticeffectofthewholeartisticconception，restrictsthecreationanddescriptionoftherealityconception，andliesinthesoulandcommanderinchiefstatusofthes仇lctureoftheartisticconception．However，thenihilityconceptionCannotliveoutofthinair，duringthecreationoftheartisticconception，everythingmustbeimplementedtothespecificdepictoftherealityconception．Thenihilityconceptionshouldbeperformingthoughtherealityconception，andtherealityconceptionshouldbeprocessingintheunifyingofthenihilityconception．Thethirdfeatureofartisticconceptionistheendlessnessofthecharm．Thisisthemostessentialfeatureoftheartisticconception．The“charm’’isendlessbeautyofthefactorsande疏ctswhichstayintheartisticconception．TheancientliterarytheoristLiuXie，ZhongRong，andSiKongtuallattachedgreatimportancetotheartisticcharacteristicsofthe“charm”，LuShiyonginMingdynastyevenpaidmoreattentiontothedecisiveroleofcharmtothepoetry’Sartisticconception．Thecharmistheindispensablefactorofthebeautyofthepoetry，andmoreover，itistheessentialcharacteristicoftheartisticconception．TheSOcalled‘‘charm’’istheaestheticeffectswhichareconstitutedbythefactorssuchasmeaning，emotion，event，style，bodypotentialandSOon．Althoughitissubordinatetothewholestylisticlevel，itbecomesevenmoreprominentandconcentratedintheintrinsicareasoftheartisticconception．Thisalmostbecomesthepursuitofaestheticsoftheclassicalpoetry．Thefourthfeatureofartisticconceptionisvividnessandnaturalness．Theartisticconceptionisformedbyfeelingandsetting，whiletheartisticexhibitionofthefeelingandsettingshouldbevividandnatural．TheSO-called“vividness’’herecontainsthevividnessoftheperformanceobjectandthevividnessoftheobjectperformed．Thepoetshouldnotonlyhavevividandnaturalfeelingaboutthefeatureswhichhewrote，butalsomakeavividandnaturalperformanceaboutthiskindoffeeling，SOthattomakereadersobtainthesamefeeling．Inshort，theaestheticcharacteristicsoftheartisticconceptionwhicharetheexpressionfeatureoffeelingandsettinghappilyblended，thesmlcturefeatureofthecombinationofnihilityandreality，theaestheticfeatureofthereflectionofthecharm， 西安理工大学硕士学位论文andthefundamentalfeatureofvividnessandnaturalnessembodiestheaestheticidealoftheChinesenation，andgreatlypromotedtheprosperityofnationalculture．2．3CiPoemsCipoemsareakindofYuefupoetry．Toassistmusic，theformoftheCipoemsare‘‘longandshortsentences”，anditsrhythmismorerigidthanpoetry；whileithasthesameessencewiththepoetry，thatis，theyallregardtheemotionastheirsoul．SowecansaythattheCipoemsareakindofstyleofpoetry．JustbecauseafterTangDynasty，thiskindofstylisticbecomesverystrong，anditsstyleandrhythmaredifferent、viththeverseinthepast，itWasnamedCipoems，andasdistinctfromthepoetry(HuYunyi，2004：185)．Asamajorbranchofthepoetry，CipoemssteppedintoaheydayinSongDynasty．SongCiexpressesitsartisticcharacteristicsbyitslightandhandyimageries，structureofcomplexandfinesse，aestheticorientationofclosingtogracefulandnotfarawayfromvulgarandthestyleofgraceful—based(XieTaofang，2006：130)Everyperiodhasanartisticformwhichonbehalfofthehighestachievementofthisage，thiskindofartisticformlightthroughtheagesandthefuturegenerationsCannotreach．FamousscholarWangGuoweioncesaidthat“Everyperiodhasitsownliterature．Chu’Slament，Han’SFu，theSixDynasties’parallelprose，TangDynasty’Spoetry，SongDynasty’SCipoems，andYuanDynasty’SYuanQu，theyaretheliteratureofoneage，whilethefuturegenerationsCannotinherited”(WangGuowei，1915：preface)．Inaddition，theartisticformisalsotheproductofspecifichistoricalcontextandsocialconditions；itisalsothereasonofCipoemsgetthepeakinSongDynasty．NorthernSongDynastyfinishedthesplitsituationofFiveDynastiesandTenKingdomsandreunificationofthecountry．ThebeautywhichWasdedicatedtotheworldisnotonlydifferent、析t11Tangpoetry，butalsodifferent谢thYuanQu．Asa“literaryofoneage”，SongCihasitsuniquebeauty，whichrelatedtothemostexpressiveliterarylanguagethepoetused．TostudythebeautyoftheSongCi，fu'standforemostistoexplorethebeautyoflanguageuse．StudyandcatchthebeautyoflanguageuseofSongCi，theonehandis CHAPTERTW0LITERATUI迮REVIEWtoexplorefromthecomparisonwithTangpoetry，theotherhandistofindfromthelanguagestyleoftwoschoolswhicharethegentleandrestrainedschoolandtheheroicandunconstrainedsch001．2．3．1TheGentleandRestrainedSchoolandtheHeroicandUnconstrainedSchoolTheexistenceofthetwoschoolsofthegentleandrestrainedschoolandtheheroicandunconstrainedschoolmaketheCipoemspresentasplendidsight．WeCan’tattachimportancetoneitherofthem．TheSOcalledgentleandrestrainedmeanstheliteraryworkwhichhasthesubtleanddelicateemotion，slowrhythmandelegantandmildlylanguage，therepresentativesareLiuYongandLiQingzhao．TheSOcalledheroicandunconstrainedmeanstheliteraryworkwhichhaspassionateemotion，grandrealmandmagnificentlanguage，therepresentativesareSuShiandXinQiji．Theliteraryworksofthegentleandrestrainedschoolhasmildlytortuousfeelingsofcontextwhichhasfrustratedandtwists．Theheroicandunconstrainedliteraryworksalwaysdescribethemajesticmountains，therushingriver，themightyheroandthedignifiedappearanceexcellence，andalwaysusetheexaggeratedrhetoric．2．3．2OrderlinessandUnevennessFromtheperspectiveofformandmethod，theversesandquatrainsofTangDynastydirectlyaffecttheCipoems，anditisoneoftherootcausesoftheliteraryformofCipoems．WecandividetheCifromtheperspectiveofsentenceintothreekinds．ThefirstoneistheCipoemswithneatsentences，thesecondoneistheCipoemswithbasicallyneatsentences，andthelastoneistheCipoems谢t11irregularlyThefirstoneistheCipoemswithneatsentences．IntheareaofSongCi，althoughtheCipoemswitllneatsentencesareaminority，theyhavetheartisticvaluewhichCannotbeignored．TheneatsentencesCallalwaysperfectreflectthebasicmoodofpoet．ThesecondoneistheCipoemswitllbasicallyneatsentences．ThiskindofCiformisverycommoninSongCi，anditscharacteristicisthatthewholeCipoemgivesprioritytoacertainsentenceform，andinsertsinanothersentenceformtoadjust， 西安理工大学硕士学位论文whichenhanceorsoothingtheatmosphere，SOastoformupsoftherhythmofthemusicmelody，thereforetoproducethefeelingofbeauty．ThelastoneistheCipoemswithirregularlysentences．ThiskindofCipoemshavealargerproportioninSongCi，italwaysscatteredarrangementbymorethantwosentenceform，SOastoexpressandwritecomplicatedfeelings，andperformrichmelodyandchanges．Althoughthelengthofthesentencesisuneven，thereisstillexisttheregularfactors：firstly,theCipoemsalwaysparallelalignmentbythesentences、^，itllsameform；secondly,theCipoemsoftenwritingaccordingtothemusicscore，SOtheCipoemswithsamemusicscoreoftenhavethesamesentenceform．Thekindofsentenceform、^，itllneatsentencesintheirregularlysentencescontributetoexpressthemusicmelodyandrhythmofthemusicwhichhavethedifferenceofhighandlow,circumflex，strongandweak，orthecadence．2．3．3LoeutionaryandIllocutionaryTheaimoftheCipoemsistoexpressthefeelings，althoughthefeelingstobeexpressedaredifferent、析廿1eachother．AlthoughtherearestrictrulesofCipoemsinlength，sentenceform，oblique，andrhyme，andtherequirementsareevenstricterthantheversesandquatrainsofTangDynasty．However，duetothedifferentlengthofthesentences，therhymeCanhavedifferencebetweenpingandze；theCipoetwillhavemorelibertytoexpresscomplexandtortuousthoughtsandfeelings．UsingCipoemstowhitemeaningandexpressfeeling，therearetwodifferentforms，oneistoexpressthemeaninginsidethewords，andtheotheroneisexpressoutsidethewords．ThefeelingCanbeobtainedbyspeechanalysisisbelongtothefirstone，andthesecondoneistocatchthefeelingfromthenegativesideofthewordsoftoexperiencethefeelingnotjustfromthewords，butbeyondthewords．Thesplendidpoetaiwayshasthelocutionaryandillocutionarymeaning，notonlyhasthedirectfeeling，butalsohastheindirectfeeling．ItisthereasonthattheSongCihastheprosperityintheliteraryhistory． 垦旦垒里堡垦!!塑塑里THEARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSCHA．PTERTHREETHEARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSEveryerahasitsownliteraryworks．SongCihasapfiodt)rinliteraryvalueandhistoricalstatusinthehistoryofChineseliteraryhistory．ThetraditionalliterarydividedtheCiintotwokinds，whicharetheGentleandRestrainedSchoolandtheHeroicandUnconstrainedSch001．LiQingzhaowhowasbeenregardedastheleaderofthegentleandrestrainedschoolisveryvaluabletostudies，theliterarystatusandresearchvalueofLiQingzhao’SCiareself-evidentinthehistoryofSongCiandthehistoryofdevelopmentofwholeChineseliterary．Comparing晰mothermalepoets，LiQingzhaoasthemostfamousandoutstandingfemalepoetintheChineseliteraryhistorywhoseliteraryworksreceivedmoreattentionintheresearchofChinesestudiesofEnglishworld．TheresearchofLiQingzhao’SCipoemsisnotonlyhasauniqueperspective，butalsohasabroadersocialmeaning．3．1BriefIntroductiontoLiQingzhaoLiQingzhao(1084-1155)isapoetofSouthSongDynastybynameYiAnJuShi(易安居士)whoWasbominJi’nan，ShandongProvincein1084anddiedinJinhua,ZhejiangProvincein1155．Herfather，LiGefei，Wasafamousscholarandawell-knownprose·writer，hermotherWasalsowelleducatedwhoWasadaughterofaprimemister．Shehadreceivedanexcellenteducationinsuchaliteraryfamilyinherearlychildhood．Whenshewaseighteenyearsold，shemarriedZhaoMingcheng，theirmarriageWasidealandhappy，fortheyOwnthesamepassionforpoetryandcollectingantiques．But，unfortunately，thishappinessonlylastedforseveralyears．TheWarbrokeupLiQingzhao’Shappyfamily．InthesecondyearofJingkang，sheandherhusbandwererunawaytoareassouthofthelowerreachesoftheYangzeRiver．Andin129，herhusbandZhaoMingchengdiedofillness．Afterherhusband’Sdeath，sheWasleft 西安理工大学硕士学位论文alonewanderingaimlesslyforyearsintheareaofHangzhou，YuezhouandJinhua，andpasttherestofherdaysinlonelinessandmisery．LiQingzhaoisamalepoetwhoissuccessfulinpoetries，Cipoemsandprose，andisexpertinCipoems．SheissaidtohavecompiledabookentitledShuYuCi(漱玉词)，butallwenowhaveofherCipoemsnumberonlyaboutseventy-eight，andtheCipoemsindifferentageswereshareddifferentfeelingsandtheme．Theliteraryworksinearlystagealwaysdescribeherleisurelylife，“Herearlylyrics，fullofvitalityandelegantdiction，paintvignettesofhercarefreedaysasawomanofhighsocietyhoenjoyedthefreedomtoparticipateindrinkingpartiesandpoetrycontestsandwhowasfondofplayingontheswingandboating．”(Nienhauser，WilliamH．J．R．1986：535)，andwhenshegotmarried，themaincontentofherliteraryworksislovesickness．Whileinthelaterperiod，herwritingstylechangesalot，becauseshesuffersfromthelostofhernation，herfamilyandherhusband．Andherlifebecamelonelyandmiserable．SheWaSgoodatusingthefromofsimpleandstraightforwardstyleofwriting，herliterarylanguageissimpleandbeautiful，sheadvocatingelegantandlampoon，andherCipoemsfulloffeelingsofsoftandmeek，whichshowsoutanuniqueartisticconception．3．2TheArtisticCharacteristicsofLiQingzhao’SCiPoemsLiQingzhao’SCipoemsarerelativelyoutstandingintherespectoftheartisticconception；thebeautyoftheartisticconceptionwhichshecreatedisinmanyaspects，whichmainlycontainfiveaspects：theimagebeauty，thepaintingbeauty，themusicbeauty，theimplicitbeautyandthetragicbeauty．3．2．1TheImageBeautyTheliteraryworksmusthavetheavailablevividimage，onlyinthisway；theliteraryworksCanhavealastingvitality．LiQingzhao’SCipoemsarearealizationofmodelingandtranscendingitsselfimage，andportrayaseriousofuniqueimagesinherliteraryworks．Forexample，aCipoemwhichdescribethebuddingloveofagirltriedas CHAPTERTHREETHEARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSRougedLips(点绛唇)：蹴罢秋千，起来慵整纤纤手。露浓花瘦，薄汗轻衣透。见有人来，袜刻金钗溜，和羞走。倚门回首，却把青梅嗅。Thefirsttwolinesdescribeamomemscenewhenthegirlstoppedtoswing．Atthistime，alltheactionhasalreadystopped，butpeoplecallstillimaginethescenewhenthegirlisswinging．Herclothesblowinginthewindjustliketheswallowflyinginthesky，whichpalmapictureofagirlwhoisinnocentandlively．Theword“慵整”usedjustperfectinthefirstline，whichheartilyshowtheexpressionofextremefatigue，numbnessofhandsandlazyactivityofthegirlwhenshestoppedtoswing．Thesecondlinewillleadthereadersimaginemoreaboutthegirl’Scharmingexpression．Inthelasttwolines，thegirlstoppedtoswing，shefelttiredanddon’twanttomoveanymore，atthistime，astrangersuddenlybrokeintothisplace，shehadnotimetoarrangeherclothes，SOsheleft晰tllshyness．ThebashfulnessandshynessofChineseancientgirlshowsmostincisive．Whoisthisstrange?Hemustbeahandsomeboy，SOthatthegirlisafraidofseeinghim，butwanttoseehim，atthesametime，sheisn’tboldtoseehim，SOshejustsecretlylookhim，andusethedetailsofmovementsof“嗅青梅”toconcealherheartreaction．Theseseveralactionsarehierarchy，changeable，andcomplicated，whichshowsthepsychologicalactivityofsurprised，fear，mimosa,curiousandloveofthegirltrulyandmeticulously．LiQingzhaousetheclearrhythmandforty-onewordscharacterizedayounggirlimageofinnocentandpure，richfeelingsand谢tllasomewhatreserved，whichrevealtheimagebeautyofYiAnCipoemcompletely．TheimagebeautyCanbecalledaprioritybeautyofthepoetry，agoodpoetryalwayscontainseveralgoodimageswhichCanhelpthepoetdisplayhisorherfeeling． 西安理工大学硕士学位论文Avividandlivelyimageenablestheappreciatorsrememberthispoetryforever．3．2．2ThePaintingBeautyTheSouthSongDynastypoetSuShioncecommentonthepoetofWangWei，hesaidthat“whenIsavorMoJie’Spoetry，Ifeelthepoetrycontainsapaintinginit；whenIenjoyMoJie’Spainting，Ifeelthereisapoetryinapainting”(味摩诘之诗，诗中有画；观摩诘之画，画中有诗。)(SuShi，1985：94)．Fromthenon，“paintinginpoetry”(诗中有画)becomeapetphraseofappreciatingapoetry．ThepaintingCandrawanimage，whilethepoetrycanrevealtheromanticcharm(WuQingrnan，2009：13)．Thegoodpaintingandgoodpoetryalwaysexistsidebysideandplayaparttogether．Thepredecessorsoncediscussedtheaspectsthatthetrue“paintinginpoetry”contains：thefirstoneistherealmshouldberemote．Thisisnaturallytheartisticconceptionofthepoetry；thesecondoneisthepoetryshouldhaveoutlinedrawingtechnique．Nomattermountainandwater，peopleandthing，ordynamicandstaticthing，theyallshouldbediscussedbytheoutlinedrawingtechnique；thethirdoneisthatthereshouldhavetheartisticconceptionoutoftheemblem．AlthoughLiQingzhao’SliteraryworksareallCipoems，ithasbeautyofdifferentapproachesbutequallysatisfactoryresults、Ⅳitllthepoetryandpainting．HerCipoemshavethecolorbeautyofpainting；alsohavethedynamicbeautyofframe．Thepaintingfocusonthecomparebetweenthebrightcolorandthedarkcolor，aswellasthecolormatching，theancientpoetalsoconsideredthispointwhentheycreatedtheliteraryworks．YiAnCipoemsalsohavethischaracteristic，herCipoemPndeofFisherman渔家傲expressesthischaracteristicapparently：天接云涛连晓雾，星河欲转千帆舞。彷佛梦魂归帝所。闻天语，殷勤问我归何处。我报路长嗟日暮，学诗漫有惊人句。九万里风鹏正举。风休住，蓬舟吹取三山去。 CHAPTERTHREETHEARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSThisCipoemisofgreatmomentum，andboldandpowerful，whichisarareromanticboldCipoemofLiQingzhao．Thefirstlinedrawsamagnificentandbeautifulpictureofconnectionbetweentheseaandthesky．Thepoetusetwowordsof“接”and“连”skillfullyformasurgehighandsweepforwardpicturewith“天”，“云涛”and“晓雾”，whichfullofdynamismandmomentum．Theframeofconnectionbetweenthewaterandsky，theboatswinging，andthesaildancingarenotonlyhavetherealityoflife，butalsohavetheunrealityofthedream．Thesecondandthirdlinesdrawanunrealitydream，inthedream，shemeettheGod，andtheGodearnestlyaskherwherethepoetWasgoingto，thisisacommonquestionseemingly，whilethiskindofearnestlyquestionjustfromastarkcontrast、Ⅳitlltheemperor．ThefourthlineistheansweroftheGod’Squestionbythepoet，itisalsoaninterlanguage．Thefifthlineechoes、析t11thefirstline．Andthelastlinewritesoutthepoet’Sdream，thatis，shewantstogototheidealfairyrealmwiththehelpofthewind．Thefourverbsof“接”，“连”，“转”，and“舞”inthisCipoemareveryimportant，whichnaturallycombinethesky，theturbulentwavesandthediffusecloudtogether，andpouroutthepoet’Sfeelingtothereaders．SothemagnificentsceneswhichbuildbythisCipoembecomelivelyanddynamic．ThosepicturesoftheCipoemjustlikeaseriousofmovieclipswhichechointhereaders’mind．Thiskindofcreationtechniqueisreallyvaluableanddeplorable．Thepaintingbeautyisveryimportantwhichcombinethepoemwiththepaints，andshowthepoet’Sfeeling、Ⅳitllthecombinationwhichenablesthereadersunderstandmoreaboutthepoemaswellasthepoet．3．2．3TheMusicBeautyThemusicmovesheartandinfectedpeoplebyitsuniquerhythmandmelody，SOthattoobtainartisticcharm．Thegoodmusicalwayslingeredintheairlongaftertheperformanceended，andthegoodpoetryofancientandmodemisalsolikethis．XuYuanchongelaboratedthedifferencebetweenthephraseandpoetryinthetranslation，heemphasizedthatweshouldlayemphasisonthecharacteristicofmusicinpoetry 西安JE_r-大学硕士学位论文translation()(uYuanchong，1984：187—201)．Chineseisakindofsoundcompletetypelanguage，syllableandrhythmplayimportantroleinmakingwords，andeveninmakingsentences．PanWenguoevenputforwardthat，“theinteractionbetweenmusicandmeaningisthemostbasiclawinChineseorganization”(PanWenguo，2002：246)．Tobeakindofliteraryformwhichhasaclosecontactwiththemusic，Cipoemsembodyitsliterarymusicbeautymorewithitsuniquelength，rhythm，andmelody．XuSiftinMingDynastyoncepointedoutthatthemelodyshouldhaveacertainpattern，thewordshouldhavecertainnumber，andtherhythmshouldhavecertainsound．ThecreationofLiQingzhao’SCipoemsisnotonlystrictlyabidesbythisprinciple，butalsohaveinnovationonthisbasis．OneoftherepresentativesworksSlow,SlowTune声声慢centralizedembodimentofthemusicbeautyofLiQingzhao’SCipoems：寻寻觅觅，冷冷清清，凄凄惨惨戚戚。乍暖还寒时候，最难将息。三杯两盏淡酒，怎敌他，晚来风急?雁过也，正伤心，却是旧时相识。满地黄花堆积，憔悴损，如今有谁堪摘?守着窗儿，独自怎生得黑!梧桐更兼细雨，到黄昏，点点滴滴。这次第，怎一个愁字了得!“Endrhyme，wherethelastwordofalinehasthesamefinalsoundasthelastwordofanotherline，sometimesimmediatelyaboveorbelow，sometimesoneormorelinesaway，ismostfrequentlyusedinthepoeticlanguage”(Baldick，2000：17)ThisCipoemappliestheendrhyme，suchas“觅觅”，“戚戚”，and“息”，“急”，whichenablesthereadersfeelthatasifwereenjoyingapieceofmusic．TherhythmofformertuneofSlow,SlowTuneisatleveltones(平声)，thetuneisalsorelativelyease．WhiletheSlow,SlowTuneofLiQingzhaochangestherhythmtoobliquetones(仄声)，andrepeatedlyusethereiterativelocutionanddoubleword，whichenabletherhythmchangesfromeasetohurried，andchangesthepathostomournful．ThebeginningofthisCipoemusesaseriousofreiterativelocutioninthefirstthreesentenceswhichCanbecalledanextraordinarybeginning．Thedepressedmood CHAPTERTHREETHEARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSoftheheroinebeginswith“寻寻”whichenoughtoseethatthetimehangsheavyontheheroine’Shands，SOshe“觅觅”asifshewantstofindsomething．Shelooksaroundwhileendedwith“冷冷清清”，andfindsnothing，whichaddsakindoflonelyfeeling，andenablesherselffeel“凄凄惨惨戚戚”．TheapplicationsofthosereiterativelocutionsstrengthenthetoneandenhancetherhythmbeautyoftheCipoems，thusshowakindofdesolatefeeling，whichexactlybuildbythecharacteristicofmusicbeauty，andleadthereaderstoendlessaftertastes．Therhythmofthemusicistherhythmofstateofmindinasense，thesmoothingoftherhythmisalsothesmoothingofstateofmind，andtheirritabilityofthemoodisalsotherapidofrhythm．ThecharacteristicofmusicbeautyofLiQingzhao’SCipoemsisexactlythedifferentmoodportrayalofthepoet．HerCipoemsexpresshermoodbyheruniqueform，andatthesametime，theyalsoshowthemusicbeautyoftheCipoems．3．2．4TheImplicitBeautyTheimplicitnessofthepoetryisdecidedbythenatureoflife．Lifeitselfisfullofphenomenawhicharecontainingandrevealing，implicitandcurrent，andcurvedandstraight．Atthesametime，theappreciatorsaresubjectiveinitiativeSOtheydon’twanttheartisttoshoweverythingtothem，theywouldratherliketofeelandappreciatebythemselves．Theimplicitbeautynotonlybelongstopoems，butalsobelongstotheCipoems·Forexample，theJoyofEternalUnion永遇乐ofLiQingzhao：落日熔金，暮云合璧，人何处?染柳烟浓，吹梅笛怨，春意之几许!元宵佳节，融和天气，次第岂无风雨?来相召，香车宝马，谢他酒朋诗侣。中州盛日，闺门多暇，记得偏重三五。铺翠冠儿，捻金雪柳，簇带争济楚。如今憔悴，风鬟霜鬓，怕见夜间出去。不如向、帘儿底下，听人笑语。ThereisalotofpoetrywhichregardstheLantemFestivalasthetheme；theyalwaysfocusonthelivelypictureoftheLantemFestival．WhilethisCipoemofLiQingzhaofocusdifferentdirection．ThefirstpartofthisCipoemwriteraboutthe 西安理工大学硕士学位论文sceneofLanternFestival，thefirstsentencebegins、vitllthelivelypictureofLanternFestival，whileendswithasighof“人在何处”，whichfilledwiththemelancholyofconfusionandpain．Thisendingseemsabrupt，whileitisexactlytheemotionalactivitiesofpoet，andexpressingherinnerfeelingsimplicitly．Thenthepoetdescribesthesceneryoftheearlyspring．TheLantemFestivaliscomingclosely，shewouldhaveamused，butshethenwonderedifthereisrainingday．ThentheanalysiswillfindthatwhilethisCipoemexpressesthepersonalemotion，evenmoreexpressesthewholestyleofSongDynastyaftertheJinDynastysiegetothesouthimplicitly．Inthefifthlines，the“盛日”and“如今”aretwodifferentstateofmind，whichrevealtwodifferenttimesandthedifferentlifecircumstancesofthepoetfromthesideperspective．TheimplicitisthecharacteristicofChineseclassicalliteraryart，especiallythecharacteristicofclassicalpoetry．LiQingzhao’SCipoemsfullydisplaythetraditionalaestheticrequestofChinesepoetry．HerCipoemshavetheartisticgeneralitywhichgivereaderstheimaginaryspace；thereadersCanassociateandfeeltheimplicationbyvirtueoftheirownaestheticexperiencesimplicitly．TheimplicitbeautyisthecharacteristicofclassicalChineseliteratureandart；especiallythecharacteristicofclassicalpoetry，LiQingzhao’SCipoemfullyreflectsthetraditionalestheticsrequirementsofChinesepoetry．HerCipoemshavehighlyartisticgeneralitywhichleavethereadersimaginespace，andenablesthereadersappreciatethemeaningandfeelingsoftheCipoembythemselves’aestheticexperience，andalwayshaveamoderateimplicitsignificance．3．2．5TheTragicBeautyLiQingzhao’SCipoemshaveakindoftragicbeautywhichperfectlycombineswiththepoeticcharm．Sheisgoodatchanting，especiallychanttheflowers．Thereasonwhythepoetsliketochoosetheflowersisthattheflowersarenotonlyhavingbeautifulpureinnerquality，butalsowitheranddie谢t11thekillingofthetime，thechangingoftheseasons，andtheexposetowindandrainofthenature．SotheflowersymbolinLiQingzhao’SCipoemsoftenshowingabrokenstate，andexpressinga 堡坚垒!!里垦!旦墨星里!旦里ARTISTICCHARACTERISTICSOFLIQINGZHAO’SCIPOEMSkindofsanmood．Forexample，theTheCourtyardAllFragrant满庭芳whichchanttheincompleteplumtoexpressthepoet’Semotion：小阁藏春，闲窗锁昼，画堂无限深幽。篆香烧尽，日影下帘钩。手种江梅更好，又何必、临水登楼。无人到，寂寥浑似，何逊在扬州。从来，知韵胜，难堪雨藉，不耐风揉。更谁家横笛，吹动浓愁。莫恨香消雪减，须信道，扫迹情留。难言处、良宵淡月，疏影尚风流。Inthefirstline，thelittleattichidestheawakeningspring，theneveropenedwindowclosethedaytotheoutside，whichmakethepaintingroomdarker．Thisisanarrowanddeep，selfsealingspacewhichthepoetdepictforthereaders，andthiskindofpictureshowthemosthiddenandtherichestemotionofthepeople．The“篆香”isakindofincense，itCanbetheimageryoftime，whichimplythepassageoftime．Thepoetfacingtheplantedflowersandindulgeinself-admiration．Sheclimbsthehi曲buildingandviewthewaterbecauseshejustwanttonealone．InthesecondpartoftheCipoem，thepoettellthereadersthatalthoughtheplum’Sintrinsiccharmismorethantheotherflowers，itismisfits丽tllthesecular，thenhowCanitwithstandtheruinoftherain．Thewordsof“藉”and“揉”arenotonlydisplaythecherishingoftheflower，butalsoexpressthecharacterstyle．Thewords峋陪”，“愁”and⋯限”showthatalthoughpeoplealwayshatethehurryawayofthebeautifulthings，wecanbelievethatthecharmandstyleoftheplumwilllastlonginpeople’Sdeepheart．LiQingzhaolocatedthelivingenvironmentoftheflowerstothestorm，whichactuallylocatesthelivingenvironmentofher．LiQingzhaounderstoodclearlythatinthispatriarchalsociety，nomatterhowbeautifulsheWas，herfatewillwithstandthepressureimposedfromtheoutside．Thereisalwaysasenseofthreat，andthiskindofthreatisactuallyatragicofsexwhichexpressesaspecialfeelingofbeauty，andpeoplecallthiskindofbeautyastragicbeauty．RegardingthetragicasbeautyisthetraditionofChineseliterary，theCipoemsareeventhe‘'tragicboutique”(DengQiaobin，2004：102)，LiQingzhao’SCipoems 西安理工大学硕士学位论文alwaysrevealingakindoftragiccolor．ThoughherCipoems，wecannotonlyunderstandthetragedyofthetimesofSongDynasty，butalsounderstandtheuniquelifetragedyandmiserablefateofLiQingzhaoasafemalewriter．LiQingzhaocreatedherownstyleofYiAnCipoemsthoughherdistinctiveartisticfeatures，personalityandherexcellentlanguageskills，whichrepeatedlyarelearnedandemulatedbylaterpoets，andhaveobtainedtheunfailingloveofthereaders；thus，havingestablishedherimportantpositioninliteraryhistory．HerCipoemsarelikeevergreentreesintheliteraryhill，whichwillalwaysbeevergreenandareworshipedbythefuturegenerations． 堡!坠里!里曼FOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSCHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSTheaestheticreproductionisveryimportantinthetranslationprocess．Thetranslatorshouldtranslatethesourcelanguagetothetargetlanguage，andconveytheartisticconceptionoftheoriginalpoemsbasedonhisappreciationandunderstandingtheoriginalpoems，whichwillenablethereaderstogetthesameenjoymentoftheoriginalliteraryworkswhentheyappreciatethetranslatedliteraryworks．Theuseofwordsinthepoetryisveryexquisitewiththecharacteristicsofhighlyconciseanddeepartisticconceptions，whichrequiresthatthetranslationofpoetryCannotonlybefaithfultotheoriginalpoetry，butalsopaymoreattentiontotheaestheticreproductionoftheartisticconceptionsintheprocessofpoetrytranslation．4．1TheTranslationAesthetic0bjeetInaesthetics，theaestheticobjectrefersto“anexpressiveonewhichgoesbeyondwhatispurelyintelligibleandcomestoconvergenceinacoalescenceofsensuouselements”(Duffenne，1973：13)．Tomakeshortofthematter，intranslation，accordingtoLiuMiqing，aestheticobjectsaretheoriginaltextstobetranslated(LiuMiqing，2005：86)Aestheticobjectsrefertotheextemalobjectsinvolvingtheaestheticactivitiesofhumanbeings(LiuMiqing，1995：120)．Translationaestheticobjectreferstothesourcetextsthatthetranslatorisgoingtotranslateandprocess(LiuMiqing，2005：86)．4．1．1ConstituentsoftheTranslationAesthetic0bjeetTheaestheticconstituentsofthetranslationaestheticobjectcoversallthegoodnessoftheSOurCelanguage；andthiskindofgoodnessCanbedividedintotwosystems：theformsystemandthenon-formsystem．AllthegoodnessofformexistsinthosetwosystemsaretheaesthetictargetswhichCanbeexperiencedintheprocessof廿anslation．“Theformalaestheticcompositionsinaesthetictheoriesaredef'medasthenaturalpropertiesandthecombinatorialmodelsofthesubstantialmaterialsthat27 西安理工大学硕士学位论文composetheexternalformofacertainaestheticobject”(LiuShucheng，1987：81)．Inaesthetics，theSOcalled“form”hastwoprominentfeatures．Thefirstoneisthattheformisconnected、析t11thesensitivefeelings；andthesecondoneistheformisacomparativeandcompositeconception．Inaesthetics，therearethreelevels：theexteriorform，theinteriorformandtheconceptualform．Thesethreeformsconstitutetheformdenotationcollection．Theexteriorformisexpressedbynaturalsensitivityfromtheperspectiveofsensitiveangle；andtheinteriorformisexpressedbyemotionalsensitivity，theconceptualformisexpressedbysymbolizationsensitivity．Thesystemofformcontainsthreeparts：thesoundlevel，thewordlevel，andthesentenceandparagraphlevel．Differentlevelhasdifferentaestheticinformation．Theaestheticinformationatthesoundlevelisthebasicleveloftheformsystem．SoundiSoneofthebasicformtoolwhichcarriesouttheaestheticinformationoflanguage．Thepurposeofgraspingtheaestheticsforminformationistogettheresultofcorrespondingbetweensourcelanguageandtargetlanguageinsoundgoodnessatthelevelofformandeffect．Soundinvolvestheelementssuchasphoneme，rhythm，thyme，stress，etc．，inthoseelements；thephonemeisthemostfundamentalunitwhichpossessesaestheticmeaningandCantransferstheaestheticinformation．”Phonemeisanyoneofthesetofsmallestdistinctivespeechsoundsinalanguagethatdistinguishonewordfromanother”(ASHornby，1997：1102)．Rhythmandrhymeareofgreatimportancetorepresenttheaestheticvalue．Inaddition，manyotherphoneticelements，suchasstress，intonation，tone，alliterationaswellasonomatopoeiaCanbeusedforaestheticrepresentation．Asfarasthewordlevelisconcemed，‘'therearemanydevicesproducingformalbeautyonthelexicallevel，suchasdiction，registerandcollocation”(LiuMiqing，1995"159)．Besides，therearemanykindsoffigureofspeechwhichcanbeusedtocarrytheaestheticinformationatlexicallevel，suchasmetaphor，analogy，andsimileandSOon．OnethingCanbesureisthat“asthecombinationofcharacter，morphemeandsyllable，thewordpossessesastrongabilityofcarryingaestheticinformation'’(LiuMiqing，2005：119)．ThelastoneisthesentenceandparagraphlevelwhichCanbedividedintothree 盟幽RFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSkinds；theyarethesyntacticdeviations，whichproducebeautybyusingoffuzzinessofgrammar；thefrequencies，whichproducebeautybyusingofrepeatedefforts；andthearrangementofsentencepatterns谢t11pragmaticfunction(LiuMiqing，2005：129)．Themeaningofthislevelisthattheaestheticinformationshouldbeusedtothesentenceswhichwillarisethebeautysensebyapplyingtheentiretyandharmonyoftheform．Thenon-formsystemisakindofindefinite，non-quantitative，andinfinitivesystem，itsessentialcharacteristicsisthefuzziness，sothissystemCanbecalledfuzzysets．Thenon-formsystemCanbecalledasinternalsystem，accordingtoLiuMiqing，thenon-formsystemmainlyinvolvesfouressentialcomponents，namelysentiments，ideals，imagesandsymbols(LiuMiqing，2005：141)．OnlygraspthesentimentsandidealsofwritersofthesourcelanguageCanthetranslatorsdeterminedtheoverallstyleofthetranslationworks．Theimageandsymbolareconsideredasthesoulofnon-formaestheticstructure；theyarethehighlyfuzzyaestheticinformation，whichisthecombinationofthefiniteandinfinite，aswellastheimplicitandvividness．舢linall，theaestheticcompositionoftranslationobjectisakindofopensystem；itCanbesignificantonlybycombiningit、析tllcertainaestheticobject．4．1．2AttributesoftheTranslationAesthetic0bjectTheSOcalledattributeistheessentialcharacteristics．Generally，theattributesofaestheticobjectareperformanceasitsvalueattributes，thatis，itCanarousethedelightoftheappreciators．Taketheartworksoflanguageastheexample，thepoetry，novel，theatreandproseareallbringappreciatorsdelightonaestheticexperiencesthroughartlanguage．Theattributesoftranslationaestheticobjectaredifferent、杭tlltheothergeneralattributesofaestheticobjects，whichCanbesummarizedasfouraspects(LiuMiqing，2005：87-89)：1)Thefirstoneisthattheattributesofthetranslationaestheticobjectaredependonthesourcelanguage，especiallytheaestheticconstitutionofsourcelanguage．Thatistosay，onmatterhowbeautifulthetargettextis，thetranslatorCannotbetraysthemeaningorstyleofthesourcetext．Inotherword，thetranslationmustkeepthe29 西安J里_y-大学硕士学位论文principleoffaithfulness，onlyinthisway，cantheaestheticvalueberealized．2)Theaestheticattributesoftranslationaestheticobjectarecorrespondenttotheaestheticeffectsofthesourcelanguage．Thetranslationshouldachieveequivalence、^，imtheaestheticconstitutionoftranslationaestheticobjectinordertoletthetargettextgetthesameaestheticresultofthesourcetext．3)Theaestheticattributesoftranslationaestheticobjectallowtheflexibilityinsomeextent．Theaestheticconstitutionoftranslationaestheticobjectisakindofcomplexsystem，SOifitisdifficulttofindanexactequivalentwordintargettext，thetranslatorCantranslatethetargettextflexiblytogetthegoalofaestheticvalue．4)Theaestheticattributesoftranslationaestheticobjectwillbeaffectedbythedevelopmentofhistory．Sinceanycertainaestheticsubjectexistsinacertainsocialhistoricalenvironment，whichhasitspeculiaraestheticvalues，theaestheticsubjectCannotavoidofaffectingofthiskindofaestheticvalues．5)Theaestheticvaluesofaestheticobjecthavehierarchysincethegoodnesswhichcontainedinthesourcelanguageisnotequal，whileithasdifferentlevelofaestheticvalue．4．1．3TheTranslationAestheticObject--theTranslatedTextTherearetwoaestheticobjectsintranslation---theoriginaltextandthetranslatedversion(FuZhongxuan，1993：6)．IntheprocessoftranslatingtheChinesepoetryintoEnglishversion，theEnglishpoetryisthetranslatedtextwhichhasitsowncharacteristics．Forthepoetry,themostimportantaspectofthecharacteristicsisthestylisticfeatures．ThestylisticfeaturesoftheEnglishpoetryCanbesummarizedasfollows：ThefirstoneisfootofEnglishpoetry．Thespecialcombinationofstressedsyllableandunstressedsyllableiscalledfoot．ThesyllablenumberofafootCanbetwoorthreesyllables，andjustoneofitmustbestressed．AccordingtothefootnumberofanEnglishpoetry，apoetrylinewithonefootiscalledmonometer(单音步)，theonewithtwofootsiscalleddiameter(双音步)，theonewiththreelootsiscalledtrimeter(三音步)，theonewithfourfootsiscalledtetrameter(四音步)，theone CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSwithfivefootsiscalledpentameter(五音步)，theonewithsixfootsiscalledhexameter(六音步)，theonewithsevenfootsiscalledheptameter(七音步)，andtheonewitheightfootsiscalledoctometer(八音步)．ThesecondoneismetreofEnglishpoetry．ThemetreofEnglishpoetryisdividedbythesyllablenumberwhichcontainedinthefootandthepositionofthestressedsyllable．TherearesixkindsofmetreoftraditionalEnglish，whichareIambus(抑扬格)，仃ochee(扬抑格)，anapaest(抑抑扬格)，dactyl(扬抑抑格)，andamohibrach(抑扬抑格)．ThelastoneisthephonologyofEnglishpoetry．OneofthesignificantcharacteristicsofEnglishpoetryisapplyingtempoandrhythmtoachievethedesiredeffectofvarioussounds．ThephonologyofEnglishpoetrymainlyhasseveralforms，suchasalliteration，assonance，andrhyme(LiMengxin，2006：104-106)．Thealliteration，“alsoknownasheadrhymeorinitialrhyme，istherepetitionofthesamesounds⋯usuallyinitialconsonantsofwordsorofstressedsyllables”(Baldick，2005：5)Theassonancemeansthatthepoetstressrhetoricaleffectthroughtherepetitionofvowel．“Endrhyme，wherethelastwordofalinehasthesamefinalsoundasthelastwordofanotherline，sometimesimmediatelyaboveorbelow，sometimesoneormorelinesaway，ismostfrequentlyusedinthepoeticlanguage”(Baldick，2000：17)TherearemanydifferencesbetweentheEnglishpoetryandtheChinesepoetry，SOthepoetrytranslationofthesetwolanguagesistoomuchdifficult．Whilethiskindoftranslationisveryimportantsincethepoetrycontainsmuchculturalandtraditionalvalue，whichmakethiskindofresearchvaluableandmeaningful．LiQingzhao’SCipoemsshowthespecialChinesecultureandtraditionfromvariousperspectives．AsthetranslationobjectintheprocessoftranslatingChinesepoetryintoEnglishversion，theresearchofthetranslationofherCipoemshaveveryimportantresearchsignificance：1)ThisresearchfillsintheblankoftranslatingLiQingzhao’SCipoemsintoEnglishversionathome．Inrecentyears，thetranslationresearchandtranslationtheoryhaveagreatdevelopmentathome，whileitisnotenough，especiallytheEnglishversionresearchofChineseclassicalliteraryworksistheweaklink．Chinese 西安理工大学硕士学位论文traditionalcultureisbroadandprofound，andthesourceofitisdistantandthestreamlong．Thetranslationathomehastheresponsibilitytointroduceandextendtheexcellentliteraryworksofoutcountrytotheworld．TheresearchofLiQingzhaoisalwaysoneofthehotspotsofliteraryworksresearchofdomestic．WhilefewstudiesconcemedabouttheresearchofLiQingzhao’SCipoems．SotheresearchofEnglishversionofLiQingzhao’SCipoemshasthehistoricalmeaning．2)ThisresearchCanpromotetheextensionofnationalculture．TheculturecommunicationbetweenChineseandtheWesterncountryhasalonghistory,whichhasagreatpromotiontothedevelopmentofallthecountries．TheWesterncountriesunderstandChinesecultureisexactlybegunfromthetranslationversionofChineseclassicalliteraryworks，andfoundoutmanydifferenceswhichtheydidn’thave，SOthatthetranslatedversionCan’tavoidingthephenomenonofscattered，one．sidedanddistorted．Sotheprecisetranslationofclassicalliteraryworksisveryimportanttopromotethedevelopmentandintegrationoftheworldculture．3)ThisresearchCanrealizetheaimsofliterarystudy．Oneoftheaimsofliteratureresearchistograsptheessenceofliteraturethroughdifferentliterarystyleandphenomenon．Tobeoneofthemostrepresentativewriters，LiQingzhao’SCipoemshaveuniqueartisticconception．TheresearchonLiQingzhao’SCipoemsishelpfultothereading，understanding，graspingandresearchoftheWesterncountry’Sreaders．AndthedifferenttmderstandingwaysandresearchanglesofWesterncountryCanurgethedomesticresearchtochangethefixedview,andrevisitedthedomestictraditionalculturetoacertainextent．4．2TheTranslationAestheticSubjectAestheticsubjectreferstothepersonwhoprocessestheabilityofmakingaestheticjudgmentand，undergivencircumstances，istriggeredbytheaestheticobjecttopursueanactiveunderstandingofit(LinLi，1990：13)．Inthegeneralmeaning，theaestheticactivitiesofaestheticsubjectisbegin、析t11theaestheticelementsintheaestheticconsciousnesssystem，suchasthepsychologicalreactionformedbythetaste， CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSintention，emotion，will，conceptandSOon．Theunderstandingandappreciationofthebeautyandthereproductionandcreationofthebeautyarethedualtaskofaestheticactivitiesofaestheticsubject．Intheesthetics，theaestheticsubjectandaestheticobjectaretwoindispensableconceptsandcategories，andtheyareakindofinterdependentdialecticalrelationship，whichisthesameinthetranslationaestheticsubject(LiuMiqing，2005：168)．Thetranslatorsarenotwriters，neitherpureappreciator．LambertandRobinsviewtranslationlessasaninter---linguisticprocessandmoreasallintra--culturalactivity(Gentzer，2004：193)Thetranslatorsbearthedualtaskoftranslationtarget，whicharetheunderstandingandappreciationofthebeautyandthereproductionandcreationofthebeauty，whentheystepintothepracticecourse，theyhaveputthemselvesintotheactivitiesofaestheticdecodingofinformationandencodingactivityoftargetlanguageinthebeginningofthetranslationprocess．”Translationisbydefinitioninterlingualandintercultural，itinvolvesbothlinguisticandculturaltransfer；inotherwords，itisaculture-transcendingprocess”(Baker，Mona．2004：236)Sotheyhavetosubjecttothetranslationaestheticobject，whichistheoriginalworks．Thetranslationaestheticsubjectrestrictedbytheaestheticobjectisoneoftheattributesofaestheticsubject．Theaestheticsubjecthasanothermoreimportantattribute，whichistheinitiative，creative，andhighlyexcitationcapacitytotheaestheticpotentialofaestheticobject．InthecategoryofChineseaesthetics，theseattributesarecalledas‘‘subjectpracticality”．Therelationshipbetweensubjectandobjectisactiveandinteraction，itisdialecticalunity．Sowecansaythattheessenceofsubjectpracticeisaesthetic．Theaestheticsubjectrestrictedbythefeeling，knowledge，capabilityandtenacityofthetranslators．4．3TheAestheticReproductionofLiQingzhao’SCiPoemsThetranslationofCipoemsisdifferent、析tllthetranslationofotherliterarystyles，whichregardspureaestheticasanessentialcharacteristic，notthepracticeorutility．SomecharacteristicsofCipoemsCanbringreadersthefeelingsofbeauty，33 西安理工大学硕士学位论文suchastheconciselanguage，thesimpleform，thejumpingrhythm，theharmonioustempo，thenaturalassociation，andthebeautifulartisticconception，etc．Johninsistedthat“makethetranslationofapoemtoreadlikeapoemitself'’(JohnTurner，1976：10)，whichmeansthetranslators，shouldkeeptheessencecharacteristicsofthepoems．SongCialwayspayattentiontothebuildoftheartisticconception，SOtheEnglishtranslationofCipoemsshouldfirstlypursuethebeautyoftheartisticconception，thatis，tokeeptheoriginalCipoem’Sartisticconceptionasfaraspossible．Onlywhenhegraspstheessenceoftheartisticconceptionsoftheoriginalworks，Canthetranslatorfullyreproducethebeautyoforiginalworks．TheartisticconceptionoftheCipoemswhichbuiltbyLiQingzhaoalwaysbringreadersbeautyenjoymentfrommultiangles．Nomattertheaspectofrhythm，theaspectofemotion，ortheaspectofimageandpicture，theyallhavebeautytobeenjoyedbytheappreciators．4．3．1ImitationTheCipoemsshowtheirmusicbeautyofliteraryworks谢t11theiruniquelength，rhythmandmelody．GoodCipoemscanbringreadersbeautifulfeelings，asifthemusiclingeredintheairlongaftertheperformanceendedwhichsonorous，resoundingandprolonged．LiQingzhao’SCipoemshaveagreatachievementinthispart，herliterarycreationisnotonlyadherencetothisprinciple，butalsodosomeinnovationofherown，whichmaketherhythmoftheCipoemsbecomethemostincisive．Theimitationisthebasicmeasureofaestheticreproduction，aswellastranslation．Thedifferenceofpoetryfromotherliterarytypesliesinitsform．Formisnotthesumofpoetry，butwithoutform，thereisnopoetry(Owen，1992：103)．TheodoreSavoryoncesaid：‘‘Styleistheessentialcharacteristicofeverypieceofwriting；theoutcomeofthewriter’Spersonalityandhisemotionsatthemoment，andnosingleparagraphCanbeputtogetherwithoutrevealinginsomedegreethenatureofitsauthor”(TheodoreSavory，1957：54)．AndLiuZhongdeoncesaidthatthestyleiscompositebyparagraph，sentence，andwordfromtheperspectiveoflinguistics(LiuZhongde，1998：122—123)．Sointheprocessofpoetrytranslation，nomatterinthe applicationofform，ortheselectionofstyle，thetranslationworksshouldbemaintainingconsistencywiththeoriginalworks．Toachievethisgoal，thetranslatorshouldfollowthisprincipleintheprocessoftranslation，whichCanhelptohiglllightandreproducethebeautyoforiginalworksfromalltheaspects．SotheimitationisthebasicmeasuretothetranslationofCipomes．MentionoftherhythmbeautyofLiQingzhao’SCipoems，noonewillforgetoneofthefamousCipoemsTune：。Slow,Slow,Slow。声声慢ofLiQingzhao。thisCipoemwinuniversalpraiseandknowntoeveryhousehold．寻寻觅觅，冷冷清清，凄凄惨惨戚戚。IlookforwhatImiss；IknownotwhatitiS．IfeelSOsad，SOdrear，Solonely，withoutcheer．(XuYuanchong，2006：95)AftertheJingkangvariable，thepoetwasindeepsorrowofdefeatingcountryandlosinghome，thesceneoflosinghusband，landdegradationandpeoplebecomedestituteandhomelessmaketheliteraryworksofthisperioddesolatemelancholy．TheTune：“Slow,Slow,Slow”istherepresentativeworkofthisperiod．nlebeginningofthisCipoemleadsapersontoendlessaftertastes．111epoetusesaseriousofreiterativelocutions，whichsuddenlygivethereadersthefeelingofmildlymournful．T11esevenreiterativelocutionsarefullofmusicbeautywithstrongrhyme，whichmakethereadershearasifaSanyoungladyiscrooningandpouredouthergrief．Everytoneisstrengthenedbecauseoftherepetition，whichoutlinethekind^●‘一●otpsychologicalchangingprocessofdisappointment，loneliness，anddepressivevividly(WuJunru，2009：112)．35 西安j星-r_大学硕士学位论文Thefirstlineandsecondlineoftranslationtexthavethesameendrhyme，andthethirdandfourthlinehavethesameendrhyme，whichhighlightsthemusicbeauty，suchasmissand括，drearandcheer；andthetranslatorusethreepairsofso+adj，thosethreewordsofsad,drear，andlonelyexpresssadmoodofthepoet，andtheadditionofasobeforethesethreewordshighlightstheheartbrokenfeelingofthepoet．Thisparallelstructureimitatesthereiterativelocutionsoftheoriginalwork，andtransferthebeautyofthereiterativelocutionsoftheoriginalwork．ThelastlineofthisCipoemis：梧桐更兼细雨，到黄昏，点点滴滴。这次第，怎一个愁字了得!Onplane’SbroadleavesafineraindrizzlesAstwilightgrizzles．Oh，whatcarlIdo谢magriefBeyondbeliefl(XuYuanchong，2006：95)Inthistranslationversion，twolinesareinthesamerhymewhichisclearandstrong．Thesefourlinestranslationversioncontainastrongpronunciationchangefrom／Z／to／S／，thetongue，dentalandlabialarecrossoverlap，whichrevealthepathossufferingofthepoetatthattime，andproducethemusicbeautyoforiginalworktoacertainextent．OneofLiQingzhao’SrepresentativeworkTune：“LikeaDream”如梦令memoriesofapleasantouting：如梦令常记溪亭日暮，沉醉不知归路。 CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMS兴尽晚回舟，误入藕花深处。争渡，争渡，惊起一滩鸥鹭。Tune：“LikeaDream’’IoftrememberwhatahappydayWepassedincreeksidearbourwhenitWasglooming，Drunk，wereturnedbyboatandlostourwayAndstrayedoffinthethicketoflotusesblooming，Getthrough!Getthrough!Startled，aflockofheronsfromthesandbankflew．(XuYuanchong，2006：57)Thepoetplaysinthestream，drinksthewine，anddoesn’tfinditisintheevening．Onthewayback，thepoetstrayinginthelotuspooldepths，thensherevelinthiskindofsurpriseandbeautifulscenery．nlewholeCipoemfilled、砘tllthehappymoodofthepoetandthestrongvitalitywhichshefelt．ThepoetpuRingthescenery，theobjectandthepeopletogether，whichexactlyconstituteacompleteartpicture(LiuXiaofeng，2004：123)．InthetranslationtextofthisCipoem，thetranslatorexpressthepoet’Shappymoodandstrongvitalitywhichshefeltintheoriginalworkbyclearandloudrhyme，thusthetranslatorimitatethehappytoneoftheoriginalwork．IntheChineseversion，theendrhymeis／u／incharacters“暮”，“路"，and“处”，andintheEnglishversion，thetranslatorcontinuetousetheendrhyme／u／incharactersthrough，flew；／ei／incharactersday，way．TheendrhymeofChineseversionis／u／whichhasalivelyrhythm，andbringspeoplethefeelingsofcomfortableandcheerful(WangLing，2008：50)．Thoseseverallineslooklikeafreewriting，butthesentencescontainaprofoundmeaning，altematebetweentheleveltonesandobliquetones，whichCanbeableto37 西安理工大学硕士学位论文readaloudeasilyandfluently．Forthetranslationof“争渡，争渡”intheoriginalwork，thetranslatorimitatethecharacteristicsoftheoriginalwork，whichistousetherhetoricgimmickofrepeat，inthisway，thetranslationworkisnotonlyreducesthelanguagecharacteristicsoforiginalwork，butalsohighlightstheimpatientwhenthepoetislatetogettohomeandthescenerythatthepoetstrugglingtoboatinginthelotusp001．ThemusicbeautiesdisplayedbyLiQingzhao’SCipoemsaredifferentwiththedifferenceofthemoodwhichthepoetrywantstoexpress．TheCipoemsshowsthemusicbeautywhenthepoetexpressherfeelingandemotion．Sointhetranslationprocess，thetranslatorshouldimitatethelanguagestyrlewhichchosenbythepoetintheoriginalwork，usingproperwords，andcreatetheuniquemusicrhythminthetranslationwork，thus，reproducingthemusicbeautyoforiginalworkasfaraspossible．4．3．2EmpathyTheartisticconceptionofLiQinghzhao’SCipoemsisalwaysstereoscopic，whichisfeelingexistinscenery，andsceneryexistinthefeeling，SOastocreateakindofbeautywhichisafusionoffeelings、析ththenaturalsetting．Shealwaysusesthetechniqueofoutlinedrawingandnarrative，whichcallcloselyconnectthepeopleandthingsandletthemblendintheenvironmentatthattime．So，herCipoemsCanalwaysdepicttheinnerworldofcharactersintheprocessofdescribingthesettings．Whileinthetranslation，themaintaskofaestheticempathyissituationandemotion，whichrequirethetranslatorexpressemotionbythesituationandusethemeansofaestheticempathyinthetranslationwork．ThepoetwroteintheTune：“Silk-washingStream”玉鸭薰炉闲瑞脑，朱樱斗帐眼流苏。通犀还解辟寒无。Unlitthecenserandunburntthecamphorstay； CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSThecurtain，cherryred，Falls、析tllitstasselsspread．Couldtherhino·hornkeepmychamber’Scoldaway?()(UYuanchong，2006：107)Thespiceidlesintheduckshapedsmokedfurnace，theredbucketcoversthetassels，andthehostessdoesn’tknowwhetherthe‘‘tongxi”whichstayinthebucketCanremovetheloneliness．Thepoetrevealsthehostess’Smentalityofdistressanddesolatemoodbyuseofthethreethings：idledspice，bucket谢tlltassels，and“tongxi”．Inthetranslation，Mr．Xuuseunlitandunburnttopolishtheincenseburnerandcamphoratthesametime，whichexplainthattheincenseburnerhasn’tbeenused，andthecamphoralsoleavesunused．Atthesametime，theuseofstayshowsthefeelingof“闲”i11thefirstlineofthesecondpartoftheCipoem，whichdescribethefeelingofboredomofthepoetwhenshedoesn’tburningincense．Thewordofspreadshowsoutthemessyconditionwhenthehostessletthebucketdown，whichillustratedthatthehostesshasnodesiretocleanthehouse．ⅢSkindofsceneasifletthereadersseethatthehostesspaceinthehouseandhasnodesiretodoeverything．ThereadersevenCanfeelthehostess’Sloneliness．Thetranslationsuccessfullyusetheempathytoreproducethefeelingthatthepoetsustenanceinthesettingsintheoriginalwork．TheCipoemTune：“SympathywiththePrince”怨I孙Canalsogivethereadersthescenesbeauty：怨王孙帝里春晚，重门深院。草绿阶前，楼上远信谁传?恨绵绵。39 西安理工大学硕士学位论文多情自是多沾惹，难拼舍，又是寒食也。秋千巷陌人静，皎月出斜，浸梨花。Tune：“Sympathy、析tllthePrince”Inthecapitalspringislate；Closedarethecourtyarddoorandgate．Beforethemarblestepsthegrassgrowsgreen；Intheeveningskynomorewildgeeseareseen．Whowillsendfrommybowerlettersformydear?Long，longwillmygriefappeartThissightwouldstrikeachordinmysentimentalheart．CouldIleavehimapart?AgaincomesColdFoodDay．Inquietlanetheswingwon’tsway；TheslantingmoonstillshedsherlightTodrownpearblossomswhite．()(UYuanchong，2006：25)ThisCipoemwhichiswroteafterherhusbandlefthomesustenanceinherthoughtsoflove．ThisCipoemcreatestheartisticconceptionofafusionoffeelingswiththenaturalsetting，whichinterspersedsettingdescriptionwiththefeelingsexpression，anddescribethethoughtsoftheirlovedones．Thesceneryofgrass，wildgoose，moonlight，andpearallexpressthatthepoetmissherhusbandSOmuch．Thelastthreelinesdescribethepearinthemoonlight，whichrenderingakindofsilentdesertedatmosphere CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMS111thetranslationofXuYuanchong，the“多情”intheseventhlineoftheoriginalworkistranslatedtosentimentalheart，thewordsentimentalisnotonlyreflectthemeaningof“多情”，butalsoimpliedthelonelinessofhostessandthesentimentwhenshethoughtaboutherrelatives．Theeighthlineistranslatedintoarhetoricalquestion，althoughthislineiseasytounderstand，thesentencepattemofrhetoricalquestionismoreprominenthostessfeelingsof印art，andthereadersCandirectlyfeelthehostess’Sgriefandloneliness．Inthethirdlastwords，thetranslatortranslatethe“巷陌人静”toquietlane，thetranslatordoesn’tfollowtheprescribedordertotranslatethe“人”intheoriginalwork，butusethequiettopolishlane，whichismoreprominentthesilenceofthealley．Inthelastline，thetranslatortranslatethe“浸”todrown，whichdisplaythestatethatthepeardrownintothemoonlight，andexpressthecoldthatthepeardisclosed．Atthismoment，thetranslatorsuccessfullymergestheinnermiss嘶mthelonelypear，whichexpressthehostess’Sinnerlonelyvividlyandskillfully．Thefusionoffeelings、析ththenaturalsettingofLiQingzhaocanbesaidreachedthepeakofperfection，nomatterthekindoffresh，ofthekindofdignifiedandelegant，orthekindofmiserable，candisplaythepoet’Spursuingforallthebeautyfromdifferentthingsanddifferentangles．Thus，itcomposestheuniqueartisticconceptionbeautyoffusionoffeelings、析tllthenaturalsetting．Sothetranslatorshouldgrasptheuniquenaturalsettinginthetranslationwork，andshowtheartisticconceptionoftheoriginalwork，atthesametime，thetranslatorshoulduserefiningandskillfulwordstoexpressthefeelingoftheoriginalwork．Thenachievethestateoffusionoffeelings谢tllthenaturalsettingfnally，andreproducethescenebeautyoftheoriginalwork．4．3．3SymbolizationTheliteraryworksshouldhavethetruesenseimageiftheymeantoachievelastingvitality．TheimageCandirectlydisplaythepoet’Sthinkingandshowittothereadervividly．LiQingzhao’SCipoemsCanwidelycirculatedisexactlybecauseofthedifferentimagesshecreated．Thesymbolizationisagoodmeanstocreateimages，andLiQingzhaousesitinherCipoemssuccessfullyandskillfully． 西安理工大学硕士学位论文OneoftherepresentativeworksofLiQingzhaoisTune：“LikeaDream”令thisCipoemhasalluniquedesign，andusageofthewordisverysmart．ThewholeCipoemismildandtortuous，yetfreshandbeautiful．AlthoughthewholeCipoemhasonlysixlines，itisfulloftransition．ThisCipoemreflectsthepoet’Sleisuredandelegantlifestyle，whichbeautifulfresh，andlikenatureitself,theCipoemhasvigorouslyricalatmosphere，andcreateabeautifulartisticconception(LiuXiaofeng，2004：122)．AlthoughthisCipoemisapoemwhichsadforspring，itdoesn’tdescribethewitheredflowers，orthemelancholypoetdirectly．ThisCipoembuildsthelatterspringatmospherefromsideofauditoryandvisual，whichenablesthereadersformsubjectivefeelingsfromtheobjectivesettings，andexperiencethepoet’Ssadnessbepersonallyonthescene．如梦令昨夜雨疏风骤，浓睡不消残酒。试问卷帘人，却道海棠依旧。知否?知否?应是绿肥红瘦。Tune：“LikeaDream’’Lastnightthewindblewhardandrainwasfine；Soundsleepdidnotdispeltheaffertasteofwine．Iaskthemaidrollingupthescreen．“Thesamecrab—appletree，”shesays，“isseen．’’“Butdon’tyouknow，Odon’tyouknowTheredshouldlanguishandthegreenmustgrow?”(XuYuanchong，2006：5) CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSThisCipoemhasaverypraiseoneforthepeopleoftheworld，whichisthelasttwolinesintheoriginalwork，andthelastthreelinesinthetranslationwork．ThislineinthisCipoemCanbethemostfamouslinewhichacceptedbythepublic．Thepoetuse“肥”topolishtheleaveswhichlushandmastbecauseofthesufficientwateraftertherain，SOtheword“肥”isusedbythepoettosymbolizethelushstateofthegreenleaves；andthepoetuse“瘦”topolishtheflowerswhichfadeandscarcebecauseoftherain，SOtheword“瘦”isusedtosymbolizethefadestateoftheflowers．111thetranslation，thetranslatortranslatethe“肥”intogrow，andtranslate“瘦”intolangu&h．Theusageofadjectivessuchas“肥”and“瘦”whichoftenbeenusedtodescribepersontodescribeflowersandleavesisakindofpersonification．Andthe“花瘦”isusedtosymbolizethepoet’Simagesofwastingawaybecauseofthesorrowofparting，whichisfullofimagebeauty．AnothermasterpieceisTune：“RichinBeauty’多丽，whichemphasisonthesymbolicmeaningofchrysanthemum，andhaveprofoundmeaning．Andconnectthechrysanthemum、航mtheallusionof／can’fchangetheambitiontofollowthesecular不能变心而从俗andIcannotmakecurtsiesforthesalaryoffivebushelsofrice为五斗米抚睃，whichhighlightsthesymbolicmeaningofchrysanthemum。andhavethemoretheheavysenseofhistory(LiPing，2005：139—140)．ThisCipoemusesmanyallusions，whichhighlightstheindependentspiritandfreshandnobletemperamentofchrysanthemum，andatthesametime，expressthedissatisfactionofpoettotheputridanddirtysocialatmosphere．细看取，屈平陶令，风云正相宜。Ifwetakeacloserview，Wewillfredyourallure43 西安理工大学硕士学位论文Justliketwoancientpoetspure．()(UYuanchong，2006：75)Thesethreelinesindicatethatthecharmandfeelingofchrysanthemumissame丽t11theQuYuanandTaoQian．Theybothdetesttheworldanditsways，andcomeoutofthedirtymudunsoiled出淤泥而不染．ThepoetusesthewhiteelegantspiritofchrysanthemumtosymbolizethespiritofQuYuanandTaoQian，andatthesametime，expresshernoblemoralcharacterandsentiment．Thefirstthreelinesofthesecondpartoftheoriginalworkare：渐秋阑，雪清玉瘦，向人无限依依。Whenlateautumndaysfade，You’repureassnowandthinasjade．(XuYuanchong，2006：75)InthisCipoem，thechrysanthemumsymbolizethequalityofaperson，whileinthetranslation，thetranslatorusethewordyouinsteadofallthesubjectofchrysanthemum，thewordyouhererefertothechrysanthemum，whichsymbolizethespiritofdetestingtheworldanditsways，andwhiteelegant．Atthesametime，thetranslatorusesthewordpuretosymbolizethecleanandhonestspiritquality，whichexpressthedeepmeaningof“清”intheoriginalworkvividlyandconcisely．TheusageofsymbolizationisthemainreasonofvividimageinLiQingzhao’SCipoems．TherhythmofLiQingzhao’SCipoemsisverystrong，whiletheimageswhichshecreatesinherCipoemsaredifferent．Someofthemaresadwithered，butsomeofthemarenobleandelegant．Sointheprocessoftranslation，thetranslatorshouldemphasisonnotonlyexpressingrichemotions，butalsoestablishingelegant CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMSimages，andreproducetheimagebeautyofYiAnCipoemsthoughdepictingcharacteristicindividualimages．4．3．4PersonificationExpressingorreproducingthedynamicstateiswhattheChineseclassicalpoetrypursuing，whichemphasizeandpursuethedynamicstateofthebreathoflife(LiuLin，2001：98)．LiQingzhaoalwaysusesthemeansofpersonificationwhensheexpressesheremotionandfeeling，andthenpaintsavividdynamicpicture，whichenablesthereadersfeelnotenoughandCan’tstopaftertheyfinishtheCipoem．TheTune：“PartridgeintheSky”鹧鸪天isaliteraryworkofpraisingthesweet-scentedosmanthus．LiQingzhaohaswrittenmanyliteraryworkswhicharepraisethesweet-scentedosmanthus，whiletheliteraryworkwhichrespectacertainflowerasthefirst-classisonlythisone．Thepoetpraisestheinnerbeautyofsweet—scentedosmanthus，appreciatesthelightcolorflavorandsoftinnercharacteristic，andalsoexpressesherdeepthought；atthesametime，displaythatthequalityofthesweet-scentedosmanthusisexactlythepoet’Scharacteristicsofamongthesecular，andtallandstraightinthetroubletimes．梅定妒，菊应羞，画栏开处冠中秋。骚人可煞无情思，何事当年不见收?Enviousmumesshouldgrow；Chrysanthemumsfeelshy；BybalustradesyoublowUndermid-autumnsky．ThepoetQumustbeinsensibleofyourbeauty，OrhowcouldheforgettopraiseyouWashisduty?(XUYuanchong，2006：79)45 西安JE．y-大学硕士学位论文Thepoetlikethemume，andhaswrittenmanypoetriestopraisethemume．Themumebloomalonefacingwiththecoldandsnow，andforecastthecomingofthespring，whichiselegantandfragrance，andisappreciatedbytheliterati(LiuYu，1990：81)．Whilethenobleflowerlikemumeenvythesweet-scentedosmanthus，whichisenoughtosetofftheexcellenceofsweet-scentedosmanthusbycontrast．Thechrysanthemumisalsoakindofflowerwhichispraisedbypeople，QuYuanandTaoQianetc．havethebeautifulversewhichpraisethechrysanthemum，whilethechrysanthemumwhichispraisedbytheliteratihavetofeeldeficiencyofflavorwhenitiscomparedwiththesweet-scentedosmanthus．Theword“菊羞”successfullyreflecttheexcellenceofsweet—scentedosmanthus．Andatthesametime，itseemsthatthereadershaveseenthejealousyofthemumeandtheshynessofthechrysanthemum．Thewordsofenviousandshyareoriginallythewordswhichusedtodescribethepeople，thetranslatorusethosewordsherewhichappearslivelyandnaughty，andCanattractreaders’attention．Thetranslatorusethewordgrowhereinthefirstlinecannotonlyformtheneatrhyme谢tllthewordblowinthethirdline，butalsohighlightsthegrowingjealousyofchrysanthemum，SOastomakethisimageveryvivid．InherCipoemTune：。SympathywiththePrince。怨王孙，thepoetpaintallautumnlandscapeinthefirstpartofthisCipoem：怨王孙湖上风来波浩渺。秋已暮，红稀香少。水光山色与人亲，说不尽无穷好。莲子已成荷叶老，清露洗， CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMS菽花汀草。眠沙鸥鹭不回头，似也恨人早。Tune：“Sympathy、析t11thePrince”The谢11dblowsonthelake，raisingwavesfarandnear；Inautumnlatefewflagrantflowersredappear．Butmountainsmirroredinwaterbecomemyfriend．Revealingtendernesswithoutanend．Thelotusseedsareripeandleavesgrowold；Indewaresteepedthereedsandduckweedscold．ThegullsandheronsonthesandbarseemtohateThosesight-seerswhowillnotlingerlate．(XuYuanchong，2006：7)Thepoetdidn’tdescribethescenerylikethecommonliteraryworkswhichjustexpresshowmuchtheylikethescenery，whilesheusethefourthlineofthisparttomakethenatureemotional．Thewaterandmountainsareoriginallyhavingnoemotion；LiQingzhaowasfullofprideandlovedthebeautifullandscape，SOsheWasovercomesbyherfeelingstoembracethenature，andclosetothenature．Theskillfullyusageofthewordrevealingbythetranslatorgivethemountainsandwatertheabilityofspeaking，asifthemountainsandwateraretellingthebeautifulandmeaningfulofthescenerytothepeopleendlessly．TherearedifferentapproachesbutequallysatisfactoryresultsgoodbetweenthelasttwolinesoftheCipoemandthelinesjustmentionedabove．Thesetwolinessubvertthe“与人亲”inthefirstparttothehateofthegullsandherons．Thepoetlovethiskindofinfinitegoodscenery，whilesheiseagertobackhome，atthismoment，theimageofindignantgullsandheronsstandonthesandsdescribethenostalgiafeelingofthepoettothebeautifulscenery．Thegullsandheronshatethepoetback47 西安理工大学硕士学位论文hometooearly，andcannotappreciatethenaturalbeautifulscenery；afterthereadersfinishthisline，itseemsthatthereadersCanseethebeautifulsceneryandthegullsandheronswhichstandwithoutlookingbackbythemselves．Thetranslatorusethewordhatetohighlightstheindignantmoodofthegullsandherons，whichistheusageofpersonification．Thegullsandheronsblamedthevisitorbackhometooearlyandcannotappreciatethebeautifulscenery．HowthiskindofemotionalgullsandheronsCanletpeopledoesn’tlikethem?LiQingzhao’SCipoemshaveSOmanypersonificationsentenceswhichappreciatedbythereadersallthroughtheages．HerCipoemsCanformadynamicpicture，andCanbringreaderstothedynamicartisticconception，whichenablesthereaderswanderinginitendlessandindulgeinthispleasureswithoutstop．Sointhetranslation，thetranslatorshouldpayattentiontotheusageofpersonification，graspthedynamicimageswhicharedescribedbytheoriginalworks，SOastoreproducethedynamicbeautyoftheoriginalworkinthetranslation．4．3．5Metaphorisakindofmeanswhichuseanotherthingtodescribethethingyouwanttoexpressbyassociationwhenthetwodifferentthingshavesimilarities．ThemetaphorCansimplifytheabstractoresotericthing．TheCipoemsofLiQingzhaoalwayseasytounderstand，whichisexactlyprofitfromtheusageofmetaphorcorrectlytoacertainextent．Forexample，aCipoemwhichchantofosmanthusfragranscalledTune：|'Silk-washingStream’‘摊破浣溪沙揉破黄金万点金，剪成碧玉叶层层。风度精神如彦辅，太鲜明。 CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQINGZHAO’SCIPOEMS梅蕊重重何俗甚?丁香千结苦粗生。熏透愁人千里梦，却无情。Tune：”Silk-washingStream”LengthenedFormYourblossomsliketenthousandgoldengrainsSOlight，Yourleaversseemcutfromthinsheetsofemeraldbright，Yourspiritasamirrorreflectingthesky，Loftyandhigh．Howgaudylookthemumeblossomsbeforeyourflowers!FromknottyshrubsoflilacsSOrrOWfailsinshowers．Whyshouldyourfragrancewakemefrommyfar-offdream?Heartlessyouseem!(XuYuanchong，2006：39)ThisisaCipoemwhichchantsofflowers诵mtheimageoftheflower，stateoftheflowerandtemperoftheflowertoexpressthefeelingofthepoet．Inthefirstpart，thefirstlinedescribetheosmanthusfragrans，theflowerislinkedtothegold，whilesoftthangold，andlightthangold，SOitcanbegrowinthetree．Thisisasentence、^，itllthemetaphorandpointoutthethemeofosmanthusfragrans．Thesecondlinedescribestheleavesofosmanthusfragrans．Inthethirdline，thepoetusesapersoncomparedtothething；shethinksthemannerofosmanthusfragransisjustlikeYanfu．Inthesecondpart，thepoetcomparedosmanthusfragranswithmumesandlilacs，whichbringouttheeleganceoftheosmanthusfragrans．Inthetranslationversion，thetranslatorbeginswiththreeallegorysentences，whichconciseandfluent．Heusethewords‘‘like”，“seem’’and“as’’whichpointoutthatthesentencesareusethemeansofmetaphor，thesethreesentencesdescribethe49 西安理工大学硕士学位论文shape，theappearanceandthespiritoftheosmanthusfragransdirectlyandclearlywhichgivethereadersaclearperceptionoftheosmanthusfragrans．ThisCipoemfocusesonthepositivedescriptionofthebeautyofosmanthusfragrans，whichdescribesfromimagetospriteandfromsurfacetoenssencetoexpresstheeleganceoftheosmanthusfragrans，andshowsouttheromanticcharmofit．Atthesametime，italsousesthemeansofmetaphorwhichgivestheosmanthusfragranslife，andenablesthereadershaveavividfeelingandclearimageoftheosmanthusfragrans．AnotherCipoemTune：t'AuspiciousPartridge。瑞鹈鸪ofLiQingzhaoalsousesthemetaphortoshowthefeelingsofthepoet：瑞鹧鸪风韵雍容未甚都，尊前柑橘可为奴。谁怜流落江湖上?玉骨冰肌未肯枯。谁教并蒂连枝摘?醉后明皇倚太真。居士擘开真有意，要吟风味两家新。Tune：”AuspiciousPartridgeYouaregracefulthoughnotsumptuousintheleast；Likemandarinescalledlittleorangesinthefeast．WhopitiesyouplantedbytheriversideWithyourjade--likebonesandice-·likeskinnotyetdried?YoulookasiftwinbranchesoneachotherleanOrthedrunkemperoronhisfavoritequeen．Onpurposetherecluseputsyouap积 CHAPTERFOURTHEAESTHETICREPRODUCTIONOFLIQ1NGZHAO’SCIPOEMSSoyoumaysingatruelovesongfromhearttohean．(XuYuanchong，2006：77)Thefirsttwolinesdescribetheimagesofginkgofruit；ithasagoodman／ler，fullofflavor，andisliberalanddignified；theorangesarethegoodfruit，whilecomparedit谢tlltheginkgofruit，theorangeswillshowthewhitefeather．Thethirdlineisaquestionsentence，thepoetusethislinetoshowherpityoftheginkgofruit．Inthefourthline，thepoetuses“玉骨冰肌”todescribetheginkgo，whichhighlightsthenoblecharactersandmoralintegrityofnotassociatingherself、^，itllundesirableelements．Thefifthandsixthlinesdescribethatsomeonepickthetwinginkgos，thetwinginkgosjustlikethelovingemperorandherfavoritequeenwhocuddlingandwereonveryintimatetermswitheachother．Thelasttwolinesshowoutthelovebetweenthepoetandherhusband，theyloveandcareeachother丽thagenuinesandsincerehean．InthisCipoem，thepoetmakesfullofmetaphor，takesthetwinginkgostothemagiandtotheloverswhocomewitheachother．Inthetranslatedversion，thetranslatorfirstlyusesaword“like’’inthefirsttwolines，whichisausageofthemeansofmetaphor，comparetheginkgos诵tlltheoranges．Inthefourthline，theword“玉骨冰肌”istranslatedintotwowords，the‘'jade-likebones’’and“ice-likeskin”，thetranslatorusetwocompoundadjectivestodescribetheginkgos，thetwocompoundadjectivesareusedtomodifiedthe“bones’’and“skins”whichisavividusageofmetaphor．Inthefifthline，theword“asif’highlightsthemeansofmetaphorwhichisusedtodescribethetwinginkgos，andinthesixthline，thetranslatorregardsthetwinginkgosas“thedrunkemperor’’and“hisfavoritequeen”，thislinemakestheusageofmetaphortotheextreme．LiQingzhaoisgoodatusingmetaphor，shehasakeeneyeandrichimagination，andsheCanalwaysfindsimilaritiesintotallydifferentthings，andoRensurprisespeople、航mperfectwordsinherCipoems．ThemetaphorsinLiQingzhao’SCipoemsaredelicateandfantastic，andhaveas够leofherown．SheCanusethemetaphortomaketheprofoundtrutheasytounderstand，maketheabstractthinsconcrete，andmakethegeneralizedthingsvisualized，andsheleavestheimaginaryspacetothe 西安理工大学硕士学位论文readerssometimes，whichenablesthereadersfeelandappreciatebythemselves．Sointhetranslationversion，thetranslatorshouldknowthethoughtsofthepoet，thetranslatorshouldrealizewhenheCanusethemetaphorlikethepoet，andwhenheCanusethemetaphoreventhepoetdidn’tuseanobviouswordtoshowthemetaphor．Thegooduseofmetaphorwillgivethetranslationversionsamevividfeelingsastheoriginalworks，whichenablesthetargetlanguagereadersappreciatethesamebeautyoftheliteraryworksinthesamewayasthesourcelanguagereaders． CHAPTERFIVECONCLUSIONFIVECONCLUSION5．1MajorFindingsThisthesismainlydiscussesthetranslationofCipoemsbyusingthetheoriesoftranslationaesthetics．LiQingzhao’SCipoemsareusedinthisthesisastheexamplestodotheresearchindetail．Itispointedoutinthethesisthatifana孕eementbetweentheoriginalliteraryworkandthetranslationversionistobereached，sucheffectivemeansasimitation，empathy,symbolization，personificationandmetaphoraretobeusedinordertoreproducethevividartisticconceptiontothetargetlanguagereadersasperfectlyaspossible．ThethesishascometosomeconclusionsafterstudyingthetranslationofCipoemsfromtheperspectiveoftranslationaesthetics．Firstly,ChineseCiPoetryisagoldtreasurewitllitsuniquecharacteristicsandalonghistory．TheChineseCipoemsCanbecalledthemodelofancientliterature，whichnotonlyreflectthepeople’Svaluesandaesthetics，butalsoahighlyconcentratedspiritualcivilizationofOurnation．TheenduringcharmofCipoemsisduetothebeautyofthefar-reachingartisticconception，whichisauniquefeatureofChineseCipoems．TheartisticconceptionofCipoemscontainstheimagebeauty,thepaintingbeauty,themusicbeauty,theimplicitbeauty,andthetragicbeauty,SOtheextensiveresearchontheCipoemsistheimportantandnecessarystepforthetransmissionofthemtotheworldbymeansoftranslation．Secondly,thecombinationoftranslationandaestheticsisamajorfeatureofChinesetranslationtheories．Domestictranslationscholarsholdthebeliefthatthecombinationoftranslationandaestheticsshouldbaseontranslationandusingtheaesthetictheoriestoguidethetheoriesandpracticeoftranslation．Then，thisthesisstudiestheartisticconception，whichshowsthatifthetranslatorwantstoreproducetheartisticconceptionoftheoriginalliteraryworks，besidesexperiencingtheoriginal、Vorkswithheart，andappreciatingtheoriginalworks诚madeepfeeling，thetranslationmethodwhichisusedinthetranslationprocessisvery53 西安理工大学硕士学位论文important．Allinall，theresorttotranslationaestheticsinthetranslationfieldisnecessaryinthattranslationaestheticsisthecombinationoftranslationandaestheticswhichopensanewfieldtotranslationtheoriesandpractice．ThereproductionoftheartisticconceptionistherequestwhentranslatingtheChineseclassicalpoetry,andprovidesthepossibilityforforeignreaderstoappreciateourtraditionalculture．Thesetwopartscomplementeachother．Thetranslationaestheticsprovidesthetheoreticalbasisforthereproductionoftheartisticconception，atthesametime，thereproductionoftheartisticconceptiontestsandverifiestheimportanceoftranslationaestheticsfromtheaspectofpracticalexperience．5．2LimitationsDuetothelengthofthethesisandtheauthor’Sscopeofknowledge，thereareinevitablysomelimitationstothethesis．Forexample，thisthesisonlytakesLiQingzhao’SCipoemsasthesubjectofstudy,SOthescopeoftheinvestigationisnotbroadenough．Atthesametime，thetranslationversionsofLiQingzhao’SCipoemsarelimited，andthisthesismainlytakesLiuMiqing’Stranslationversionsastheexamples．Therefore，onethingshouldbepointedoutisthattheauthorisn’tsupposedtosolvealltheproblemsthatmightbeencounteredinthetranslationprocesswhenonetranslatestheCipoems，butjusthopestoprovidesomeideasaboutCipoemstranslationforother仃anslatorsandcritics．Thestudyofthisthesismaynotbeprofoundorcompleteenough，anditmaynotbeaworkofhighacademicvalue，thus，thereisundoubtedlystillroomforimprovementandexploration．Itishopedthatmoreresearchersinthetranslationfieldaretodomorein-depthstudiesabouttheaestheticreproductionoftheartisticconceptionsofCipoemsinthefuture． 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ACKNOWLEDGEMEN。TIavailmyselfofthischancetoshowmysincerethankstoallthosewhohavehelpedandtaughtmeduringmypreparationofthisthesis．Here，1wouldliketoexpressmyheartfeltgratitudeandgreatappreciationtothem．Myfirstandforemostthanksgotomysupervisor,ProfessorCheMingmingforhervaluableencouragementandsuggestions，aswellaSherselflesshelpandstrictdemandsduringmypreparationofthisthesis．Withoutherstrictyetencouragingdirectionandhelp，thisthesiscouldn’thavebeenfinishedeaSily．MysinceregratitudeandrespectalsogotoProf．LiQingming，Prof．YinPi-an，Prof．JiaLipingandProf．SongGairongfortheirimpressivelecturesduringmypostgraduatestudy．Inaddition，1wishtoexpressmyappreciationtoalltheotherprofessorsandteachersintheSchoolofHumanityandForeignLanguageStudies，withoutwhosehelp，Icouldneverbeabletoconductmywenstudiesinthisthesis．Finally,1wouldliketoshowmygratitudetoallmyfamilymembersandfriendswhohavebeenencouragingmeallthewayinmywritingofthisthesis．