Original Poem Research Articles

A Study on Translation Strategies of Image in The Book of SongsThe Book of Songs, Translation Strategy, Image, Comparative Study

The Book of Songs is one of the earliest collection of poetry in China. It is also one of the earliest collection of poetry in the world which has great influence in the history of Chinese literature and in the history of world literature. There are a lot of cultural images in The Book of Songs, which adds vividness and artistry to poetry. The quality of image translation is closely related to the overall quality and artistic effect of The Book of Songs. The abstractness and complexity of cultural images bring great challenges to translators. And it is a subject worthy of further discussion. In the image translation of The Book of Songs, there are intralingual differences between ancient Chinese and modern Chinese, and the interlingual differences between Chinese culture and English culture. How to correctly understand the images in the original poem and make the target readers understand the image the original poem is intended to express is still a difficult problem. The translations produced by translators have a direct impact on whether Chinese culture can be actively spread. This paper takes three English versions of The Book of Songs respectively by James Legge, Xu Yuanchong and Wang Rongpei as examples for a case study. By comparing the three translators’ translation strategies in dealing with images in The Book of Song, it points out that in translating the images, they applied various translation strategies, for the intralingual and interlingual differences which lead to the difficulty of understanding. It makes a comparative study that serves to understand the image translation strategies by different translators, and also provides new ideas for poetry image translation in the future.

Signs, and: Not knowing what to do with my hands …

Signs, and: Not knowing what to do with my hands … Aksinia Mihaylova (bio) Translated by Marissa Davis (bio) Signs Below the horizon, a boat skims the sea.The air conditioners drip ink.Starving gulls twist above salt marshesin ellipses—shelterfor black salt, for white saltstill untouched by autumn rain.Like headstones taken off their tombs,two birds straying from the flockfall a half-meter from the patiowith an elegiac cry. In the parking lot,an already-dead languagecrumbles into syllables of stoneover the cars. A stinging dust coats Ovid—but it is too late to gatheromens, too late to read them. I am not here in these pages of radiant frothflooding the banks of our parallel solitudes.I am not on that patio. Not above the roofs.I had made it to the heart of man,distanced myself from myself—but our liveslasted several times that of Godwearing man's soul.And I returned to me. The afternoon is calm. I study a horizonthat has not moved for years,waiting for the words tossed to space to return— [End Page 158] like orange blossoms, like an ache—so I can touch themand take them into me. Now I write:I do not look for signs on the water's surfacewhen you are in Sète and I in Crimea.In a place of love,there is no need for language. But you don't read Cyrillic.The air conditioners drip ink. [End Page 159] Not knowing what to do with my hands … Not knowing what to do with my hands,I clutch a basket of figs to my chestas he walks away from the garden of joy,buttoning the last ray of sunlightto his Adam's apple. Tomorrow, he will locka watercolor depicting the desireto change his lifein the day's lowest drawer again; he will shake my smell off his skinlike a bee shakes acacia pollen from its legs; he will regain his place among the statuesthat spread manuscripts over their headsfor a sky. I believed I had planted a flower in him.But timid steps. But rumpled sheets.But the dogs of insomniascratching all night at the door— he shrinks and dries. His bones thinlike his unwanted body. Slugs crawl outfrom under the stonespiling in his gut, in his throat, on his tongue,loneliness creeping in their pale trails. Like a blind man, you feel your wayforward, backward,from one end to the otherof a desire run dry. Mold grows in the house's humid colors,green like his eyes, his tears. [End Page 160] Who does this home belong to?And what is this city, and whowill console you in this afternoonhung from the parapet? Perhaps the womanwith chapped lips, a dry tongue,a wounded left breast. Perhaps the desireto coax her, to giveher freedom back. [End Page 161] Aksinia Mihaylova Aksinia Mihaylova is a poet, educator, and translator of over thirty-five books of poetry and prose. She is the author of six poetry books in Bulgarian, translated into numerous languages. Ciel à Perdre, her first poetry collection written in French, received France's Prix Apollinaire in 2014. She released her second French-language collection, Le Baiser du Temps, in 2019; it went on to become the 2020 recipient of the Prix Max-Jacob. Mihaylova is the founder of the independent literary journal Ah, Maria, and currently resides in Sofia, Bulgaria. Marissa Davis Marissa Davis is a poet and translator from Paducah, Kentucky, residing in Brooklyn, New York. Her original poems have appeared in the Carolina Quarterly, Rattle, Iowa Review, and Sundog Lit, among other journals. Her translations have been published in Ezra and are forthcoming in Mid-American Review. Davis holds an MFA from New York University. Her first chapbook, My Name & Other Languages I Am Learning How to Speak (Jai-Alai Books, 2020), was the winner of Cave Canem's 2019 Toi Derricotte and Cornelius Eady Prize. Copyright © 2021 Middlebury College

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The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

PECULIARITIES OF THE TRANSLATION INTO GERMAN LINA KOSTENKO’S POETRY

The article is devoted to the classification and analysis of the German-language translations of Lina Kostenko's poems based on the material of the lyrical collection "And again the prologue" translated by Alois Woldan. The article introduces the theoretical foundations of poetry translation as a separate type of literary translation, examines its genre-specific features, and analyses the features of the modern Ukrainian poetry and the author's style of Lina Kostenko, which jointly form the basis for further comparison of the original example and the translation. The paper shows the main difficulties that Alois Voldan faced interpreting the poems, describes the ways of overcoming them and offers a qualitative assessment of the translation. The lexical and stylistic analysis showed the wide usage of the poetic instruments in his works of pictorial and expressive language as well as aphorisms. However, to preserve the idea and reproduce the ideological motives, Alois Voldan avoided literal translation and resorted to the descriptive translation of these linguistic means. When translating lexical tautologies, which are widely inherent in Lina Kostenko's poetics, the translator replaced lexical units, graphic signs, sentence structure and transferred repetitions from one line to another to preserve emotionality and expressiveness in lyric poems. When we look closely at the grammatical level of translation, there are replacements of grammatical constructions and parts of speech. We also recognize the addition of new parts of speech that are missing in the original poem. The reason for such transformations was the differences in the grammatical structures of the German and Ukrainian languages, and the translation strategies used to preserve the rhythmic and melodic pattern of the poems. A special place is given to the characteristics because of the national specificity of poetry and the translation of its semantic equivalent. That is, the reason why the translation is used primarily for intercultural communication, and the translator, in this case, is an intercultural mediator. But Alois Voldan managed to convey the thematic orientation of the poems and the Ukrainian colour.

Performance skills and artistic conception of Chinese Zither music "Mooring by Maple Bridge At Night"

"Mooring by Maple Bridge At Night" is a Chinese Zither with piano accompaniment written by famous Chinese composer Wang Jianmin according to the famous poem "Mooring by Maple Bridge At Night" written by Tang Dynasty poet Zhang Ji. The characteristic tunes of Kunqu Opera, Silk bamboo, Jiangsu folk songs and other music are integrated into the music, which makes people who hear it feel as if they are in an ink painting with Jiangnan customs. The music mainly highlights the ancient literati's worries about home and country, their thoughts of staying away from home, and their worries about living in troubled times without a home. When creating this modern Chinese Zither music, Mr. Wang Jianmin used different playing techniques to perfectly combine the traditional Chinese Zither musical instrument with the original poem, and the original poet's mood was vividly displayed. In this paper, through the analysis of the creation background and performance of "Mooring by Maple Bridge At Night", the beauty of artistic conception combining Zheng with poetry is explored.

ПЕРЦЕПТИВНЫЕ ОБРАЗЫ В ПОЭЗИИ СЛОВАЦКИХ СИМВОЛИСТОВ (НА МАТЕРИАЛЕ ОРИГИНАЛЬНЫХ И ПЕРЕВОДНЫХ СТИХОТВОРЕНИЙ ИВАНА КРАСКО)

The article provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.

Poetry Translation from a Tonal Language (Vietnamese) to a Non-Tonal Language (English)

In this essay, as a bilingual speaker as well as a poet and linguist, I will share some issues involved in the translation of a bilingual collection of poems by Andrea Hoa Pham and Lola Haskins, published by Danang Publishing House. The collection includes twenty Vietnamese poems originally written in Vietnamese by Pham, and twenty written in English by Haskins; each original poem is accompanied by a translated version. In the process, I translated Haskins’s poems into Vietnamese. For my original Vietnamese poems, I translated them into English, and Haskins adapted the English versions as an American poet and native speaker of English. Over several meetings, we discussed the deep meanings behind the text, line by line, written by the other, although without discussing the sound of the languages or reading them aloud to each other.

ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI

The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”, combining the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of Azerbaijani composer Kara Karayev. The composer K. Karayev actively used authentic musical traditions of Azerbaijan (musical harmonies, Ashug melodics and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet “Seven Beauties” (1982, directed by Felix Slidovker) and the new production of the Theater of Opera and Ballet named after M.F. Akhundov (2011), the author traces the transformation of the libretto and offers his own rendition of symbolism in the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been a part of a thinking person. Eastern poets chanted this search, this long and difficult road to the truth, the ideal world. Court intrigues, the luxury of the palace and the daily life of the common people, nobility, guile and love intertwined in this metaphorical Eastern parable, which formed the basis for several interpretations of the ballet “Seven Beauties”. Despite the great degree of conventionality inherent in this genre of stage art, the film ballet is characterized by dramaturgical diversity, organic entwinement of developing storylines, dynamic interrelation of social and lyrical-psychological conflicts. The transformation of the libretto to the ballet “Seven Beauties” testifies to a new, deeper reading, its coming closer to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, to eternal search for the truth, love and justice sung by the poet with oriental imagery characteristic for him.

The Poetics of Silence in the Translation of Samuel Beckett’s “Comment dire” / “What Is The Word” into Spanish


 
 
 “L’écriture m’a conduit au silence,” admitted Samuel Beckett to Charles Juliet in Rencontres avec Samuel Beckett (21). ‘Comment dire,’ his last written poem, was first published in 1989 and summarises a lifetime exercise of self-expression beyond the limits of language and time. Indeed, it was originally written in French only a year before Beckett died, devoid of a great deal of his communicative abilities. Thus, this poem represents a sort of literary testament (Carriedo 50) resonant of both his literary career and personal life. In fact, its misleading austerity reveals a challenging area of work for the translator to draw on the original text to create his/her own poetic interpretation. In Spanish- speaking countries, Beckett’s poetry has not been given as much prominence as his other works. However, there is evidence of three translations of ‘Comment dire,’ which thereafter demonstrates a surprising interest in Beckett’s late poetic production: Laura Cerrato’s ‘Cómo decir’ (1990), Loreto Casado’s version within Quiebros y Poemas (1998), and Jenaro Talens’ own interpretation in Obra poética completa (2000). The main objective of this paper is to comment on the essential convergences and disparities found in these translations and therefore to identify mutual sources of interest in Beckett’s original poem. I will also observe the predominant strategies they have chosen in translating ‘Comment dire’ on the basis of two fundamental parameters: creative freedom and respect for Beckettian standards founded on the poetics of silence.
 
 

Topos “Karjala” in Bilingual Poetry by A. Volkov

The observations on the specifics of the Karjala topos in the works of the bilingual poet A. Volkov is for the first time presented in the article. It has been proved that in his mind “Karjala” is associated with “native land”, the memory of ancestors, native language, Livvik’s happiness itself. In Russian and Karelian-language poems, the recreated spaces of “Karjala” are semantically similar. This locus is open (the center of the universe) and closed (the outskirts of Russia) at the same time. Like an archeologist, the author turns to the understanding of the mythological genealogy of “Karjala”, its ancestral homeland, proto-language, archetypes of national consciousness, totem signs. The authors found that the bilingual view of the universe allowed the poet to conceptualize in a new way and reveal, in the context of world history and culture, the main concepts in the life of Livvik Karelians: native dialect, memory of tradition, Karelian genotype, Livvik happiness. Particular attention is paid to the analysis of the socalled semantic “transitions” from one ethnic picture of the world to another (remembering is transformed into crying, the genesis of the native language as a gift from God — into the path to God). In the poetic reconstruction of the Karjala topos by A. Volkov, the Karelian worldview is fundamental, the Russian language and literature is a guide in the formation of an original poetic tradition. For the first time, the original poems of A. Volkov and their auto-translations were introduced into scientific circulation.

Crypto-Back-Translation in Van Rooten's Homophonic Nursery Rhymes

This article explores the covert practice of literary back-translation, here called ‘crypto-back-translation’, through an analysis of Luis D'Antin van Rooten's Mots d'Heures: Gousses, Rames. The book contains homophonic translations of Mother Goose's Rhymes, but is presented as a collection of original French poems, edited by van Rooten with explanatory notes and translations. The article argues that crypto-back-translation takes two forms: on the one hand, it constitutes a hermeneutic strategy used by van Rooten to amuse and confound his readers, by producing new versions of known English nursery rhymes under the guise of erudite notes; on the other, it forms part of the reading process, by evoking preverbal memories of sound association, connected to language acquisition in the context of the nursery. More generally, the article discusses the role of humour and deception in translation practice, translation methodology, and the emotional, psychological, and physical effects of literary back-translation.

Critical Thinking of Applying Nida’s Functional Equivalence to Poetry Translation: A Study Based on English Versions of Lu Zhai by Wang Wei

Based on the notion that poetry is translatable, this paper will analyze the pros and cons of applying Eugene A. Nida’s functional equivalence theory to the translation of Lu Zhai , written by a famous Chinese poet Wang Wei in the Tang Dynasty (618-907 CE). Because poetry translation requires translators to transmit both the meaning and beauty of the original poem to the target readers to achieve the similar response. This requirement is consistent with Nida’s functional equivalence. But there are still limitations. The paper is composed of an introduction, the main body and the conclusion. Chapter One is the introduction of the research goal and significance, and a general introduction of Nida’s functional equivalence theory, and the Chinese poet Wang Wei as well as his poem Lu Zhai . Chapter Two shows a detailed analysis of the pros and cons of applying Nida’s functional equivalence theory to the English versions of Lu Zhai . Chapter Three is the conclusion of this paper, which summarizes the relation between translation theories and practice.

HOME AS POEM

What does it mean to be home? We began asking this provocative question well before COVID-19, well before the collective crisis the world experienced which sent both of us back into our current homes. Exploring such a question through poetry writing may provide insights about individuals’ lived experiences, and, therefore, we contend it is worthwhile for scholars, artists and educators to widen possibilities for poetic method and craft related to writing about home. In this paper, we, two poets, arts-based education scholars, and Pittsburgh natives, offer pathways into exploring notions of home through the writing of poetry grounded in the ideas of Gaston Bachelard’s (1958/1964) seminal text, The Poetics of Space. To do so, we each offer and discuss two original poems on the topic of home to illustrate a number of compelling avenues scholars and research participants; educators and students might explore as they write poems evoking their own unique conceptions of home.

Performing pandemic pedagogy

ABSTRACT As schools began the frantic switch to fully remote education while the COVID-19 pandemic escalated in the United States, the Facebook group Pandemic Pedagogy rapidly became a worldwide interdisciplinary hub for navigating online instruction. Autoethnographic reflection on the development of that group leads to analysis of key issues emerging from discourse among the members. Critical examination of the home as a learning environment and concerns about synchronous online learning suggest broader systemic inequities that affect online education. Two areas of crisis rise to prominence: digital divides based on disparities in access, skill, and technological features; and the reassertion of neoliberal approaches to education. Original poems within this essay immerse readers in the tensions and disruptions that infuse education during the pandemic. The traumas inflicted by the pandemic can stimulate more vigorous practice of communal, care-based, collaborative resilience through reimagining the nature and purpose of communication instruction.

Poem and its Self-translation

“Poema II/ Poem II”, a bilingual expression that goes beyond a mere literary translation, is part of the series Poetízame las ganas/ Turn My Yearnings into Poetry. Although it started as an original poem in Spanish, my first language, an English translation ended up coming together from the first lines. Very much influenced by the playful translations of Eliot Weibenger into English, I enjoy playing with source and target languages to puzzle the reader, by erasing the traces of the translation process, while, at the same time, keeping a foreign debris within the kind of language I use in both texts. With these two pieces that arise as a reciprocated translation, the poet challenges a bilingual form of creative expression in which there is a clear refusal to utterly domesticate the texts. Love and language are, undoubtedly, both the object and the subject of the whole poem. They are represented through an unceasing analogy that depicts the symbolic connections behind these two intrinsic, most desired—and perhaps hardest to understand—human domains.

“A dance of strength”: structural elements in three translations of Rainer Maria Rilke

No presente artigo, pretendo investigar se e em que medida os elementos estruturais do poema “Der Panther” (“A pantera”) de Rainer Maria Rilke foram recriados por três de seus mais reconhecidos tradutores brasileiros, a saber: por Geir Campos (1924-1999) em 1953, por José Paulo Paes (1926-1998) em 1993 e por Augusto de Campos (1931- ) em 1994. Partindo do pressuposto apresentado por Haroldo de Campos no ensaio “Da tradução como criação e como crítica” (1963), segundo o qual a tradução de poesia seria um trabalho com o “próprio signo, ou seja, sua fisicalidade, sua materialidade mesma” (Campos 34), pretendo apontar primeiramente a importância ainda maior de tais elementos naqueles poemas rilkeanos que, como “Der Panther”, vêm sendo há quase 100 anos descritos pela crítica (Müller 298) como “Dinggedicht” (ou “poema-coisa”); realizando, em seguida, uma breve análise dos elementos estruturais do poema original (aqui entendidos como metro, aliterações, assonâncias, movimento frasal e outros aspectos da materialidade do signo linguístico); para chegar, finalmente, a uma breve leitura comparada das maneiras como os três tradutores lidaram com esses elementos estruturais em suas respectivas traduções para o português.

Reconstructing the poet’s image through institutional translation—a case study of Rewi Alley’s translation of Li Bai’s Poems

ABSTRACT Rewi Alley was a New Zealand-born political activist, social reformer, and a renowned “foreign friend of China”, who devoted almost his entire life to China. Deeply interested in the Chinese language and culture, Alley was also a prolific translator of Chinese poetry. Although the great Chinese poet Li Bai’s poems have been translated into English by influential western translators such as Ezra Pound and Author Waley, Alley’s translation of Li Bai’s poems has some unique features in terms of text selection and translation style, which took place in an institutional setting. This study adopts an institutional approach to examine Alley’s translation of Li Bai’s poems and explores its unique features to reveal a distinctive type of institutional translation in the Chinese context. Through historical context analysis, textual analysis, and para-textual analysis of Alley’s translation, it shows that Alley in his translation has imprinted Li Bai’s poems with his own strong personal marks, reconstructing Li Bai’s image from a romantic poet into a realistic one, but failing to convey the spirit of the original poems by adopting his unconventional style of line-breaks. Alley’s translation of Li Bai’s poems was influenced by both personal and institutional ideologies and poetics, and his translation was to serve the goal of the Chinese government institution where he worked.

A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF "HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA" - A CASE STUDY OF LI BAI'S "LOOKING AT THE MOUNT SKY GATE"

<p>The poetry of Tang is a kind of classic literature of China and famous historical heritage. Taking the "Harmony-guided Three-Level poetry translation criteria" as the theoretical basis, this paper compares the translations of two translators of different styles in different periods of Li Bai's "<em>Looking at the Mount Sky Gate"</em> from the macro, middle and micro levels. As for the Chinese translator Xu Yuanchong, his version has high formal beauty and musical beauty. Besides the expression of a few images, he also gave a good consideration to "the beauty of numbers". Rewi Alley's translation is a free verse, but he tries to approach the original poem in terms of meaning. By the analysis of the above two versions, the authors endeavor to give their own version according to the "Harmony-guided Three-Level poetry translation criteria". The translation study of "<em>Looking at the Mount Sky Gate</em>" can enrich the theory of "Harmony-guided Three-Level poetry translation criteria" and promote the spread of Chinese literature and culture.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0626/a.php" alt="Hit counter" /></p>

A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” - A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING”

<p>Tang poetry is the precious cultural heritages of the Chinese. Li Bai is one of the most outstanding poets in the Tang Dynasty and his poems have had a far-reaching impact on following generations. This paper attempts to use the “Har<em>mony-Guided Three-Level Poetry Translation Criteria</em>” put forward by Dr. Wang Feng, from the macro, middle and micro levels to analyze and compare four English versions of Li Bai’s “<em>Climbing the Phoenix Terrace in Jinling</em>”. Then, the authors retranslate the original poem and encourage researchers to pay more attention to the field of Tang poetry translation and promote the dissemination of Chinese classical poetry.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0666/a.php" alt="Hit counter" /></p>

A Tentative Study of William Allingham’s A Dream Under the Guidance of Xu Yuanzhong’s “Three-Beauty Theory”

Famous Chinese translator Xu Yuanzhong advocates “three-beauty theory” in translating poems, namely, beauty in sense, sound and form. Based on the Luxun’s opinion, theoretical system of “three beauties” is summarized by Xu Yuanzhong after he translates a large number of poem. In addition to conveying the content of the original poem, it is also necessary for translators to strive to convey the form and rhyme of the original poem. Especially in poetry translation, the effect of “three beauties” is the goal of many poetry lovers. Guided by the theory of “three beauties”, the author tries to make an exploratory translation of William Allingham’s A Dream, keeping in line with the original poetry from three aspects of artistic conception, rhyme and form. And this thesis mainly aims for helping readers further appreciate the original poetry and draw lessons from translating the English poetry under the guidance of the theory of “three beauties”. Furthermore, the author wants to contribute to the cultural exchange between China and the West.