英语中国古诗英译中的意象翻译

IVChapterOneIntroduction“DifficultandcomplexasversetranslationfromChineseintoEnglishis,differentversionsbegantoappearasearlyasthe18thcentury.”(Xu,1992:1)Tillthemid20thcentury,theparticipantsofEnglishtranslationofChineseclassicalpoemsweremainlynativeEnglishspeakers:JamesLegge,HerbertAllenGiles,ArthurWaley,etc.Theypavedthewayforlaterpoemtranslators.Followingthem,somenativeChinesetranslatorssuchasXuYuanzhong,WengXianliang,WangRongpei,WuJuntao,GongJinghao,ZhuChunshen,etc,begantheirEnglishtranslationofChineseclassicalpoemsandthismarkedanewera.TheytranslatedChineseclassicalworksinlargequantities.Onthebasisofthepractice,thetranslatorsortranslationresearchershaveadvancedtheoriesfromvariousapproaches.Theseapproachescanberoughlydividedintothree:linguisticapproach,culturalapproachandpoeticapproach.Someresearchersdealwiththeoriginalworkfromthelinguisticaspect.Chineseclassicalpoemsarenotquitegrammaticallycomposed.Furthermore,Chinesecharactersarebasicallyhieroglyphic.Intranslationprocess,sometranslatorsmakeuseofthesecharacteristicsofChinesepoemstomakethetranslationmorevividandconcise.Sometranslationresearchershavealsomadedetailedstudiesonthesefeaturesandtheirtranslation.Followingthegradualawarenessoftheculturaldifferenceininterculturalcommunication,theculturalgapsinpoemtranslationdrawmoreandmoreattention.Translatorsbegantodiscusspoemtranslationintheperspectiveoftheculturalgapsinimagery,theculturalmeaningofwordsandtheallusion,etc.Othertranslatorsfindaccesstopoemtranslationfromtheaspectofpoetics.Theybeginfromthetraditionalpoeticregisters:form,imagery,musicality,figureofspeech,etc.Alloftheseapproachesaresuretohelpenrichthetheoriesofpoetrytranslation.Imageryistherepresentationofsenseexperiencethroughlanguage.Itplaysanextremelyimportantroleinpoeticcompositionandappreciation.ItisalsooneofthecommonalitiessharedbetweenWesternandChinesepoeticcircles.WiththeflourishofEnglishtranslationofChineseclassicalpoems,thestudyofimagerytransferencehasalsoarousedgreatinterestfromtheacademiccircle.Beingawareofitsimportance,theauthorchoosesthepresenttopicandplanstomakeatentativestudyonthisissue.Asthenotionofimageryisasignificantoneinpoeticstudy,especiallyinChineseconventionalpoeticstudy,thisdissertationwillmainlyformitsbasisontheconventionalChinesepoeticstudywithrelevantlinguisticandculturalfactorstakenintoconsideration.ChapterTwoTheImagesinAncientPoetryPoetryislifedistilled,classicalChinesepoetryrangesfromsongsvoicingpersonalambitionsandemotionstoepicsrecordingbattlesandpoliticalupheavals,fromlamentsforthedeadandseparationstorejoicingforthevitalityandreunion,frompopularpoemsdepictingtheharshlivingconditionsofthelowerclassestothoseexposingtheluxuriousonesoftheupperclassesandextensivesocialevilsandinequality.Theculturalimageryemployedfortherealizationofsuchavarietyofpoeticthemeshasbeendeeplyingrainedwithtracesofaparticularsociety,reflectinguniqueculturalheritage.2.1DefinitionofImageryDerivedfromtheLatin“Imago”(“picture”,“semblance”,or“likeness”),andimageisarepresentationofwhatisperceived-theregistrationonthemindofanobjectorscene.Inliterarycriticismthetermisusedbothfortherepresentationsproducedinthemindbyverbaldescriptionsandforthedescriptionsorcharacterizationsthemselves,sincethementalpictures,orimages,maybethoughtofeitherasseparatefromwordsorasintegralfeaturesoftheverbalcharacterizations.Manywesternpoetsandcriticsattempttogivedefinitionstotheconceptbasedontheirownunderstanding.Theequivalentof“image”inChineseis“Yixiang”(意象).“Yixiang”cantracebacktotwoorigins,oneisZhouYi,andtheotherisZhuangZi.IntheclassicphilosophicalbookZhouYi,manystatementsareputforwardonthenatureandprinciplesofimagethroughtherelationsof“yi”(意),“xiang”(象),and“yan”(言).2.2FeaturesofImageryFirstly,virtuality.Virtualityistheoppositeofreality.Oncetheimageismaterialisedandmaterialisedintoaworkofart,itbecomesanartisticimage,andatthesametimeentersthelevelofnon-realism.Implicationscanbe"arbitrarily"fabricatedandfictionalised,andsometimesevenagainstthecommonsenseofreality.Thisunrealisticityof

imagesisvirtuality.Secondly,sensibility.Sensitivityreferstotheintuitionandspecificitythattheimagecanbedirectlygrasped,perceived,experiencedandacceptedbythesubject'ssenses.Thesubjectdoesnotneedtogothroughconsciousrationalreflection,andcandirectlyperceivetheexistenceoftheimagebyfeelingalone.Thisistheperceptualcharacteristicoftheimage.Thirdly,imagination.Aestheticimageryiscomposedoftheintegrationof"meaning"and"meaning"throughtheartist'sintentionandimagination.Itisitselfaproductofimagination,whichisdifferentfromuniversalintuitiveappearanceandtraditionalartificialappearanceorsimplememoryappearance.Imaginationisthemostimportantfeatureofaestheticimagery.Fourthly,emotion.Theemotionofartisticimagesisformedintheartist'sactivitiesofcreatingimages.Emotioniscloselyrelatedto"intention",whichisanimportantdrivingforceandguideforartiststocastimages,andisaccompaniedbythewholeprocessofimagecreation.Artisticimagesalwayscontainemotionalfactorsthatpermeateacertainform,makingimagesstronglyinfectious.2.3FactorsAffectingImageryInChina,peoplethinkinanemotionalway,whileintheWesternworld,peoplethinkinarationalway.Chinesepeoplearegoodatusingimages,whileWesternersoftenhavethemindsofscientists.Chinesepeoplespeakeuphemistically,whileWesternersarealwaysstraightforward.TheChineseemphasizecooperationandcollectivism.Ontheotherhand,Westernerspayattentiontocompetitionandindividualism.Chinesepeoplepayattentiontohumanitiesandethics;Westernerspayattentiontonatureandscienceandtechnology.Generallyspeaking,theEasternwayofthinkingiscomprehensive,andtheWesternwayofthinkingisanalytical.Forexample,thecorrespondingexpressionof“squat”inEnglishis“beblackandblue”.Blackteaistranslatedas“blacktea”becauseChinesepeoplepayattentiontothewateroftea,whileWesternerspayattentiontotea.TheChineseoftensay“pleasefirst”,buttheBritishsay“afteryou”toexpressthesamemeaning.Differentwaysofthinkinghaveagreatimpactontranslation,sowhentranslatingimages,wemustconsiderdifferentwaysofthinking.InChina,peoplethinkinanemotionalway,whileintheWesternworld,peoplethinkinarationalway.Chinesepeoplearegoodatusingimages,whileWesternersoftenhavethemindsofscientists.Chinesepeoplespeakeuphemistically,whileWesternersarealwaysstraightforward.TheChineseemphasizecooperationandcollectivism.Ontheotherhand,Westernerspayattentiontocompetitionandindividualism.Chinesepeoplepayattentiontohumanitiesandethics;Westernerspayattentiontonatureandscienceandtechnology.Generallyspeaking,theEasternwayofthinkingiscomprehensive,andtheWesternwayofthinkingisanalytical.Forexample,thecorrespondingexpressionofsquat"inEnglishis"beblackandblue".Blackteaistranslatedas"blacktea"becauseChinesepeoplepayattentiontothewateroftea,whileWesternerspayattentiontotea.TheChineseoftensay"pleasefirst",buttheBritishsay"afteryou"toexpressthesamemeaning.Differentwaysofthinkinghaveagreatimpactontranslation,sowhentranslatingimages,wemustconsiderdifferentwaysofthinking.ChapterThreeTranslationStrategiesofImagesintheTranslationofAncientPoemsCulturalimagecontainsrich,far-reachinganduniqueconnotation,withahighdegreeofnationalcharacter,imbuedwiththeculturalcharacteristicsofdifferentnations.Forexample,therearemagpiesinChinesecultureandEnglishculture,whicharerecognizedbytheHannationalityMagpiesareauspiciousthings.InChineseculture,“magpieschirp”willgivepeopletheassociationof“goodnewscoming”.InEnglishculture,achirpingmagpieisoftenassociatedwithachatteringbox.Whentheseculturalimagesneedtobeconvertedintoanotherlanguage,completeculturalequivalenceisdifficulttoachieve,becausetranslationnotonlyinvolveslanguageconversion,butalsoinvolvesmultipleculturalfactorssuchasvaluesandaestheticmethods.“Itisnotsimplyconvertedfromonelanguagetoanother.It’sthetransitionfromalinguisticrepresentationinoneculturetoalinguisticrepresentationinanother.”3.1TransplantationofCulturalImageChinesepoetryhasgreatculturalcharmandaestheticvalue,anditsculturalimagereflectstheessenceofChineseculture.Therefore,itisnecessarytoadoptappropriatetranslationstrategiesintheprocessofdealingwiththeculturalimagesofpoetrytranslationandavoid“culturaldefault”tothemaximumextentonthepremiseofensuringtheaccuracyandfidelityofthetranslation.3.1.1TransliterationAnnotationTransliterationandannotationdirectlytransplanttheculturalimagesintheoriginalpoem,whichisastrategyofalienationintranslation.Transliterationcanenrichtheexpressionofwordsinthetargetlanguage,whileannotationcanbuildcognitivecontextinthetargetlanguageandcauseaestheticeffectsequivalenttothoseofthereadersinthesourcelanguage.(1)黄河远上白云间，一片孤城万仞山。羌笛何须怨杨柳，春风不度玉门关。TheYellowRiverreacheshighbeyondtheclouds;Amidthemassivemountainsliesthesolitarysliverofatown.FromaflutetheWillowSongwailsforth,butwhy?BeyondJadeGatePass,springwindswillneverclimb.LiangzhouispresentdayWuwei,acityontheedgeofthedesertinWesternGansuprovince.ThetitleitselfisoneoftheHanMusicBureautites.willowsong:Asadtunetraditionallyplayedatparting.Astokensofenduringthought,willowbrancheswereoftenpresentedtothosewhowereparting.“JadeGatePass”:InDunhuang,Gansuprovince.Ontheedgeofthegreatdesert,thiswasthegatewaytoCentralAsia:anunlikelyplaceforfarewells,orwillowbraches.打起黄莺儿，莫教枝上啼。啼时惊妾梦，不得到辽西。Imustdriveawaytheorioles.Andnotletthemcryinthetrees.Theirnoiseinterruptsmydream.AndstopsmegettingtoLiaoxi.ItisapoembyheTangpoetJinChangxu.Thispoemisaboutayoungwomanwhomissesherhusband,butshecan'tmeetherhusband.TheauthorstartedwithHuangYing'erandblamedherforwakingupdreams.Oncethedreamisawakened,theprotagonistcan'tmeetthemissingpersoninthedreaminLiaoxi.Thelastlinecloselyfollowstheword"grievance"inthetitleofthepoem,andresentmentcannotmeetthehusband.Theplacenameisalsoinmanytimes.Aspartoftheculturalimage,Liaoxiintheoriginalpoemisaculturalimage,whichspecificallyreferstotheplacewherethehusbandshouldserve.(3)蓬莱有路教人到，亦应年年税紫芝。Theimmortalswould’vebeentaxd’onthepurpleganodermaeachyear.Ifthetax-colectorscouldhavefoundawaytoPenglaithefarilylandtogo！Asaculturalimageintheoriginalpoem,Penglaihasbeenknownas"fairylandonearth"sinceancienttimes,andisoneofthethreesacredmountainsinthemythicalBohaiSeawhereimmortalslive.ThetranslatoradoptedtransliterationandnotesinthetranslationofPenglai,whichwellconveyedtheprofoundartisticconceptioncontainedintheculturalimageofPenglaiintheoriginalpoem"fairylandonearth".3.1.2LiteralTranslationAnnotationHumanexperienceandobservationoftheworldaresimilarinmanyways,sosomeimagesinclassicalChinesepoetryhaveexactequivalentsinEnglish,andliteraltranslationoftheseimagescancreatesimilarassociationsamongreadersinthetargetlanguageculture.Forexample,thepursuitofeternalloveisuniversalinallhumanculturesandtranscendsculturalboundaries.Therefore,someimagesthatexpresssuchfeelingsinChineseandEnglishpoemscanbepreservedthroughliteraltranslation.(1)终愧巢与由，未能易其节。ButatlastI’mchagrinedbeforeChao-fu,XuYou,Menunabletoaltertheirfirmresolve.Thesetwosentencesdescribethatthepoetisinadilemma,becausehecannotchangehisambitiontobepositiveintheworld,andisunworthyofthetwohighscholars,ChaoFuandXuYou.ChaoFuandXuYouaretwoancientreclusivescholars,whosymbolizenoblemenwhosticktotheirambitionsintheChineseliterarytradition.WesternreadersunfamiliarwithChineseculturaltraditionswillnotunderstandtheallusionto"ChaoandYou"andtheculturalconnotationsitrepresents,soYuWensuoAn'stranslationofthepoemaddsanotethatChaoFuandXuYouarehermitswhorefusedtobedraftedintothegovernment,butareemitatedbyfuturegenerations.YuWenSuoan'sannotationsareconcise,comprehensive,accurateandvivid,whichbetterconveytheconnotationoftheculturalimageoftheoriginalpoemandplayanequaleffect.(2)云母屏风烛影深，长河渐落晓星沉。嫦娥应悔偷灵药，碧海青天夜夜心。Onthemicascreenisreflectedthedarkcandleshadow.TheMilkyWayinclinesandthemorningstarshanglow.Chang’emustregretstealingthepilloflongevity.Nowshemopesalonenightafternightintheskyblue.AfterthetranslatorliteraltranslationofChang'e,addcommentstoexplainwhyChang'eishuman.Chang’e:ItissaidthatsheisthewifeofHouyi,alegendaryhero.Onedayshetakestheelixirandfliestothemoonandsincethenhasbeenstayingthere.Throughliteraltranslationandannotation,theculturalcognitivecontextisconstructedforthetargetlanguagereaders,whichisconducivetobetterunderstandingtheoverallculturalimageofthepoem.Literaltranslationwithnoteswilldestroyreaders'readingpleasuretoacertainextent,butfortheTangpoetryimagesthatcarryrichculturalconnotations,buthavenootherEnglishwords,notesareanecessarymeansofcompensation,otherwiseitwillcausethedefectofculturalimagesinpoetrytranslation.3.2ReplacementofImageInancientChinesepoetry,“Yuyan”isoftenusedasametaphorforabeautifulwoman,whichremindsreadersofabeautiful,whiteandflawlessfacelikejade.However,“inEnglish,‘jade’representsoutdatedtasteandisusedtorefertowomenwholightenthevulgar”(TangAnshi,1978).Therefore,the“jadeYan”inancientChinesepoetryoftencannotbetranslatedinto“jadeface”.InDuFu’sBeauty,thereisasentence:“sweetasalily(rose)“istranslatedbyTangAnshias”Sweetasalily(rose)”replacingtheoriginalimagewithLilyorrose,whichisoftenusedtocomparebeautifulwomeninEnglish.Althoughtherearesomedifferencesinimagereferencebetweenthetranslatedpoemsandtheoriginalpoems,theyachievesimilareffectsinstimulatingreaders’associations.Indifferentcultures,poetsmayusedifferentimagestoexpressthesameemotion.Imagessuchas“heartbreak”and“heartbreak”inancientpoetryareoftenusedtorefertoextremesadness.InEnglish,however,onewoulduseatmost“heartbreaking”imageryratherthanaliteralreferencetothehumangut.Therefore,ifthiskindofimageistranslatedliterally,evenifitisadded,itwillinevitablyleadtonegativeassociationsamongthereadersofthetargetlanguage.(1)紫泉宫殿锁烟霞，欲取芜城作帝家。ThehallsofthepalaceatLavenderSprings,shutinmistsandroseClouds.ButhewishedtooccupyCityofWeedstoserveastheEmperor’shome."PurpleSpring"givespeopleasenseofrichcolorandfragrantatmosphere,describingthecolorandtasteofthepalace,reflectingthecharacteristicsofLiShangyin'spoetry"Qingli"."Ziquan"canliterallybetranslatedasPurpleSprings,butthistranslationchangestheflavoroftheculturalimageintheoriginalpoem.Thetranslatorheretranslated"purpleSprings"toasimilarculturalimageofLavenderSprings,aplantwidelygrownintheWestwithsmalllavenderflowersthatareusedinperfumes.Thetranslationof"purplespring"into"springoflavender"appropriatelyconveystheaestheticinformationoftheculturalimageintheoriginalpoem.(2)故国三千里，深宫二十年。一声《何满子》，双泪落君前。Home-sickathousandmilesaway,Shutinthepalacetwentyyears.Singingthedyingswan’sweetlay.Oh!Howcansheholdbackhertears.ItisthenameofCicard,whichisoneofthestylesofYunWen.Alsoknownas"SongCi",thatislyricsisapoemwrittenforthemusicandsinging,andtheCicardissimilartomusicscore."Swan'sLastSong"isanallusioninwesternculture.Inordertomakeiteasyforwesternreaderstounderstand,translatorsreplacetheChineseallusionwithsimilarculturalimagesintheWesterncontext.3.2.1MissingImageinEnglishTranslationIntheprocessofEnglishtranslationofChinesepoetry,sometimesbecausethetranslatorisnotheavyenough.Lookingattheeffectoftheimage,theimageofChinesepoetryhasbeenthrownawayorimproperlytransferred.Itcausesthelossofthecharmoftheoriginalpoem.垂緌饮清露，流响出疏桐。居高声自远，非是藉秋风（唐一鹤译：)Thecicadadrinkslimpiddew,Droopingitsantennaeandstridulatingloudlyandcontinuously,(Outofphoenixlrces)Thepoetpraisesthepersonalitywiththepraiseofthecicada.“緌”Itisthehatstrapoftheancientofficialannouncement,andthecicadahastentaclesonitshead.Likeadroopingcrown,soitcalled“垂緌”Theauthorborrowedthecicadacomesfromthemetaphorofbeinginahighpositionbutmaintainingahighwindandintegrity.Thetranslationreplacesitwitha“antennae”,alsolostthehintoftheidentityofthecharacter.“流水落花春去也，天上人间”Fallenlowerscannotsobacktotheirstock,Chipsoffthemassrevertnottothebloek.One’sspringandyouthhaspassednevertoreturn.One’sdestinyisnotofHeaven’sconcern.Theancientssighedthattimeandthegoodtimeschanged.Inotherlight,itisoftencomparedtothepassingofrunningwater.Intheoriginalpoem,theflowersfallwiththeflowingwatergo,thetwoimagesarecloselycombinedandmeaningful.Andthetranslatedpoemwillflow.Theimageistransformedintochips,whichtransformstheflowingwater.Because“thefallinggravelcan’treturntothestone”,theartisticconceptionisfarworsethantheoriginal.Theoriginalpoemuses“heaven”and“humanworld”torefertothepoet’spastandpresent.ThecomparisonbetweenthetwosituationsinJapan,andthetranslationofpoetrylacksthemeaningof“humanworld”.Like,thedegreeofcontrastisnotasstrongastheoriginalpoem.3.2.2ChangesinVisualEffectsinEnglishTranslationManyimagesofancientChinesepoetryareendowedwithsomespecialsensoryeffects(visual,auditory,tactile,etc.),givingpeopleaspecialaestheticfeeling.Ifthetranslatordoesnotpayattentiontoit,hewillchangeorlosethebeautyoftheoriginalpoem.“数点渔灯依古岸。”“数点”Itshowsthatthepoet'spointofviewisfromadistance.Lookatthefishingfire,soitlookslikeaspark.“Somelanternsforfishingrestuponthebankold”,Themeaningof“点”isnottranslated,andthevisualeffectofdistantviewismissing.Sometimestheuseofimageshasakindofdynamicbeauty,thesedynamicimagesandthepoeticenvironmentisveryclose,oftencanplayafinishingtouch.Thisdynamicbeautyisalsoeasytolosesightofintranslation.“移舟泊烟渚”myboatliesatanchorbesitleanislandhiddeninmist”.Toastaticpictureofaboatalreadydocked.天门中断楚江开，碧水东流至此回。两岸青山相对出，孤帆一片日边来。Mt.HeavenlyGateiscutbrokenbythesurgingwatersatChu.TheblueRiverrusheseastwardandstopsheretotakeaturn.Greenmountainsonbothsidescomeoverlookinglyintoview.Whereinared-tingedsailadvancesasiffromtheyondersun.3.3ShallowingofImage TheshallownessreferstotheinterpretationorreplacementofculturalimageswithChineseculturalcharacteristicssuchashistoricalallusions,propernouns,andidiomswithcommonwords,whichcannotonlysolvetheproblemofculturalobstacles,butalsoensuretheintegrityofculturalimagesandmaximizetheblankbeautyofthework.Whentheculturalimageintheoriginalpoemcannotbedirectlytransplantedintothetranslation,ordirectlytransplantedintothetranslationwillaffectthereadabilityofthepoem,ashallowtranslationstrategyofculturalimagerycanbeadopted.(1)日照香炉生紫烟，遥看瀑布挂前川。飞流直下三千尺,疑是银河落九天。ThesunlitCenserpeakexhatesawreahtofcloud,likeanupendedstreamthecataractsoundsloud.It’storrentdashesdownthreethousandfeetfrom.AsiftheSilverRiverfellfromazuresky.Culturalimage“theMilkyWay”involvedintheoriginalpoem,accordingtotheknowledgeofastronomy,thecorrespondingEnglishshouldbe“theMilkyWay”,butthemeaningoftheMilkyWayinthemindsoftheChinesepeopleandtheWesternersabout“theMilkyWay”Themythisdifferent,andtheassociationsandideasbroughtarealsocompletelydifferent.Ifwetranslatethe“Galaxy”intheoriginalpoeminto“the

Milky

Way”,itwillcreatethelossofculturalimagery.Theelephanthasbeencompletelypreservedandwellconveystheartisticeffectsintheoriginalpoem.(2)山外青山楼外楼，西湖歌舞几时休？暖风熏得游人醉，直把杭州作汴州！Hillsrisebeyondbluehills,towersbeyondhightowers.WhenwillWestLakeenditssinginganddancinghours?Therevelersdrunkwithvernalbreezeandleisure.They’dtakethenewcapitalforoldplaceofpleasure.TheauthoraccusedtheSouthernSongauthoritiesofforgettingnationalhatredandfamilyhatred,andtookHangzhouastheoldcapitalBianzhou,whichhadgreatangerandendlessworryinthebittersatire.Thepoemcontainstwoculturalimagesof"Hangzhou"and"Bianzhou".Thetranslatorlightensthesetwoculturalimagesintheoriginalpoem,soastoavoidculturalbarriersandavoidthetranslationofpoeticculturalimagestoreplacetheallusionsinChineseduetotheannotationsinthetext.Forthedisadvantagessuchaslongtextandaffectingthefluencyofreaders'appreciationofpoetry,theshallowstrategyofculturalimagecanplayagoodroleinconstructingthecognitivecontextoftargetlanguagereaders.3.4OmissionofCulturalImagePoetryistheessenceofconcentration.PoetryalwayshopestoexpressthemostmeaningwiththeleastYu,andwillusealotofallusionsaboutpeople’snamesandplacenames,whichisverycommoninancientChinesepoetry.Theallusionsofpeople’snamesandplacenameswillbringgreatdifficultytothetranslator,becausetheseculturalimagescanhardlyfindthecorrespondingculturalimagesinthetargetlanguage.Inorderforthereadersinthetargetlanguagetounderstand,itisnecessaryforthetranslatortoannotatetheseculturalimages,andalsothereadertohaveaconsiderableunderstandingofChineseculture,sothattheycanappreciateSomeChinesepoems.Whentheculturalimageofperson’snameandplacenameappearsinthepoem,thedifficultyofuntranslatabilityincreases,andsometimestheculturalimageintheoriginalpoemistranslated.Ofcourse,thetranslatorshouldnotadoptthisstrategyuntilasalastresort.Thepremiseofprovincialtranslationofculturalimagesistoensurethattheoverallartisticconceptionoftheoriginalpoemistransmitted.歧王宅里寻常见，崔九堂前几度闻。正是江南好风景，落花时节又逢君。Imeetoftenwhenyouwerevisitingpirnces.Andwhenyouwereplayinginthenoblemen’shals.Springpassesfardowntherivernow.Ifindyoualoneunderfallingpetals.Theoriginalpoemcontainstwopersonalnamesandaplacenameoftheculturalmeaning,althoughthenumberofwordsisnotmuchbutcontainsrichmeaning.AtthebeginningofDuFu,LiTurtleYearwastheheydayofKaiyuan.Atthattime,theprinceswerefondofliteratureandart,soDuFuwasentertainedbyLiFan,thekingofQi,andCuiDi,hissecretary,andenjoyedLiGuinian'sperformanceattheirresidence.Decadeslater,theymetinJiangnan,buttheTangdynastyhadgonefromprosperitytodeclineafterAnShiRebellion,althoughthescenerywasstillthesame.However,theprosperityisnolongerfullofDuFu'sinfiniteattachmenttotheprosperoustimesofthepast.ChapterFourEnlightenmentsofImageTranslationTranslationisoneofmanylanguageactivities.Itisalanguagepracticeactivitythatre-expressesthecontentofanotherlanguageforminonelanguageform.Asthesubjectoftranslation,thetranslatormustgivefullplaytoitssubjectiveinitiative,butinfact,thetranslatorisrestrictedbyvariousfactorsandcannotmaximizeitssubjectivity.Theculturalimageconstructsthebeautyofpoetry,butitalsoincreasesthedifficultyofpoetrytranslation,thatis,itincreasestheuntranslatability.Culturalimagesinpoetryinvolvepersonalnames,placenames,allusions,etc.TotranslateChinesepoetryintoEnglish,translatorswillinevitablydealwithculturalimagessuchaspersonalnames,placenames,allusions,etc.Thetranslationofculturalimagesinpoetryshouldnotonlyconveytheculturalimagesintheoriginalpoem,butalsotakeintoaccounttheacceptabilityofthetargetlanguagereaders,thatis,ensurethereadabilityofthetranslation.4.1EnhancingCulturalSoftPowerPoeticimageisthecarrierofpoet’sfeelings,whichcanexpresspoet'sambitionandemotionbydescribingnaturalobjectsandscenes,withthescenerydepictedandtheemotionsexpressedinperfectharmony.AndintranslatingimagesinChineseclassicalpoems,theaestheticqualityofthesourcetextshouldbereproducedmaximallyinthetargettextsothatthereaderscouldenjoyalmostthesameaestheticexperienceofthereaders.Thisiscalledaestheticequivalence,theaimofwhichistocloselyapproachtheeffectoforiginalworkwithintheboundsofpossibilityandtoprovidethereaderswithalmostthesameaestheticexperienceandfeelingsasthereadersdo.However,imagesinChineseclassicalpoemspossessfeaturesoffuzziness,metaphoricalityandnationalcharacters,whichmakeitdifficultfortranslatorstoreproducetheexactmeaningoforiginalimagesandtokeeptheirdistinctivecharacterswhilepresentingthereaderswiththeuniqueculturalconnotationandartisticcharmoftheChineseclassicalpoetry.Thetheoriesof"gap"structureandhorizonofexpectationputforwardrespectivelybyWolfgangIserandHans-RobertJauss,chiefrepresentativesofReceptionAesthetics,openthewaytoachievingthegoalofaestheticequivalence.The"gap"isnotonlyasilentinvitationaskingreaderstofillinthetextan