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【Abstract】The studies on relation between translation and creation mostly focus on macro-level， lacking evidence at micro-level. This thesis deals with the influence of translation upon creation at a micro-level， and studies one sample literary person， famous and prolific poet writer and translator Yu Guangzhong’s use of run-on line in love poems. This thesis finds that Yu’s translation had an influence on his creation， and this influence increased with time. To make clear the subtle differences in the changes of creation by translation， SPSS software is applied as a quantitative tool.
【Key Words】Yu Guangzhong， relation between translation and creation， quantitative study
1 the relation between translation and creation
Literary translation is considered as a way to enhance target-language literature， making people to “learn through translation and thus improve creation”（qtd from Lu Xun， 1934：26， my translation）. However， Lu Xun did not give any proof that the former could influence the latter.
In order to make clear whether and to what extent translation influences creation， we choose one representative writer to study. Yu Guangzhong， a famous and prolific literal person both in creation （18 collections of poems） and in translation （2 collections of translated poems）， was chosen as the sample. This thesis concentrates on the influence of translation upon his use of run-on line.
2 Yu’s use of run-on line influenced by translation
Run-on line means “incomplete syntax at the end of a line”（wikipedia， 2015） . The aims of run-on line are to “create a certain rhythm”（Chen Benyi， 24） and “to add poetic flavor” （Chen Zhongyi， 24） ， such as： “I wonder， by my troth， what thou and I Did， till we lovd？ / Were we not weand till then？” （John Donne， The Good-morrow）
Run-on lines are often seen in English poems， but seldom appear in ancient Chinese poems. Even when they do appear， the reason is not to “create a certain rhythm”， but because ancient Chinese poems have stringent rules on character number in each line so some sentences cannot be contained in one line. For example： “關关雎鸠，在河之洲。”（《诗经·关雎》）This abstract uses run-on line only because the poem is strictly 4 characters in every line.
With regard to Yu Guangzhong， was he influenced by his act of translation in the use of run-on line？ Since Yu published two collections of translated poems in 1960 and 1968 respectively， we divide his creation into three periods： period one， before his translation （before 1960）， period two， during his translation （1960-1968）， and period three， after his translation （after 1968）. To narrow down the scope， we took only his love poems as examples. Yu started to use run-on line mainly because of his experience of translation. As is pointed out： “[i]n Yu‘s first few collections of poems， usage of run-on lines could hardly be detected. However， after years of practice in literary creation and translation， adoption of run-on line came to become one of his techniques in poetry writing.”（Cai Youwen， 2012：50） Cai correctly discovered Yu’s change in the use of this technique， although she gave no statistical proofs.
Yu frequently uses run-on lines in his poems， the most typical one is from Peep： “推开 你的睫 两扇∕推开面海的∕落地长窗”（《瞥》，1962）And another： “如果信笺∕是蓝色而浅∕那就有一只青鸟∕从你楼上∕飞来人间”（《梅雨笺》，1981）. The run-on lines created special poetic taste， and contributed to the success of Yu’s works.
Run-on lines in Yu’s love poems are analyzed to see whether and how much influence translation has. The total number of run-on lines in Yu’s love poems is 80， the average number of run-on lines in every poem is 2.8750， and the maximum number reaches 13.
And the frequency and the maximum number of every period is as follows： 1.1212 on average and 8 at maximum in period one， 4.4483 on average and 10 at maximum in period two， and 3.5556 on average and 13 at maximum in period three.
Now it should be analyzed whether the differences between periods are significant. First it is tested to see whether the frequency distribution is normal distribution. The Shapiro-Wilk result of period two is 0.053， which is higher than 0.05， so the sample is abnormal distribution.
Abnormal distribution should be analyzed with Kruskal Wallis analysis. The progressive significance of Kruskal Wallis’ test is 0.000， which is smaller than 0.001， so it can be concluded that the distributions of different periods are significantly different. In other words， when Yu began to translate， his creation did have a change accordingly.
The next question is whether the development of the distribution of run-on lines has any relation with periods？ Or whether it is only different but has no relation with periods？ To answer this question， Spearman correlation analysis is done and the correlation coefficient is 0.363， significant at the level of 0.001. This means that the more Yu translated， the more frequently he used run-on lines.
3 conclusion
From the above analysis， it can be said that Yu’s creation on the aspect of run-on line was influenced by his translation， and the frequency of the use of this technique after his translating English poems is significantly higher than that before it.
【參考文献】
[1]鲁迅（1934），《南腔北调集》[M]。上海：上海同文书局。
[2]Wikipedia . （2000）. Enjambment. http：//en.wikipedia.org/wiki/Enjambment （accessed 15/11/2014）.
[3]陈本益 （2002）. 汉语格律诗的跨句和跨行：兼与英语格律诗的跨行比较. http：//www.docin.com/p-81463790.html （accessed 15/11/2014）.
[4]蔡攸雯（2012），从主体间性研究余光中的创作与翻译[D]，硕士学位论文。上海：上海外国语大学。
作者简介：姓名：裴彧，性别：男，籍贯：广西柳州，出生日期：1985年11月27日，研究方向：英语翻译，单位：广西师范大学外国语学院，专业：英语语言文学硕士2012级硕士研究生。
【Key Words】Yu Guangzhong， relation between translation and creation， quantitative study
1 the relation between translation and creation
Literary translation is considered as a way to enhance target-language literature， making people to “learn through translation and thus improve creation”（qtd from Lu Xun， 1934：26， my translation）. However， Lu Xun did not give any proof that the former could influence the latter.
In order to make clear whether and to what extent translation influences creation， we choose one representative writer to study. Yu Guangzhong， a famous and prolific literal person both in creation （18 collections of poems） and in translation （2 collections of translated poems）， was chosen as the sample. This thesis concentrates on the influence of translation upon his use of run-on line.
2 Yu’s use of run-on line influenced by translation
Run-on line means “incomplete syntax at the end of a line”（wikipedia， 2015） . The aims of run-on line are to “create a certain rhythm”（Chen Benyi， 24） and “to add poetic flavor” （Chen Zhongyi， 24） ， such as： “I wonder， by my troth， what thou and I Did， till we lovd？ / Were we not weand till then？” （John Donne， The Good-morrow）
Run-on lines are often seen in English poems， but seldom appear in ancient Chinese poems. Even when they do appear， the reason is not to “create a certain rhythm”， but because ancient Chinese poems have stringent rules on character number in each line so some sentences cannot be contained in one line. For example： “關关雎鸠，在河之洲。”（《诗经·关雎》）This abstract uses run-on line only because the poem is strictly 4 characters in every line.
With regard to Yu Guangzhong， was he influenced by his act of translation in the use of run-on line？ Since Yu published two collections of translated poems in 1960 and 1968 respectively， we divide his creation into three periods： period one， before his translation （before 1960）， period two， during his translation （1960-1968）， and period three， after his translation （after 1968）. To narrow down the scope， we took only his love poems as examples. Yu started to use run-on line mainly because of his experience of translation. As is pointed out： “[i]n Yu‘s first few collections of poems， usage of run-on lines could hardly be detected. However， after years of practice in literary creation and translation， adoption of run-on line came to become one of his techniques in poetry writing.”（Cai Youwen， 2012：50） Cai correctly discovered Yu’s change in the use of this technique， although she gave no statistical proofs.
Yu frequently uses run-on lines in his poems， the most typical one is from Peep： “推开 你的睫 两扇∕推开面海的∕落地长窗”（《瞥》，1962）And another： “如果信笺∕是蓝色而浅∕那就有一只青鸟∕从你楼上∕飞来人间”（《梅雨笺》，1981）. The run-on lines created special poetic taste， and contributed to the success of Yu’s works.
Run-on lines in Yu’s love poems are analyzed to see whether and how much influence translation has. The total number of run-on lines in Yu’s love poems is 80， the average number of run-on lines in every poem is 2.8750， and the maximum number reaches 13.
And the frequency and the maximum number of every period is as follows： 1.1212 on average and 8 at maximum in period one， 4.4483 on average and 10 at maximum in period two， and 3.5556 on average and 13 at maximum in period three.
Now it should be analyzed whether the differences between periods are significant. First it is tested to see whether the frequency distribution is normal distribution. The Shapiro-Wilk result of period two is 0.053， which is higher than 0.05， so the sample is abnormal distribution.
Abnormal distribution should be analyzed with Kruskal Wallis analysis. The progressive significance of Kruskal Wallis’ test is 0.000， which is smaller than 0.001， so it can be concluded that the distributions of different periods are significantly different. In other words， when Yu began to translate， his creation did have a change accordingly.
The next question is whether the development of the distribution of run-on lines has any relation with periods？ Or whether it is only different but has no relation with periods？ To answer this question， Spearman correlation analysis is done and the correlation coefficient is 0.363， significant at the level of 0.001. This means that the more Yu translated， the more frequently he used run-on lines.
3 conclusion
From the above analysis， it can be said that Yu’s creation on the aspect of run-on line was influenced by his translation， and the frequency of the use of this technique after his translating English poems is significantly higher than that before it.
【參考文献】
[1]鲁迅（1934），《南腔北调集》[M]。上海：上海同文书局。
[2]Wikipedia . （2000）. Enjambment. http：//en.wikipedia.org/wiki/Enjambment （accessed 15/11/2014）.
[3]陈本益 （2002）. 汉语格律诗的跨句和跨行：兼与英语格律诗的跨行比较. http：//www.docin.com/p-81463790.html （accessed 15/11/2014）.
[4]蔡攸雯（2012），从主体间性研究余光中的创作与翻译[D]，硕士学位论文。上海：上海外国语大学。
作者简介：姓名：裴彧，性别：男，籍贯：广西柳州，出生日期：1985年11月27日，研究方向：英语翻译，单位：广西师范大学外国语学院，专业：英语语言文学硕士2012级硕士研究生。