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Abstract：By elaborating the artistic imagery and literary style of Chinese poems，debating the theory of “beauty in sense” in poetry translation，and criticizing some typical poetry translation in contrast，this paper reveals several common kinds of poetry images，trying to change abstraction into concreteness and exchange ways of poetry translation，more importantly，highlighting the critical role played by the artistic imagery in staging the original literary style.
Key words：artistic imagery beauty in sense literary style
I Introduction:
China has long been known as a famous civilized nation with more than 5000 years of brilliant history.Among the innumerous cultural heritage the great country leaves to the world，the Chinese Classical Poetries could be one of the cherished gem，highlighting the traditional Chinese Culture.As the society advances to the new epoch of globalization，the frequent use of an international language—English，is gaining popularity with each passing day.And China，is trying to introduce and promote her splendid culture to the rest of the world with the policy of reform and open up to the outside.As a result，the translation，generally deemed as the communicative tool，plays an important role in the process of culture spreading and promotion.
As for the definition of translation，it is generally acknowledged that translation is a kind of language activity of using one language to re-express completely and accurately the ideological content contained in another language；or it is a rendering from one language into another.Throughout the history，there were different schools of translation theories：translation is a science，translation is an art，translation is an operation and so on.
Among those mentioned above，I will mainly focus on the second one which represents the important school—the school of art.It advocates recreating the literary works by using expressions of another language and emphasizes the effect of translation.In my opinion，poetry translation is perhaps one of the best ways to bring out the spirit of translation as an art，showing of beauty in sense，sound and form，which was proposed firstly by the great translator Xu Yuanzhong.American poet Frost once pointed out，“Poetry is what’s lost in translation.” Poetry writing calls for beauty in sense，sound and form，with sense as core，the same is true of poetry translation.An excellent translator should not be content with merely conveying the ideas in the original，but must try to reproduce the original beauty.Instead，the specific and practical “rule” is to capture the rich artistic imageries in poetries rather than “follow one’s own will without trespassing the rule” (“从心所欲不逾矩”).According to Ezra Pound，“an image is an intellectual and emotional complex in an instant of time”.Thus the meaning is tied to “a feeling” as a consequence of an event.As one of the most important Internals of poetry，Image is often valued as the key to the success of the poetry together with the Subject Matters and Themes.
In fact，dating back to Southern Dynasty(420AD—589AD)，the Chinese critic Liu Xie(刘勰) had already put forward the concept of image in his famous works “WenXin—DiaoLong”(文心雕龙)，“使玄解亡宰，寻声律而定墨，独照之匠，窥意象而运斤”，advocating conveying author’s mind through dedicate images.And in the history after that period，the Chinese poets have always been attaching much significance to the images while producing the classical poetries.And the exquisite images ever since had been one of the charm that appeal to quite a lot of western writers，i.e，Ezra Pound，Amy Lowell，and the very two created a literary movement known as “imagism”，which exerted much influence upon the modern western poetries.
For the reasons mentioned above，it’s our task to promote our brilliant culture to the rest of the world，and the due attention should be paid to the classical poetries.To some extent，it represents the achievements of the past，and we shall make new progress on the basis of the past accomplishments.
II The artistic image elaborated in the classical poetries translation
My paper is going to do some research on the artistic imagery and the close relations between the artistic imagery and literary style in the process of translation.
Image hosition(意象叠加) is one of the important forms.The essential principle for this form is that “ two visual images form what we call visual chord”（二个视觉意象形成我们称之为“视觉和弦”的东西）which was firstly proposed by Hermo.However，it is said that the Image hosition was originated from the Ancient China，and some foreigners even name it “The Chinese Dragon”.Image hosition is mainly characterized by the large scope of overlapping and advancing through the conciseness and briefness，every sentence seems to be free of connection and explanation.Art Montage(蒙太奇艺术) also adopts the same technique in Movie Production.If we pay due attention to this technique in the poetry translation，it is more likely to have the readers echo with the author even if they were from different culture background.
The masterpiece of Image hosition in the literature should be Ezra Pound’s “ In a station of the metro”：The apparition of these faces in the crowd；Petals on a wet，black bough (熙熙攘攘的人群中这脸庞的骤现，润湿着乌黑树枝上的花瓣).Actually，the artistic imagery in this small poem is quite varied and changeable，reflecting the fast pace of life in modern society.The setting of the picture was the huddled and crowded people，together with the image of damp and rotted branches，bringing readers the impression of darkness，chaos，gloom and bleakness.Then all of a sudden，as if there were some thunderbolt in the clear sky，a compound artistic imagery of beautiful faces and charming petals turned up，refreshing everybody，“seeming to be flowers，seeming to be mists”，giving him enough room to exercise the imagination.
In the course of poetry translation，similar association plays an important role during the whole process.As the Chinese and English readers are from the different cultural background，both the view of the world and the way of thinking diverged in different directions.While as all human beings are endowed with natural associations which function practically the same way，so here similar association acts the role of bridge，linking both ends and enhancing the mutual understandings of each other.As the old Chinese saying goes，“Poetries demonstrate one’s ambition.” It is therefore quite important to take advantage of similar association while doing poetry translation，or else the artistic imagery may not be elaborated，and the total translation could be ended up with a failure.
Apart from the above two factors，vagueness also plays a significant role in expressing the image during the poetry translation.As a rule，the exact beauty is difficult to depict，it can only be presented in a vague way.Almost all the great writers are convinced that the beauty of vagueness is one of the best means to express the best image.康德（Immanuel Kant，1724-1804）once pointed out that，“vagueness is better than clearness in terms of expressive force...beauty is something that can’t be perceived through words.” Classical Chinese poetries are mostly featured by vague beauty，it leaves the readers more imaginary space to judge and appreciate the internal beauty themselves.
Vagueness，as a matter of fact，extends to a wide range of varieties.And those we often encounter are as follows:
1.About time or space，extending time or space to a certain large of degree.“千古风流人物”( The great people through such a long time) here “such a long time” is a term on vagueness，which prolongs the time limit；“但愿人长久，千里共婵娟”( If only we could live to a green old age，sharing her beauty together，through far，far apart) here “Far，far apart” also shows that the space is enlarged rather than definite.
2.On certain specific object，making it a universal or general one.“今宵酒醒何处？杨柳岸，晓风残月.”(When the wine finally leaves me sober，where will I be? Along a river bank lined with willows—in a morning breeze—under a sinking moon) and “谁家今夜扁舟子，何处相思明月楼.”(Tonight whose boat is drifting? Where is the Moon Attic that brings my love?).In both poems，the vagueness exerted on characters，time and space makes them the concrete symbol.
In addition，vagueness was almost employed by every poet who devoted himself to the study of artistic imagery throughout the history.“长安一片月，万户捣衣声”( Chang’an under a new moon，and I in the evening listen to the sound of many women beating clothes by the water) and “暖暖远人村，依依墟里烟”( In the dim dusk you can see far-off villages.Smoke from cooking fires curl high in the air)，these two stanzas succeed in achieving the vague artistic imagery，using the strategy of exaggeration and reiterative locution respectively.And vagueness is often closely related to the Free translation.Li Shangyin’s “The Gorgeous Zither”(锦瑟)：沧海月明珠有泪，蓝田日暖玉生烟 were fairly impressive，but it’s also pretty hard to get it across to foreigners.Dr.Weng Xianliang had an excellent version：“Dark green sea，tears，pearls，moonlight streaming;/ Sunny blue jade field，warm haze shimmering”.All the subjects and objects were mixed up here，the sense of vague beauty was successfully achieved.
Last but not least，cultural background’s influence in the translation of image or imagery.Some translator cannot do satisfying job largely duo to the lack of cultural background，in particular those foreign translators.As they have not the enough background knowledge of the source language，it’s more likely that they would lead to certain jokes.Arthur Cooper once translated “伯乐” to “Uncle Happy”.The Chinese Classical Poetries often attach great importance to the unique images and the special literary styles.Hence the translations of poetries demand high command of knowledge in every aspect from the source language to the target language，otherwise the fruits of translation would not be of high quality，neither would they be so satisfactory.
Although there are great gaps between the two nations in terms of geographical location，cultural background，way of thinking，aesthetic values，and the two languages belong to different phylum，some of the artistic cultural imageries are based on the common experience or practice derived from the struggle of lives.As a result，the two nations have the same descriptions for those artistic imageries that share almost the same traits of human beings.Let’s take the oath of love for example，the Classical Chinese poetry has “to the tune of PuSaMan”—“枕前发尽千般怨，要体且待青山烂。水面上秤锤浮，直待黄河彻底枯”，here “The Yellow River dries up to the bed”(直待黄河彻底哭) reflects the ancient Chinese people’s loyalty to the love.While not come singly but in pairs，the celebrated Scottish poet Robert Burns(1759—1796) also expressed his passion for love in “A Red，Red Rose”:
And I will love thee still，my dear,
Till the seas gone dry,
Till the seas gone dry，my dear,
And the rocks melt wi’the sun!
For the phenomenon of “The Yellow River would never dry up and the rocks would never rot”，all nations in the world would have the same feelings and understandings.For those cultural images that both nations will appreciate in the same way，we can adopt the strategy of “literal translation”，keeping the Chinese cultural image，introducing the unique and brilliant Oriental culture to the rest of the world.
III The close links between the artistic imageries and literary styles
Literary style，to some extent，is one of the important elements in the poetry translation.And the close link between artistic imagery and literary style should be paid enough attention.
Every writer possesses his own literary style which is quite distinctive from others.The literary style is not something that can’t be felt or perceived；on the contrary，it could be easily recognized from the languages，the forms，or the artistic imageries，etc.The style，to some extent，represents the writer himself，and the research on literary style is now touching upon the personality and the appreciation of the writer，not only confining to the pure artistic analysis.Yan Yu once commented，“子美不能为太白之飘逸，太白不能为子美之沉郁”，which indicts that Du Fu was not able to achieve Li Bai’s heroism and elegance，while Li Bai could not reach Du Fu’s melancholy and concerns，either.It is a truth universally acknowledged，that literary style is the symbol of maturity in arts.All those masterpieces that passed down from generation to generation were noted for their distinct styles.
Translation is not an easy job，poetry translation should be even harder，while undoubtedly the translation of literary styles is the most difficult nut to crack.Mr.Qian Zhongshu pointed out in one of his famous reviews：“ The highest stage of literary translation is ‘Conversion’...someone compares it to ‘the transmigration of souls’... Put it in another way，the translation should be faithful to the original version，as if it is not the translated one...” Mr.Qian’s “ faithful to the original version” stressed the importance of literary style，which was the most significant precondition of “Conversion”.Literary style is the artistic embodiment，and what we shall do is to grasp the style from the very beginning.Literary style is closely related to the artistic conception，which in turn connects with artistic imagery，and artistic imagery is based on the language.The language of poetry will always be further removed from ordinary language than the most elaborate prose，and the poetic use of language deviates in a number of ways from common use.Poetry represents writing in its most compact，condensed and heightened form，in which the language is predominately connotational rather than denotational and in which content and form are inseparably linked.The artistic imagery is fairly varied as well as flexible，which accounts for the prosperity of Chinese classical poetries，especially Tang Dynasty.To sum up，the characters and specialties discussed above on artistic imageries demonstrate that images are vital to the literary styles.And it is a must to attach grave importance to the original artistic imageries if one wishes to keep the poetry’s authentic flavor and style.
IV Conclusion
All in all，the image is an indispensable part of the poetry，and can’t be separated or alienated from the whole.Apart from the image，there are many other elements that we will have to handle with care while analyzing the Chinese Classical Poetries.The previous studies mainly concentrated on the types or functions of the images in the poetry translations，and the close relation between literary style and artistic image seems to be ignored.As a matter of fact，links between the two can be one of the core problems in the course of poetry translations.
The world is changing with each passing day，and the whole society is advancing beyond belief.At present，the cultural boundary has gradually dissolved，and all the culture has emerged together，becoming the “melting pot”.If one nation wants to dominate or compete or survive in the changing world，it is a must that they will have to introduce and promote their unique culture.Classical poetry as one of our Chinese quintessence，should be well preserved and promoted，I hope in the near future，the world will adopt a new perspective of admiration.
Bibliography
1.Peter Newmark.Approaches to Translation \.上海：上海外语教育出版社，2001
2.Eugene.A.Nida.Language Culture and Translating\.内蒙古：内蒙古大学出版社，1998
3.刘宓庆.翻译教学:实务与理论\.北京：中国对外翻译出版社，2003
4.冯庆华.实用翻译教程\.上海：上海外语教育出版社，1997
5.许渊冲.中诗英韵探胜\.北京：北京大学出版社，1992
6.吕叔湘，许渊冲.中诗英译比录(增订本)\.香港：三联书店，1988
7.李海燕.Beauty in sense，sound and form in poetry translation-translations of Tang Poems from Chinese to English\.内蒙古：内蒙古大学出版社，2000
8.习华林.意象在英汉诗歌翻译中的地位\.西安：陕西师范大学出版社，2001
9.辛献云.诗歌翻译中意象的改变\.洛阳：解放军外语学院，2001
10.周建新.从模糊审美看诗意的传达\.开封：河南大学外语学院，2002
11.罗平.古诗意象与古诗英译风格再现\.外语文化与研究：上海外语教育出版社，2002
12.翁显良.古诗英译\.北京：北京出版社，1985
13.钱钟书.文学翻译的最高标准\.北京：中国对外翻译出版公司，1983
14.王佐良.Two early translators reconsidered\.北京：外语教学与研究，1987
Key words：artistic imagery beauty in sense literary style
I Introduction:
China has long been known as a famous civilized nation with more than 5000 years of brilliant history.Among the innumerous cultural heritage the great country leaves to the world，the Chinese Classical Poetries could be one of the cherished gem，highlighting the traditional Chinese Culture.As the society advances to the new epoch of globalization，the frequent use of an international language—English，is gaining popularity with each passing day.And China，is trying to introduce and promote her splendid culture to the rest of the world with the policy of reform and open up to the outside.As a result，the translation，generally deemed as the communicative tool，plays an important role in the process of culture spreading and promotion.
As for the definition of translation，it is generally acknowledged that translation is a kind of language activity of using one language to re-express completely and accurately the ideological content contained in another language；or it is a rendering from one language into another.Throughout the history，there were different schools of translation theories：translation is a science，translation is an art，translation is an operation and so on.
Among those mentioned above，I will mainly focus on the second one which represents the important school—the school of art.It advocates recreating the literary works by using expressions of another language and emphasizes the effect of translation.In my opinion，poetry translation is perhaps one of the best ways to bring out the spirit of translation as an art，showing of beauty in sense，sound and form，which was proposed firstly by the great translator Xu Yuanzhong.American poet Frost once pointed out，“Poetry is what’s lost in translation.” Poetry writing calls for beauty in sense，sound and form，with sense as core，the same is true of poetry translation.An excellent translator should not be content with merely conveying the ideas in the original，but must try to reproduce the original beauty.Instead，the specific and practical “rule” is to capture the rich artistic imageries in poetries rather than “follow one’s own will without trespassing the rule” (“从心所欲不逾矩”).According to Ezra Pound，“an image is an intellectual and emotional complex in an instant of time”.Thus the meaning is tied to “a feeling” as a consequence of an event.As one of the most important Internals of poetry，Image is often valued as the key to the success of the poetry together with the Subject Matters and Themes.
In fact，dating back to Southern Dynasty(420AD—589AD)，the Chinese critic Liu Xie(刘勰) had already put forward the concept of image in his famous works “WenXin—DiaoLong”(文心雕龙)，“使玄解亡宰，寻声律而定墨，独照之匠，窥意象而运斤”，advocating conveying author’s mind through dedicate images.And in the history after that period，the Chinese poets have always been attaching much significance to the images while producing the classical poetries.And the exquisite images ever since had been one of the charm that appeal to quite a lot of western writers，i.e，Ezra Pound，Amy Lowell，and the very two created a literary movement known as “imagism”，which exerted much influence upon the modern western poetries.
For the reasons mentioned above，it’s our task to promote our brilliant culture to the rest of the world，and the due attention should be paid to the classical poetries.To some extent，it represents the achievements of the past，and we shall make new progress on the basis of the past accomplishments.
II The artistic image elaborated in the classical poetries translation
My paper is going to do some research on the artistic imagery and the close relations between the artistic imagery and literary style in the process of translation.
Image hosition(意象叠加) is one of the important forms.The essential principle for this form is that “ two visual images form what we call visual chord”（二个视觉意象形成我们称之为“视觉和弦”的东西）which was firstly proposed by Hermo.However，it is said that the Image hosition was originated from the Ancient China，and some foreigners even name it “The Chinese Dragon”.Image hosition is mainly characterized by the large scope of overlapping and advancing through the conciseness and briefness，every sentence seems to be free of connection and explanation.Art Montage(蒙太奇艺术) also adopts the same technique in Movie Production.If we pay due attention to this technique in the poetry translation，it is more likely to have the readers echo with the author even if they were from different culture background.
The masterpiece of Image hosition in the literature should be Ezra Pound’s “ In a station of the metro”：The apparition of these faces in the crowd；Petals on a wet，black bough (熙熙攘攘的人群中这脸庞的骤现，润湿着乌黑树枝上的花瓣).Actually，the artistic imagery in this small poem is quite varied and changeable，reflecting the fast pace of life in modern society.The setting of the picture was the huddled and crowded people，together with the image of damp and rotted branches，bringing readers the impression of darkness，chaos，gloom and bleakness.Then all of a sudden，as if there were some thunderbolt in the clear sky，a compound artistic imagery of beautiful faces and charming petals turned up，refreshing everybody，“seeming to be flowers，seeming to be mists”，giving him enough room to exercise the imagination.
In the course of poetry translation，similar association plays an important role during the whole process.As the Chinese and English readers are from the different cultural background，both the view of the world and the way of thinking diverged in different directions.While as all human beings are endowed with natural associations which function practically the same way，so here similar association acts the role of bridge，linking both ends and enhancing the mutual understandings of each other.As the old Chinese saying goes，“Poetries demonstrate one’s ambition.” It is therefore quite important to take advantage of similar association while doing poetry translation，or else the artistic imagery may not be elaborated，and the total translation could be ended up with a failure.
Apart from the above two factors，vagueness also plays a significant role in expressing the image during the poetry translation.As a rule，the exact beauty is difficult to depict，it can only be presented in a vague way.Almost all the great writers are convinced that the beauty of vagueness is one of the best means to express the best image.康德（Immanuel Kant，1724-1804）once pointed out that，“vagueness is better than clearness in terms of expressive force...beauty is something that can’t be perceived through words.” Classical Chinese poetries are mostly featured by vague beauty，it leaves the readers more imaginary space to judge and appreciate the internal beauty themselves.
Vagueness，as a matter of fact，extends to a wide range of varieties.And those we often encounter are as follows:
1.About time or space，extending time or space to a certain large of degree.“千古风流人物”( The great people through such a long time) here “such a long time” is a term on vagueness，which prolongs the time limit；“但愿人长久，千里共婵娟”( If only we could live to a green old age，sharing her beauty together，through far，far apart) here “Far，far apart” also shows that the space is enlarged rather than definite.
2.On certain specific object，making it a universal or general one.“今宵酒醒何处？杨柳岸，晓风残月.”(When the wine finally leaves me sober，where will I be? Along a river bank lined with willows—in a morning breeze—under a sinking moon) and “谁家今夜扁舟子，何处相思明月楼.”(Tonight whose boat is drifting? Where is the Moon Attic that brings my love?).In both poems，the vagueness exerted on characters，time and space makes them the concrete symbol.
In addition，vagueness was almost employed by every poet who devoted himself to the study of artistic imagery throughout the history.“长安一片月，万户捣衣声”( Chang’an under a new moon，and I in the evening listen to the sound of many women beating clothes by the water) and “暖暖远人村，依依墟里烟”( In the dim dusk you can see far-off villages.Smoke from cooking fires curl high in the air)，these two stanzas succeed in achieving the vague artistic imagery，using the strategy of exaggeration and reiterative locution respectively.And vagueness is often closely related to the Free translation.Li Shangyin’s “The Gorgeous Zither”(锦瑟)：沧海月明珠有泪，蓝田日暖玉生烟 were fairly impressive，but it’s also pretty hard to get it across to foreigners.Dr.Weng Xianliang had an excellent version：“Dark green sea，tears，pearls，moonlight streaming;/ Sunny blue jade field，warm haze shimmering”.All the subjects and objects were mixed up here，the sense of vague beauty was successfully achieved.
Last but not least，cultural background’s influence in the translation of image or imagery.Some translator cannot do satisfying job largely duo to the lack of cultural background，in particular those foreign translators.As they have not the enough background knowledge of the source language，it’s more likely that they would lead to certain jokes.Arthur Cooper once translated “伯乐” to “Uncle Happy”.The Chinese Classical Poetries often attach great importance to the unique images and the special literary styles.Hence the translations of poetries demand high command of knowledge in every aspect from the source language to the target language，otherwise the fruits of translation would not be of high quality，neither would they be so satisfactory.
Although there are great gaps between the two nations in terms of geographical location，cultural background，way of thinking，aesthetic values，and the two languages belong to different phylum，some of the artistic cultural imageries are based on the common experience or practice derived from the struggle of lives.As a result，the two nations have the same descriptions for those artistic imageries that share almost the same traits of human beings.Let’s take the oath of love for example，the Classical Chinese poetry has “to the tune of PuSaMan”—“枕前发尽千般怨，要体且待青山烂。水面上秤锤浮，直待黄河彻底枯”，here “The Yellow River dries up to the bed”(直待黄河彻底哭) reflects the ancient Chinese people’s loyalty to the love.While not come singly but in pairs，the celebrated Scottish poet Robert Burns(1759—1796) also expressed his passion for love in “A Red，Red Rose”:
And I will love thee still，my dear,
Till the seas gone dry,
Till the seas gone dry，my dear,
And the rocks melt wi’the sun!
For the phenomenon of “The Yellow River would never dry up and the rocks would never rot”，all nations in the world would have the same feelings and understandings.For those cultural images that both nations will appreciate in the same way，we can adopt the strategy of “literal translation”，keeping the Chinese cultural image，introducing the unique and brilliant Oriental culture to the rest of the world.
III The close links between the artistic imageries and literary styles
Literary style，to some extent，is one of the important elements in the poetry translation.And the close link between artistic imagery and literary style should be paid enough attention.
Every writer possesses his own literary style which is quite distinctive from others.The literary style is not something that can’t be felt or perceived；on the contrary，it could be easily recognized from the languages，the forms，or the artistic imageries，etc.The style，to some extent，represents the writer himself，and the research on literary style is now touching upon the personality and the appreciation of the writer，not only confining to the pure artistic analysis.Yan Yu once commented，“子美不能为太白之飘逸，太白不能为子美之沉郁”，which indicts that Du Fu was not able to achieve Li Bai’s heroism and elegance，while Li Bai could not reach Du Fu’s melancholy and concerns，either.It is a truth universally acknowledged，that literary style is the symbol of maturity in arts.All those masterpieces that passed down from generation to generation were noted for their distinct styles.
Translation is not an easy job，poetry translation should be even harder，while undoubtedly the translation of literary styles is the most difficult nut to crack.Mr.Qian Zhongshu pointed out in one of his famous reviews：“ The highest stage of literary translation is ‘Conversion’...someone compares it to ‘the transmigration of souls’... Put it in another way，the translation should be faithful to the original version，as if it is not the translated one...” Mr.Qian’s “ faithful to the original version” stressed the importance of literary style，which was the most significant precondition of “Conversion”.Literary style is the artistic embodiment，and what we shall do is to grasp the style from the very beginning.Literary style is closely related to the artistic conception，which in turn connects with artistic imagery，and artistic imagery is based on the language.The language of poetry will always be further removed from ordinary language than the most elaborate prose，and the poetic use of language deviates in a number of ways from common use.Poetry represents writing in its most compact，condensed and heightened form，in which the language is predominately connotational rather than denotational and in which content and form are inseparably linked.The artistic imagery is fairly varied as well as flexible，which accounts for the prosperity of Chinese classical poetries，especially Tang Dynasty.To sum up，the characters and specialties discussed above on artistic imageries demonstrate that images are vital to the literary styles.And it is a must to attach grave importance to the original artistic imageries if one wishes to keep the poetry’s authentic flavor and style.
IV Conclusion
All in all，the image is an indispensable part of the poetry，and can’t be separated or alienated from the whole.Apart from the image，there are many other elements that we will have to handle with care while analyzing the Chinese Classical Poetries.The previous studies mainly concentrated on the types or functions of the images in the poetry translations，and the close relation between literary style and artistic image seems to be ignored.As a matter of fact，links between the two can be one of the core problems in the course of poetry translations.
The world is changing with each passing day，and the whole society is advancing beyond belief.At present，the cultural boundary has gradually dissolved，and all the culture has emerged together，becoming the “melting pot”.If one nation wants to dominate or compete or survive in the changing world，it is a must that they will have to introduce and promote their unique culture.Classical poetry as one of our Chinese quintessence，should be well preserved and promoted，I hope in the near future，the world will adopt a new perspective of admiration.
Bibliography
1.Peter Newmark.Approaches to Translation \.上海：上海外语教育出版社，2001
2.Eugene.A.Nida.Language Culture and Translating\.内蒙古：内蒙古大学出版社，1998
3.刘宓庆.翻译教学:实务与理论\.北京：中国对外翻译出版社，2003
4.冯庆华.实用翻译教程\.上海：上海外语教育出版社，1997
5.许渊冲.中诗英韵探胜\.北京：北京大学出版社，1992
6.吕叔湘，许渊冲.中诗英译比录(增订本)\.香港：三联书店，1988
7.李海燕.Beauty in sense，sound and form in poetry translation-translations of Tang Poems from Chinese to English\.内蒙古：内蒙古大学出版社，2000
8.习华林.意象在英汉诗歌翻译中的地位\.西安：陕西师范大学出版社，2001
9.辛献云.诗歌翻译中意象的改变\.洛阳：解放军外语学院，2001
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