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Li Aixuan: /* Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of Empresses in the Palace */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Cultural Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Cultural Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Cultural Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Cultural Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of cultures in ways of thinking and emotional expression. (Zhang Jing, Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the culture in target language .(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of network words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.” (Jiang 2009:180)

Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television works is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of ''Empresses in the Palace'', which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of domestication and foreignization. Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of domestication is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the foreignization translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in ''Empresses in the Palace'', the proper use of Foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works.

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. This two translation strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and Domestication must also be properly considered when viewing foreignization. There is neither complete domestication nor complete foreignization. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Cultural Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in ''Empresses in the Palace'' reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of ''Empresses in the Palace''. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of ''Empresses in the Palace'' can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of cultural turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===
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Bassnett, Susan & Andre Lefevere(1998/2001). Constructing Cultures[C].Shanghai: Shanghai Foreign Language Education Press.

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Liu Xiaohui, Zhang Liang 刘晓辉,张亮(2017).影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of ''Empresses in the Palace'' as an Example[J].出版广角 View on Publishing,6:64-66.

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Wang Ning 王宁(2009).翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press.

Zhou Tiantian 周甜甜(2020).纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of ''Empresses in the Palace'' as from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,42:76-77.

Zhang Jing, Li Shuliang张静, 李树春(2006).“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College,4.

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, "I've seen this sister."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”

Granny Merchant smiled and said, "nonsense again. Have you ever seen her?" Jia Baotou WE Precious Jade said with a smile, "although I haven't seen her, I look good and feel like I'm far from meeting again." Granny Merchant said with a smile, "OK, OK! It's more harmonious."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)

Dowager Jia smiled and said, "nonsense again. Have you ever seen it?" Baoyu said with a smile, "although I haven't seen it, I look good and feel like I'm far from meeting again." Dowager Jia said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

Grandma Merchant smiled and said, "Nonsense again. Have you ever seen it?" Precious Jade said with a smile, "Although I haven't seen it, I look good and feel like I'm far from meeting again." Grandma Merchant said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, "has your sister ever read?" Mascara Jade Forest said, "I didn't study. I only studied for a year. I have to recognize a few words."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Mascara Jade Forest said, "I didn't go to school. I only studied for a year, so I can recognize a few words."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "Watch characters?" "No words," Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "What's your courtesy name?" "I don't have a courtesy name" Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：

Baoyu smiled and said:" I want to describe you with two words—Ping Ping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Baoyu said:" On ''General Study of Ancient and Modern Characters''"--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)

Precious Jade smiled and said:" I want to give away two words to you—Pingping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Jade said:"''On General Study of Ancient and Modern Characters''."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”

'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)

‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。

Baoyu laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Daiyu, "Do you have any jade?" Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)

Precious Jade laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Mascara Jade Forest, "Do you have any jade?" Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”

Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)

Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)

--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；

The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:" poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse."Covered with tears, Baoyu cried:" my beloved elder and litter sisters have no one. I'm ashamed of owning one."--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)

All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. "You child of wrath," she exclaimed. "When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?"
Precious Jade’s face was covered with the traces of tears. "All my cousins here, senior as well as junior," he rejoined, as he sobbed, "have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：

And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing." Grandma Merchant hastened to coax him. "This cousin of yours," she explained, "would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)

Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good." "Your cousin did have one once," said Dowager lady Chia to soothe him, "but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。

"If you don't take it with you, be careful your mother knows" As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)

"You‘d better keep it well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”

When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)

Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin inside the room of the partition door temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。

Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.” The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)

Presious Jade said:"Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her." The Lady Dowager said thoughtfully:"That's OK."--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。

But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)

But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang

Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)

In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)

This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional. Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。

However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”

At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.
"How is it, miss，" she inquired smiling, "that you have not turned in as yet？"
Tai-yue at once put on a smile. "Sit down, sister, " she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)

At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in."How is it, Miss，" she inquired smilingly, "that you have not turned in as yet？" Mascara Jade at once put on a smile. "Sit down, my dear sister, " she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”

“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. "Dai Yu said: "Sisters said, I just remember. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)

Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

毕竟怎的，下回分解。

起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。
If you want to know what happened, the answer is next time
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)

After all, I'll break it down next time.

Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。

Di Pao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)

Di Bao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。

The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)

The undertaker is either the local government office in Beijing or the imperial court. The "Di" newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time."Di": Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。荆：“荆钗布裙”的省称。

"Jian Jing" ——also known as "Zhuo Jing", "Shan Jing" etc. It's a modest word when a man mention his wife in front of others. "Jing"is a short name for "JingChaiBuQun"(the female have only a thorn for a hairpin and plain cloth for a skirt). --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei

Jian Jing, also known as "Zhuo Jing", "Shan Jing",etc, is a humle term for quoting one's own wife. Jing is an abbreviation for "Jingchaibuqun", that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。

Jing, used to describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): "Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt." Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)

Jing, used to describe the extremely simple dress of a woman. In Han, Liu Xiang's "Biography of the Female" (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): "Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt." Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；

The Worries of Internal Concern - From Yuan Fan's " Settlement Zoran Policy ", And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)

Internal Concerns – derived from Yuan Fan's "Policy on the Settlement of Ruru". “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。

“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)

If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?" (“Ruru”,: an alias for Rouran Khaganate, also known as "Ruirui" and "Ruru". The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)

Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

这里指家庭需要照顾的人或事。

垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。

Here these refer to the people or the things needing caring.
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door

This refers to the person or thing that family members need to take care of.

Floral-Pendant Gates: It was the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called "Floral-Pendant Gates".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。

Verandah Chao Shou —— also known as "Corridor Chao Shou" and "Cross Hand Verandah". Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called "Verandah Chao Shou".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)

Verandah Chao Shou: It was also known as “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。山：即房屋两侧的山墙。

Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)

Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

“第一个”六句──这是对迎春形象的描写。微丰：稍胖。腮凝新荔：形容腮帮子像荔枝般的红润。

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

鼻腻鹅脂：形容鼻端像鹅脂般光润。

“第二个”七句──这是对探春形象的描写。削肩：俗称溜肩。

Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)

Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

倾斜的双肩。古人以为美人肩。

长挑身材：瘦高的身材。鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。

Sloping shoulders. The ancients considered these to be the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)

Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

俊眼修眉：秀美的眼睛，长长的秀眉。顾盼神飞：左顾右盼，目光炯炯，神采飞扬。文彩精华：光彩照人，精神十足。

Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)

Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。

“第三个”两句──这是对惜春形象的描写。

To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament."The third" two sentences ─ thses are the description of the image of Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)

Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

形容惜春年纪尚小，身材和容貌都还没有发育成熟。

人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。

It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)

It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

荣：中医指血脉。养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。

“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)

“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

窄褃(kèn掯)袄──即紧身妖。窄：瘦小。褃：是上衣前后幅两侧接缝部分的名称。

Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)

Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。

Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called "Etiquette Gate" is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)

Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called "Etiquette Gate" is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。
"Jiangning official records，organizational system，official ": "inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall." Later extended, the second main gate of everyone's house is also called Yimen. --[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)

"Jiangning official records，organizational system，government ": "inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall." Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。

Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)

Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

鹿顶：亦作“盝顶”。即平屋顶。耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。

Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)

Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

因其位于正房两侧，犹如人的两只耳朵，故称。钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。

As they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)

Because they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。九龙：古代传说龙生九子，性格各异。但说法各异。

The horizontal board, which is decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；
Ming-Yang Shen's "Sheng'an Waiji - Animals I - The Nine Sons of the Dragon" says: "The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.

Yang Shen of Ming Dynasty said in "Sheng an Outside collection · Animal · Long Sheng Jiu Zi" : "Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt. Scene wind, life good risk, this temple corner beast is its portrait; Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)

Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)

Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：

The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)

The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；

“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.

"It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。

The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, "When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)

When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；

Wen Zheng said , "his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)

Wen Zheng said , "his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；

Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)

Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。

In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)

In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”

The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':"Be cautious and practical. There were thousands of complicated government affairs needed to be handled."
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]

The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is "Be cautious and practical. There were thousands of complicated government affairs needed to be handled."--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。

Kong Yingda said: "Ji, which refers to the slighest thing, meaning that should be aware of the very small things." It means that despite the arduous government affairs, no small things can be ignored. Also known as "Wan Ji".

Kong Yingda's biography said: "The word Ji means that before saying something one should fear the smallest of all things." This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as "ten thousand business".--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。

The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': "The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs." This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan

The allusion is from Han Shu: The List of Hundred Officials（Previous）: "The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs." Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。

Chen:is short for "Beichen", that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)

Chen: short for "Beichen", is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。

Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". After Tang Dynasty, "Bao" was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)

Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". Since Tang Dynasty, "Bao" was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。昭日月：形容装饰光亮如日月。昭：明亮。

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

黻：黑与青相间的亚形花纹。焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。

Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)

Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。

Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)

Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

美人觚：因其体长腰细，形似美人，故名。

椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。

Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty.

Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.

Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty.
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。掐：嵌入之意。

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

牙：即“牙子”。器物突出的边沿。

《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。

“Ya”: also called "Ya Zi" in Chinese. It means the protruding edge of an object.

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。

抹额：原指束在额上的头巾。其起源似乎很早。

During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.

During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。
Yu asked and replied, "this is the surrender of a warrior." When the first emperor of Qin went to the sea, there was the divine Dynasty where people wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)

Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。

箭袖──亦称“箭衣”。

It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear.

Arrow sleeve ─ ─ also known as "arrow suit".

It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear.
Arrow Sleeves - also known as "Arrow Suit".--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。

It's a kind of robe with narrow sleeves. Its cuffs were in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)

It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

后成为一种服式，不射箭的男子也穿。

“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；

Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. The two sentences of "inverted image" seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.

Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows.
Two sentences of "inverted image" -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。

In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that "I have seen this sister" and "I feel like I am far from meeting again". His intention is the same.

==Nadia 202011080004==

请安──这里指的是清代一种见面问好的特殊礼仪：

==Mahzad Heydarian 玛莎 202021080004==

男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；
A man must bend his right knee or kneel on the ground while showing respect.

==Mariam Toure 2020GBJ002301==

女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。

==Rouabah Soumaya 202121080001==

寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。

==Muhammad Numan 202121080002==

面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing", "The New Language of the World" (世說新語容止):
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

“何平叔(晏)美姿仪，面至白。
"Uncle He Ping's face is white and beautiful.

==Muhammad Saqib Mehran 202121080004==

魏明帝疑其傅粉，正夏月，与热汤饼。
Translation : Weiming Siuyuy Full, Full Day, with hot soup.

==Zohaib Chand 202121080005==

既啖，大汗出，以朱衣自拭，色转皎然。”
Both, but sweat, to Zhu Jiazi, the color turned. "

==Jawad Ahmad 202121080006==

(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.

==Nizam Uddin 202121080007==

引申以泛喻男子姿容洁白秀美。

==Öncü 202121080008==

《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。

Two words in "Westlake Moon" According，Fill in two poems (also known as "Que") in the poem of "Westlake Moon".--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)

==Akira Jantarat 202121080009==

词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。

Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)

Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。

However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)

However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)

==Asep Budiman 202111080020==

故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。

"Westlake Moon" is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw

"Westlake Moon" is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)

20211222 homework

2021-12-29T12:04:46Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.

==陈静 Chén Jìng 国别女 202020080595==

闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”

She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)

Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, "I've seen this sister."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”

Granny Merchant smiled and said, "nonsense again. Have you ever seen her?" Jia Baotou WE Precious Jade said with a smile, "although I haven't seen her, I look good and feel like I'm far from meeting again." Granny Merchant said with a smile, "OK, OK! It's more harmonious."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)

Dowager Jia smiled and said, "nonsense again. Have you ever seen it?" Baoyu said with a smile, "although I haven't seen it, I look good and feel like I'm far from meeting again." Dowager Jia said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

Grandma Merchant smiled and said, "Nonsense again. Have you ever seen it?" Precious Jade said with a smile, "Although I haven't seen it, I look good and feel like I'm far from meeting again." Grandma Merchant said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, "has your sister ever read?" Mascara Jade Forest said, "I didn't study. I only studied for a year. I have to recognize a few words."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Mascara Jade Forest said, "I didn't go to school. I only studied for a year, so I can recognize a few words."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "Watch characters?" "No words," Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "What's your courtesy name?" "I don't have a courtesy name" Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：

Baoyu smiled and said:" I want to describe you with two words—Ping Ping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Baoyu said:" On ''General Study of Ancient and Modern Characters''"--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)

Precious Jade smiled and said:" I want to give away two words to you—Pingping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Jade said:"''On General Study of Ancient and Modern Characters''."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”

'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)

‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。

Baoyu laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Daiyu, "Do you have any jade?" Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)

Precious Jade laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Mascara Jade Forest, "Do you have any jade?" Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”

Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)

Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)

--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；

The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:" poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse."Covered with tears, Baoyu cried:" my beloved elder and litter sisters have no one. I'm ashamed of owning one."--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)

All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. "You child of wrath," she exclaimed. "When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?"
Precious Jade’s face was covered with the traces of tears. "All my cousins here, senior as well as junior," he rejoined, as he sobbed, "have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：

And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing." Grandma Merchant hastened to coax him. "This cousin of yours," she explained, "would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)

Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good." "Your cousin did have one once," said Dowager lady Chia to soothe him, "but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。

"If you don't take it with you, be careful your mother knows" As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)

"You‘d better keep it well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”

When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)

Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin inside the room of the partition door temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。

Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.” The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)

Presious Jade said:"Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her." The Lady Dowager said thoughtfully:"That's OK."--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。

But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)

But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang

Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)

In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)

This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade, for Grandma Merchant coddled him and worried that the maids of Precious Jade not professional. Precious Jade knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。

However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”

At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.
"How is it, miss，" she inquired smiling, "that you have not turned in as yet？"
Tai-yue at once put on a smile. "Sit down, sister, " she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)

At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in."How is it, Miss，" she inquired smilingly, "that you have not turned in as yet？" Mascara Jade at once put on a smile. "Sit down, my dear sister, " she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”

“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. "Dai Yu said: "Sisters said, I just remember. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)

Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

毕竟怎的，下回分解。

起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。
If you want to know what happened, the answer is next time
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)

After all, I'll break it down next time.

Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。

Di Pao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)

Di Bao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。

The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)

The undertaker is either the local government office in Beijing or the imperial court. The "Di" newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time."Di": Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。荆：“荆钗布裙”的省称。

"Jian Jing" ——also known as "Zhuo Jing", "Shan Jing" etc. It's a modest word when a man mention his wife in front of others. "Jing"is a short name for "JingChaiBuQun"(the female have only a thorn for a hairpin and plain cloth for a skirt). --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei

Jian Jing, also known as "Zhuo Jing", "Shan Jing",etc, is a humle term for quoting one's own wife. Jing is an abbreviation for "Jingchaibuqun", that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。

Jing, used to describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): "Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt." Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)

Jing, used to describe the extremely simple dress of a woman. In Han, Liu Xiang's "Biography of the Female" (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): "Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt." Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；

The Worries of Internal Concern - From Yuan Fan's " Settlement Zoran Policy ", And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)

Internal Concerns – derived from Yuan Fan's "Policy on the Settlement of Ruru". “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。

“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)

If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?" (“Ruru”,: an alias for Rouran Khaganate, also known as "Ruirui" and "Ruru". The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)

Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

这里指家庭需要照顾的人或事。

垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。

Here these refer to the people or the things needing caring.
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door

This refers to the person or thing that family members need to take care of.

Floral-Pendant Gates: It was the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called "Floral-Pendant Gates".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。

Verandah Chao Shou —— also known as "Corridor Chao Shou" and "Cross Hand Verandah". Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called "Verandah Chao Shou".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)

Verandah Chao Shou: It was also known as “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。山：即房屋两侧的山墙。

Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)

Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

“第一个”六句──这是对迎春形象的描写。微丰：稍胖。腮凝新荔：形容腮帮子像荔枝般的红润。

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

鼻腻鹅脂：形容鼻端像鹅脂般光润。

“第二个”七句──这是对探春形象的描写。削肩：俗称溜肩。

Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)

Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

倾斜的双肩。古人以为美人肩。

长挑身材：瘦高的身材。鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。

Sloping shoulders. The ancients considered these to be the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)

Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

俊眼修眉：秀美的眼睛，长长的秀眉。顾盼神飞：左顾右盼，目光炯炯，神采飞扬。文彩精华：光彩照人，精神十足。

Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)

Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。

“第三个”两句──这是对惜春形象的描写。

To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament."The third" two sentences ─ thses are the description of the image of Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)

Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

形容惜春年纪尚小，身材和容貌都还没有发育成熟。

人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。

It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)

It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

荣：中医指血脉。养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。

“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)

“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

窄褃(kèn掯)袄──即紧身妖。窄：瘦小。褃：是上衣前后幅两侧接缝部分的名称。

Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)

Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。

Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called "Etiquette Gate" is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)

Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called "Etiquette Gate" is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。
"Jiangning official records，organizational system，official ": "inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall." Later extended, the second main gate of everyone's house is also called Yimen. --[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)

"Jiangning official records，organizational system，government ": "inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall." Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。

Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)

Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

鹿顶：亦作“盝顶”。即平屋顶。耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。

Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)

Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

因其位于正房两侧，犹如人的两只耳朵，故称。钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。

As they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)

Because they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。九龙：古代传说龙生九子，性格各异。但说法各异。

The horizontal board, which is decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；
Ming-Yang Shen's "Sheng'an Waiji - Animals I - The Nine Sons of the Dragon" says: "The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.

Yang Shen of Ming Dynasty said in "Sheng an Outside collection · Animal · Long Sheng Jiu Zi" : "Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt. Scene wind, life good risk, this temple corner beast is its portrait; Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)

Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)

Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：

The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)

The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；

“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.

"It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。

The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, "When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)

When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；

Wen Zheng said , "his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)

Wen Zheng said , "his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；

Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)

Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。

In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)

In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”

The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':"Be cautious and practical. There were thousands of complicated government affairs needed to be handled."
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]

The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is "Be cautious and practical. There were thousands of complicated government affairs needed to be handled."--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。

Kong Yingda said: "Ji, which refers to the slighest thing, meaning that should be aware of the very small things." It means that despite the arduous government affairs, no small things can be ignored. Also known as "Wan Ji".

Kong Yingda's biography said: "The word Ji means that before saying something one should fear the smallest of all things." This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as "ten thousand business".--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。

The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': "The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs." This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan

The allusion is from Han Shu: The List of Hundred Officials（Previous）: "The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs." Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。

Chen:is short for "Beichen", that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)

Chen: short for "Beichen", is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。

Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". After Tang Dynasty, "Bao" was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)

Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". Since Tang Dynasty, "Bao" was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。昭日月：形容装饰光亮如日月。昭：明亮。

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

黻：黑与青相间的亚形花纹。焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。

Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)

Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。

Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)

Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

美人觚：因其体长腰细，形似美人，故名。

椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。

Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty.

Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.

Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty.
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。掐：嵌入之意。

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

牙：即“牙子”。器物突出的边沿。

《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。

“Ya”: also called "Ya Zi" in Chinese. It means the protruding edge of an object.

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。

抹额：原指束在额上的头巾。其起源似乎很早。

During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.

During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。
Yu asked and replied, "this is the surrender of a warrior." When the first emperor of Qin went to the sea, there was the divine Dynasty where people wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)

Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。

箭袖──亦称“箭衣”。

It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear.

Arrow sleeve ─ ─ also known as "arrow suit".

It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear.
Arrow Sleeves - also known as "Arrow Suit".--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。

It's a kind of robe with narrow sleeves. Its cuffs were in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)

It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

后成为一种服式，不射箭的男子也穿。

“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；

Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. The two sentences of "inverted image" seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.

Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows.
Two sentences of "inverted image" -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。

In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that "I have seen this sister" and "I feel like I am far from meeting again". His intention is the same.

==Nadia 202011080004==

请安──这里指的是清代一种见面问好的特殊礼仪：

==Mahzad Heydarian 玛莎 202021080004==

男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；
A man must bend his right knee or kneel on the ground while showing respect.

==Mariam Toure 2020GBJ002301==

女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。

==Rouabah Soumaya 202121080001==

寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。

==Muhammad Numan 202121080002==

面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing", "The New Language of the World" (世說新語容止):
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

“何平叔(晏)美姿仪，面至白。
"Uncle He Ping's face is white and beautiful.

==Muhammad Saqib Mehran 202121080004==

魏明帝疑其傅粉，正夏月，与热汤饼。
Translation : Weiming Siuyuy Full, Full Day, with hot soup.

==Zohaib Chand 202121080005==

既啖，大汗出，以朱衣自拭，色转皎然。”
Both, but sweat, to Zhu Jiazi, the color turned. "

==Jawad Ahmad 202121080006==

(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.

==Nizam Uddin 202121080007==

引申以泛喻男子姿容洁白秀美。

==Öncü 202121080008==

《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。

Two words in "Westlake Moon" According，Fill in two poems (also known as "Que") in the poem of "Westlake Moon".--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)

==Akira Jantarat 202121080009==

词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。

Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)

Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。

However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)

However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)

==Asep Budiman 202111080020==

故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。

"Westlake Moon" is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw

"Westlake Moon" is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)

20211208 homework

2021-12-29T12:03:24Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

==陈静 Chén Jìng 国别女 202020080595==

说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。

"We talked for a while and give me two bundles of silver when leaving." Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)

“After talking for a while, he gave me two Liang of silver before he left. " The Zhen lady listened and felt sad. I was kept silence all night.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 法语语言文学女 202120081477==

次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。

The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)

The next day, Yucun sent two bundles of silver and four brocades to thank Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。

One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini

At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。

Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.

It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。

Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)

Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)

Although capable, he was a bit accustomed to corruption, too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。

The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)

The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。

After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。

This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。

In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)

In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；

It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)

It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。

Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)

Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。

The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)

The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。

The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)

The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。

The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)

During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。

He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)

Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled "Zhitong Temple", and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。

Rainvillage Merchant looked at it and thought, "although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.

Rainvillage Merchant looked at it and thought, "although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.

When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”

He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)

Rainvillage Merchant was busy looking at this man, who was an antiquary in the city. The man was called Leng Zixing who he’ve met in the city before. Rainvillage Merchant praised him most as a competent person, and he borrowed Rainvillage Merchant’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。

"When did you get here?" Rainvillage Merchant eagerly inquired also smilingly. "I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune." "I went home," Zi Xing replied, "at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)

"When did you get here?" Yue-ts'un eagerly and smilingly inquired. "I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune."
"I went home," Tzu-hsing replied, "about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。

He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting." While speaking, he invited Yue-ts'un to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)

“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter." While speaking, he invited Rain Village Merchant to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”

Over drinking, they two talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: Is there anything new in the capital city? Joker answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)

They two drank and talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: "Is there anything new in the capital city?" Joker answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”

Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)

Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”

Yucun said: "It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)
Yucun said: "It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged."--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”
Zi Xing sighed, "Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions." Yucun said: "The Ning and Rong residences had a large population that day. Is it done?" Zi Xing said: "Exactly, it's a long story."--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)
The son sighed: "This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past." Rain village way: "that day ning, rong two house population is also very much, how then deserted?" Zi Xing said, "Exactly. It's a long story."--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。
Yu Village road: "Last year when I went to Jinling, because I wanted to visit the ruins of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ning Guo Fu, street west is Rong Guo Fu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)

Yucun said, "when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)

Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。

Zi Xing laughed and said, "You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)

Zi Xing chuckled, "You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。

Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)

In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”

There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations." When Yucun heard about it, he also said: "Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? " --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei

That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last." Hearing about that, Yucun replied:"a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?"--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；

"It's these two houses I'm talking about!" Son Prosperity signed, "Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)

Zi Xing sighed, "I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。

Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position. --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)

Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。

His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)

His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Mr. Zhen also has a son named Jia Rong who is 16 years old. Now, Lord Jing is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。

Mr. Zhen would not do any proper thing but to amuse himself. Even if he turns the Ning Mansion upside down, no one there dares to stop him. Then I will tell you about Rong Mansion where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)

Mr Zhen would not do any his proper business，but only amuse himself，and though he turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。

Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)

Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Jinling as his wife. They had two children: the elder son named Jia She, and the second named Jia Zheng. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。

The eldest son, Jia She, inherited the official position from his ancestors but he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)

Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。

Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)

Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。

Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)

Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”

Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)

Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。

Yu Cun laughed, "It's really strange. I'm afraid this man has a lot of history." Zi Xing laughed coldly and said, "Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)

Yu Cun laughed, "It's really strange. I'm afraid this man has a lot of fame" Zi Xing laughed ruthlessly and said, "Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说

But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)

However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’

Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)

It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, "Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。

"Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly." Jia Yucun said with a serious look: "Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)

“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。

If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)

If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil."--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；

The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)

If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。

Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)

Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。

In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)

In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；

His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)

Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。

Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)

If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。

This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)

This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”

Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)

Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。

Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)

Zixing said, "according to you, if you become a duke, if you lose, you will become a thief." Yucun said, "that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? " Zixing, "no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time."

Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?" Zi Xing said, "Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time."--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。

Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)

Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。
Even it is more ridiculous when he said: "I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. " He often said to his pageboys: "the word" daughter "is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)

Even it is more ridiculous when he said: "I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. " He often said to his pageboys: "the word" daughter "is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。

You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)

You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.

After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。

Then he heard his daughters make fun of him: "Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?" He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)

Then he heard his daughters make fun of him: "Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?" He answered it best, saying, "In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them".--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”

So he got the secret method, and every time he felt the pain, he called his sisters. " Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. "--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)

And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：

Zixing said, "The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:

“ The three girls in the Jia fumily aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s elder daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。

As dowager lady Shi is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault . Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)

“As dowager lady Shi is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。

But how is it that the Jia family have likewise fallen into this convention？"
"Not so！" said Zixing. "It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)

But how could that the Jia family have also become so vulgar in terms of the name of the daughters？"
"It’s not what you think" said Zixing. "It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。

If you don’t believe me, check up carefully when you go back. Yucun pounded the table with a laugh. That’s right. The name of my girl student is Daiyu. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)

If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；

It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, "Among the three sisters, she is the youngest and she's also dead."--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)

No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, "Among the three sisters, she is the youngest and she's also dead."--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”

There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)

“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。

Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”

Zi Xing said:" Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”

Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal."--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan

Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores. After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal."--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”

After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)

After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”

Yucun said: "I have to drink a few more cups of alcohol because I kept talking all the time". Zixing said while laughing: " Help yourself! Gossip goes well with alcohol". Yucun looked out the window and said:" It's getting dark. We'd better continue our talk after entering the city in case the gate is shut." --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)

Rainvillage Merchant said: "I accidentally drink a few more cups of alcohol because I kept talking all the time". Zixing said while laughing: " Enjoy yourself! Gossip goes well with alcohol". Yucun looked out the window and said:" It has been dark. We'd better continue our talk after entering the city in case the gate shuts."--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。

So they got up and paid for the wine. When they was leaving, he heard someone calling behind: "Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you." Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).

So they got up and paid for the wine. When they was leaving, he heard someone calling behind: "Congratulations! My friend Yucun. Someone brings a lucky message to you." Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。同寅皆侧目而视──同寅：即同僚。

"Wai Ban"(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called "jingguan", while those who were dispatched to other places as local officials were called "foreign class". Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called "outside the shift". Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)

Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called "jingguan", and those who were dispatched to other places as local officials were called "foreign class". Because the new officer distribution to the local to wait for the officer, according to the shift, so called "outside the shift". With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。
Code out of "Shang Shu · Yu Shu · Gao Tao Mo" : "100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere." Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)

The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere." The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':" Su Qin will say that the king of Chu is passing by Luoyang."--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks." Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks." Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the "nine states" delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': "The Huaihai Sea is only Yangzhou." The word "but" is synonymous with "wei".--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)

Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the "Kyushu" divided by Dayu. From the book Shangshu· Xiashu · Yugong "the Huaihai sea Wei Yangzhou” "Wei" is "wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。

Later generations intercepted "Weiyang" from "weiyangzhou" and replaced "Weiyang" with "Wei", so it became "Weiyang". For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, "the Huaihai sea is vast, more than 3000 miles." Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)

Later generations intercepted "Weiyang" from "weiyangzhou" and replaced "Weiyang" with "Wei", so it became "Weiyang". For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, "the Weiyang city is vast, more than 3000 miles." Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”

“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)

“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”

Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)

Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。

Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”, the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)

Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。
Marquis - Ancient Baron name. In Qin Dynasty, it was called "chehou", which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to "tonghou". "Tong" is synonymous with "Che" in Chinese, in this way changing the name without changing the meaning. "Tong Hou" means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)

Marquis──Ancient noble name. In Qin Dynasty, it was called "Che Hou", and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to "Tonghou" to avoid the taboo of Han Wudi Liu Che. "Tong" and "Che" are synonymous, which means changing the name without changing the meaning. "Tong Hou" means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。

Later it was changed to "Liehou", which means sequence. See Yan Shigu's Note in "The Book of Han·Gao Di Jixia". There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.

Later it was changed to "Liehou", which means sequence. See Yan Shigu's Note in "Book of Han• Han Gaozu ( the first emperor of Han dynasty)". There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

膝下荒凉──意谓子女稀少，尤无儿子。膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”

Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says "the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents." Emperor Xuanzong of Tang Dynasty noted: "Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)

Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. "The Book of Filial Piety·Shengzhi": "Therefore, the days of adoptive parents are strict under the knees of one's own birth." Tang Xuanzong's note: "You are still in love with you, and under your knees is the time of a child."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─ the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called "west seats" or "west guests".

Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called "west seats" or "West guests" for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: "Emperor Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West." Here refers to a tutor.A couplet of "behind you" - there is surplus behind you: it means that the remaining years are still very long ("behind you" cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)

==Nadia 202011080004==

忘缩手：是说不肯收手，还要争名夺利。

==Mahzad Heydarian 玛莎 202021080004==

无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it.

==Mariam toure 2020GBJ002301==

刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。

Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called "Buddha column

==Rouabah Soumaya 202121080001==

引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)

==Muhammad Numan 202121080002==

《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

百足之虫，死而不僵——典出三国魏·曹冏《六代论》：
A hundred-footed worm does not die - an allusion to Cao Jon's "Six Dynasties" in the Three Kingdoms.
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.

==Muhammad Saqib Mehran 202121080004==

“故语曰：‘百足之虫，死而不僵。’扶之者众也。”
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them."

[[File:Example.jpg]]==Zohaib Chand 202121080005==

比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.

==Jawad Ahmad 202121080006==

百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.

==Nizam Uddin 202121080007==

僵：倒下。安富尊荣──语出《孟子·尽心上》：

Stiff: fall down. Safety, wealth and honour──From the words "Mencius·All Your Heart":

==Öncü 202121080008==

“君子居是国也，其君用之，则安富尊荣。”

A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)

==Akira Jantarat 202121080009==

原意是君子因辅佐国君功勋卓著而享受荣华富贵。

Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)

The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

这里反用其意，意谓不劳而获，安享荣华富贵。

The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)

The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC)

==Asep Budiman 202111080020==

钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”

Zhongming Ding Shi-Quoting Tang Wang Bo's "Preface to the Pavilion of the King of Teng": "Lu Yan, the home of Zhong Ming Ding Shi." --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)

Zhongming Ding Shi-Speech by Tang Wang Bo "Preface to the Pavilion of the King of Teng": "Lu Yan rushes to the ground, the home of Zhongming Ding Shi." -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。

The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)

The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)

20211222 homework

2021-12-29T12:02:15Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.

==陈静 Chén Jìng 国别女 202020080595==

闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”

She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)

Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, "I've seen this sister."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”

Granny Merchant smiled and said, "nonsense again. Have you ever seen her?" Jia Baotou WE Precious Jade said with a smile, "although I haven't seen her, I look good and feel like I'm far from meeting again." Granny Merchant said with a smile, "OK, OK! It's more harmonious."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)

Dowager Jia smiled and said, "nonsense again. Have you ever seen it?" Baoyu said with a smile, "although I haven't seen it, I look good and feel like I'm far from meeting again." Dowager Jia said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

Grandma Merchant smiled and said, "Nonsense again. Have you ever seen it?" Precious Jade said with a smile, "Although I haven't seen it, I look good and feel like I'm far from meeting again." Grandma Merchant said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, "has your sister ever read?" Mascara Jade Forest said, "I didn't study. I only studied for a year. I have to recognize a few words."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Mascara Jade Forest said, "I didn't go to school. I only studied for a year, so I can recognize a few words."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "Watch characters?" "No words," Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "What's your courtesy name?" "I don't have a courtesy name" Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：

Baoyu smiled and said:" I want to describe you with two words—Ping Ping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Baoyu said:" On ''General Study of Ancient and Modern Characters''"--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)

Precious Jade smiled and said:" I want to give away two words to you—Pingping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Jade said:"''On General Study of Ancient and Modern Characters''."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”

'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)

‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。

Baoyu laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Daiyu, "Do you have any jade?" Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)

Precious Jade laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Mascara Jade Forest, "Do you have any jade?" Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”

Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)

Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)

--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；

The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:" poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse."Covered with tears, Baoyu cried:" my beloved elder and litter sisters have no one. I'm ashamed of owning one."--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)

All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. "You child of wrath," she exclaimed. "When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?"
Precious Jade’s face was covered with the traces of tears. "All my cousins here, senior as well as junior," he rejoined, as he sobbed, "have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：

And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing." Grandma Merchant hastened to coax him. "This cousin of yours," she explained, "would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)

Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good." "Your cousin did have one once," said Dowager lady Chia to soothe him, "but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。

"If you don't take it with you, be careful your mother knows" As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)

"You‘d better keep it well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”

When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)

Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin inside the room of the partition door temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。

Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.” The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)

Presious Jade said:"Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her." The Lady Dowager said thoughtfully:"That's OK."--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。

But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)

But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang

Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)

In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)

This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade, for Grandma Merchant coddled him and worried that the maids of Precious Jade not professional. Precious Jade knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。

However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade, there is only Precious Jade in her heart. Because of Precious Jade 's perverse temperament, when Precious Jade doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”

At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.
"How is it, miss，" she inquired smiling, "that you have not turned in as yet？"
Tai-yue at once put on a smile. "Sit down, sister, " she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)

At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in."How is it, miss，" she inquired smilingly, "that you have not turned in as yet？" Tai-yue at once put on a smile. "Sit down, my dear sister, " she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)

Aroma then sat by the bedside. Nightingale ridiculed, "Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”

“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. "Dai Yu said: "Sisters said, I just remember. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)

Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

毕竟怎的，下回分解。

起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。
If you want to know what happened, the answer is next time
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)

After all, I'll break it down next time.

Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。

Di Pao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)

Di Bao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。

The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)

The undertaker is either the local government office in Beijing or the imperial court. The "Di" newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time."Di": Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。荆：“荆钗布裙”的省称。

"Jian Jing" ——also known as "Zhuo Jing", "Shan Jing" etc. It's a modest word when a man mention his wife in front of others. "Jing"is a short name for "JingChaiBuQun"(the female have only a thorn for a hairpin and plain cloth for a skirt). --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei

Jian Jing, also known as "Zhuo Jing", "Shan Jing",etc, is a humle term for quoting one's own wife. Jing is an abbreviation for "Jingchaibuqun", that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。

Jing, used to describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): "Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt." Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)

Jing, used to describe the extremely simple dress of a woman. In Han, Liu Xiang's "Biography of the Female" (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): "Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt." Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；

The Worries of Internal Concern - From Yuan Fan's " Settlement Zoran Policy ", And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)

Internal Concerns – derived from Yuan Fan's "Policy on the Settlement of Ruru". “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。

“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)

If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?" (“Ruru”,: an alias for Rouran Khaganate, also known as "Ruirui" and "Ruru". The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)

Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

这里指家庭需要照顾的人或事。

垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。

Here these refer to the people or the things needing caring.
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door

This refers to the person or thing that family members need to take care of.

Floral-Pendant Gates: It was the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called "Floral-Pendant Gates".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。

Verandah Chao Shou —— also known as "Corridor Chao Shou" and "Cross Hand Verandah". Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called "Verandah Chao Shou".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)

Verandah Chao Shou: It was also known as “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。山：即房屋两侧的山墙。

Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)

Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

“第一个”六句──这是对迎春形象的描写。微丰：稍胖。腮凝新荔：形容腮帮子像荔枝般的红润。

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

鼻腻鹅脂：形容鼻端像鹅脂般光润。

“第二个”七句──这是对探春形象的描写。削肩：俗称溜肩。

Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)

Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

倾斜的双肩。古人以为美人肩。

长挑身材：瘦高的身材。鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。

Sloping shoulders. The ancients considered these to be the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)

Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

俊眼修眉：秀美的眼睛，长长的秀眉。顾盼神飞：左顾右盼，目光炯炯，神采飞扬。文彩精华：光彩照人，精神十足。

Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)

Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。

“第三个”两句──这是对惜春形象的描写。

To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament."The third" two sentences ─ thses are the description of the image of Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)

Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

形容惜春年纪尚小，身材和容貌都还没有发育成熟。

人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。

It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)

It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

荣：中医指血脉。养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。

“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)

“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

窄褃(kèn掯)袄──即紧身妖。窄：瘦小。褃：是上衣前后幅两侧接缝部分的名称。

Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)

Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。

Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called "Etiquette Gate" is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)

Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called "Etiquette Gate" is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。
"Jiangning official records，organizational system，official ": "inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall." Later extended, the second main gate of everyone's house is also called Yimen. --[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)

"Jiangning official records，organizational system，government ": "inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall." Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。

Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)

Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

鹿顶：亦作“盝顶”。即平屋顶。耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。

Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)

Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

因其位于正房两侧，犹如人的两只耳朵，故称。钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。

As they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)

Because they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。九龙：古代传说龙生九子，性格各异。但说法各异。

The horizontal board, which is decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；
Ming-Yang Shen's "Sheng'an Waiji - Animals I - The Nine Sons of the Dragon" says: "The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.

Yang Shen of Ming Dynasty said in "Sheng an Outside collection · Animal · Long Sheng Jiu Zi" : "Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt. Scene wind, life good risk, this temple corner beast is its portrait; Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)

Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)

Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：

The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)

The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；

“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.

"It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。

The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, "When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)

When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；

Wen Zheng said , "his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)

Wen Zheng said , "his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；

Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)

Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。

In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)

In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”

The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':"Be cautious and practical. There were thousands of complicated government affairs needed to be handled."
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]

The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is "Be cautious and practical. There were thousands of complicated government affairs needed to be handled."--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。

Kong Yingda said: "Ji, which refers to the slighest thing, meaning that should be aware of the very small things." It means that despite the arduous government affairs, no small things can be ignored. Also known as "Wan Ji".

Kong Yingda's biography said: "The word Ji means that before saying something one should fear the smallest of all things." This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as "ten thousand business".--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。

The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': "The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs." This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan

The allusion is from Han Shu: The List of Hundred Officials（Previous）: "The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs." Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。

Chen:is short for "Beichen", that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)

Chen: short for "Beichen", is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。

Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". After Tang Dynasty, "Bao" was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)

Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". Since Tang Dynasty, "Bao" was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。昭日月：形容装饰光亮如日月。昭：明亮。

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

黻：黑与青相间的亚形花纹。焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。

Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)

Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。

Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)

Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

美人觚：因其体长腰细，形似美人，故名。

椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。

Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty.

Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.

Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty.
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。掐：嵌入之意。

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

牙：即“牙子”。器物突出的边沿。

《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。

“Ya”: also called "Ya Zi" in Chinese. It means the protruding edge of an object.

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。

抹额：原指束在额上的头巾。其起源似乎很早。

During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.

During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。
Yu asked and replied, "this is the surrender of a warrior." When the first emperor of Qin went to the sea, there was the divine Dynasty where people wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)

Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。

箭袖──亦称“箭衣”。

It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear.

Arrow sleeve ─ ─ also known as "arrow suit".

It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear.
Arrow Sleeves - also known as "Arrow Suit".--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。

It's a kind of robe with narrow sleeves. Its cuffs were in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)

It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

后成为一种服式，不射箭的男子也穿。

“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；

Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. The two sentences of "inverted image" seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.

Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows.
Two sentences of "inverted image" -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。

In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that "I have seen this sister" and "I feel like I am far from meeting again". His intention is the same.

==Nadia 202011080004==

请安──这里指的是清代一种见面问好的特殊礼仪：

==Mahzad Heydarian 玛莎 202021080004==

男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；
A man must bend his right knee or kneel on the ground while showing respect.

==Mariam Toure 2020GBJ002301==

女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。

==Rouabah Soumaya 202121080001==

寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。

==Muhammad Numan 202121080002==

面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing", "The New Language of the World" (世說新語容止):
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

“何平叔(晏)美姿仪，面至白。
"Uncle He Ping's face is white and beautiful.

==Muhammad Saqib Mehran 202121080004==

魏明帝疑其傅粉，正夏月，与热汤饼。
Translation : Weiming Siuyuy Full, Full Day, with hot soup.

==Zohaib Chand 202121080005==

既啖，大汗出，以朱衣自拭，色转皎然。”
Both, but sweat, to Zhu Jiazi, the color turned. "

==Jawad Ahmad 202121080006==

(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.

==Nizam Uddin 202121080007==

引申以泛喻男子姿容洁白秀美。

==Öncü 202121080008==

《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。

Two words in "Westlake Moon" According，Fill in two poems (also known as "Que") in the poem of "Westlake Moon".--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)

==Akira Jantarat 202121080009==

词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。

Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)

Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。

However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)

However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)

==Asep Budiman 202111080020==

故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。

"Westlake Moon" is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw

"Westlake Moon" is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)

20211229 homework

2021-12-29T11:58:21Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

20211229 homework

2021-12-29T11:57:37Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211222 homework

2021-12-29T11:56:20Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.

==陈静 Chén Jìng 国别女 202020080595==

闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”

She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)

Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, "I've seen this sister."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”

Granny Merchant smiled and said, "nonsense again. Have you ever seen her?" Jia Baotou WE Precious Jade said with a smile, "although I haven't seen her, I look good and feel like I'm far from meeting again." Granny Merchant said with a smile, "OK, OK! It's more harmonious."
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)

Dowager Jia smiled and said, "nonsense again. Have you ever seen it?" Baoyu said with a smile, "although I haven't seen it, I look good and feel like I'm far from meeting again." Dowager Jia said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

Grandma Merchant smiled and said, "Nonsense again. Have you ever seen it?" Precious Jade said with a smile, "Although I haven't seen it, I look good and feel like I'm far from meeting again." Grandma Merchant said with a smile, "OK, OK! It's more harmonious."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, "has your sister ever read?" Mascara Jade Forest said, "I didn't study. I only studied for a year. I have to recognize a few words."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)

Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Mascara Jade Forest said, "I didn't go to school. I only studied for a year, so I can recognize a few words."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "Watch characters?" "No words," Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini

Baoyuu asked, "What is your name?" Daiyu told her name to him. Baoyu said, "What's your courtesy name?" "I don't have a courtesy name" Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：

Baoyu smiled and said:" I want to describe you with two words—Ping Ping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Baoyu said:" On ''General Study of Ancient and Modern Characters''"--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)

Precious Jade smiled and said:" I want to give away two words to you—Pingping, and no words are better than them." Tanchun then asked:"In which book did you find them?" Jade said:"''On General Study of Ancient and Modern Characters''."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”

'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)

‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?" Tanchun laughed: "I'm afraid it's a fabrication again."--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。

Baoyu laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Daiyu, "Do you have any jade?" Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)

Precious Jade laughed and said, "Besides the Four Books, there are too many things made up." Again he asked Mascara Jade Forest, "Do you have any jade?" Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”

Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)

Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)

After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)

--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；

The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:" poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse."Covered with tears, Baoyu cried:" my beloved elder and litter sisters have no one. I'm ashamed of owning one."--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)

All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. "You child of wrath," she exclaimed. "When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?"
Precious Jade’s face was covered with the traces of tears. "All my cousins here, senior as well as junior," he rejoined, as he sobbed, "have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：

And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing." Grandma Merchant hastened to coax him. "This cousin of yours," she explained, "would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)

Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good." "Your cousin did have one once," said Dowager lady Chia to soothe him, "but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)

In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。

"If you don't take it with you, be careful your mother knows" As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)

"You‘d better keep it well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”

When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)

Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin inside the room of the partition door temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。

Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.” The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)

Presious Jade said:"Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her." The Lady Dowager said thoughtfully:"That's OK."--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。

But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)

But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call." At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)

Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang

Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)

In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)

This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。

However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade, there is only Precious Jade in her heart. Because of Precious Jade 's perverse temperament, when Precious Jade doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”

At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.
"How is it, miss，" she inquired smiling, "that you have not turned in as yet？"
Tai-yue at once put on a smile. "Sit down, sister, " she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)

At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in."How is it, miss，" she inquired smilingly, "that you have not turned in as yet？" Tai-yue at once put on a smile. "Sit down, my dear sister, " she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’

Hsi-jen then sat by the bedside. Ying Ko ridiculed, "Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame."--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)

Aroma then sat by the bedside. Brother Parrot ridiculed, "Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame."--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)

“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”

“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. "Dai Yu said: "Sisters said, I just remember. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)

Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

毕竟怎的，下回分解。

起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。
If you want to know what happened, the answer is next time
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)

After all, I'll break it down next time.

Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。

Di Pao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)

Di Bao -- also known as "Di Copy", "copy newspaper" or "Palace Gate Copy" -- is also known as "Beijing Newspaper" during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。

The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)

The undertaker is either the local government office in Beijing or the imperial court. The "Di" newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time."Di": Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。荆：“荆钗布裙”的省称。

"Jian Jing" ——also known as "Zhuo Jing", "Shan Jing" etc. It's a modest word when a man mention his wife in front of others. "Jing"is a short name for "JingChaiBuQun"(the female have only a thorn for a hairpin and plain cloth for a skirt). --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei

Jian Jing, also known as "Zhuo Jing", "Shan Jing",etc, is a humle term for quoting one's own wife. Jing is an abbreviation for "Jingchaibuqun", that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。

Jing, used to describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): "Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt." Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)

Jing, used to describe the extremely simple dress of a woman. In Han, Liu Xiang's "Biography of the Female" (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): "Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt." Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；

The Worries of Internal Concern - From Yuan Fan's " Settlement Zoran Policy ", And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)

Internal Concerns – derived from Yuan Fan's "Policy on the Settlement of Ruru". “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。

“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)

If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?" (“Ruru”,: an alias for Rouran Khaganate, also known as "Ruirui" and "Ruru". The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)

Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

这里指家庭需要照顾的人或事。

垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。

Here these refer to the people or the things needing caring.
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door

This refers to the person or thing that family members need to take care of.

Floral-Pendant Gates: It was the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called "Floral-Pendant Gates".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。

Verandah Chao Shou —— also known as "Corridor Chao Shou" and "Cross Hand Verandah". Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called "Verandah Chao Shou".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)

Verandah Chao Shou: It was also known as “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。山：即房屋两侧的山墙。

Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)

Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

“第一个”六句──这是对迎春形象的描写。微丰：稍胖。腮凝新荔：形容腮帮子像荔枝般的红润。

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)

The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

鼻腻鹅脂：形容鼻端像鹅脂般光润。

“第二个”七句──这是对探春形象的描写。削肩：俗称溜肩。

Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)

Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.

“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

倾斜的双肩。古人以为美人肩。

长挑身材：瘦高的身材。鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。

Sloping shoulders. The ancients considered these to be the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)

Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.

Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

俊眼修眉：秀美的眼睛，长长的秀眉。顾盼神飞：左顾右盼，目光炯炯，神采飞扬。文彩精华：光彩照人，精神十足。

Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)

Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。

“第三个”两句──这是对惜春形象的描写。

To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament."The third" two sentences ─ thses are the description of the image of Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)

Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

形容惜春年纪尚小，身材和容貌都还没有发育成熟。

人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。

It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)

It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

荣：中医指血脉。养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。

“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)

“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

窄褃(kèn掯)袄──即紧身妖。窄：瘦小。褃：是上衣前后幅两侧接缝部分的名称。

Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)

Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。

Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called "Etiquette Gate" is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)

Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called "Etiquette Gate" is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)

The Ming Canon - Rituals XVII - Official Rites: "On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。
"Jiangning official records，organizational system，official ": "inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall." Later extended, the second main gate of everyone's house is also called Yimen. --[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)

"Jiangning official records，organizational system，government ": "inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall." Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。

Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)

Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

鹿顶：亦作“盝顶”。即平屋顶。耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。

Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)

Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

因其位于正房两侧，犹如人的两只耳朵，故称。钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。

As they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)

Because they are located on both sides of the main house just like people’s ears, they are called “wings”. Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。九龙：古代传说龙生九子，性格各异。但说法各异。

The horizontal board, which is decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；
Ming-Yang Shen's "Sheng'an Waiji - Animals I - The Nine Sons of the Dragon" says: "The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.

Yang Shen of Ming Dynasty said in "Sheng an Outside collection · Animal · Long Sheng Jiu Zi" : "Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt. Scene wind, life good risk, this temple corner beast is its portrait; Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)

Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)

Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：

The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)

The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait." Ming - Jiao Hong "Yu Tang Congye - Volume 1 - Literature" said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；

“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.

"It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)

The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)

The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。

The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, "When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)

When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；

Wen Zheng said , "his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)

Wen Zheng said , "his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；

Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)

Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)

Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。

In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)

In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”

The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':"Be cautious and practical. There were thousands of complicated government affairs needed to be handled."
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]

The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is "Be cautious and practical. There were thousands of complicated government affairs needed to be handled."--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。

Kong Yingda said: "Ji, which refers to the slighest thing, meaning that should be aware of the very small things." It means that despite the arduous government affairs, no small things can be ignored. Also known as "Wan Ji".

Kong Yingda's biography said: "The word Ji means that before saying something one should fear the smallest of all things." This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as "ten thousand business".--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。

The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': "The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs." This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan

The allusion is from Han Shu: The List of Hundred Officials（Previous）: "The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs." Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。

Chen:is short for "Beichen", that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)

Chen: short for "Beichen", is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。

Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". After Tang Dynasty, "Bao" was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)

Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name "Bao". Since Tang Dynasty, "Bao" was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。昭日月：形容装饰光亮如日月。昭：明亮。

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)

Couplet "above the seat"─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)

Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. "Yan Zi Spring And Autumn · Jian Next 15" : "I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan." I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

黻：黑与青相间的亚形花纹。焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。

Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)

Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。

Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)

Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

美人觚：因其体长腰细，形似美人，故名。

椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。

Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty.

Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.

Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty.
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。掐：嵌入之意。

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)

Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

牙：即“牙子”。器物突出的边沿。

《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。

“Ya”: also called "Ya Zi" in Chinese. It means the protruding edge of an object.

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)

''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。

抹额：原指束在额上的头巾。其起源似乎很早。

During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.

During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)

Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。
Yu asked and replied, "this is the surrender of a warrior." When the first emperor of Qin went to the sea, there was the divine Dynasty where people wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)

Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。

箭袖──亦称“箭衣”。

It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear.

Arrow sleeve ─ ─ also known as "arrow suit".

It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear.
Arrow Sleeves - also known as "Arrow Suit".--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。

It's a kind of robe with narrow sleeves. Its cuffs were in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)

It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

后成为一种服式，不射箭的男子也穿。

“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；

Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. The two sentences of "inverted image" seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.

Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows.
Two sentences of "inverted image" -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。

In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that "I have seen this sister" and "I feel like I am far from meeting again". His intention is the same.

==Nadia 202011080004==

请安──这里指的是清代一种见面问好的特殊礼仪：

==Mahzad Heydarian 玛莎 202021080004==

男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；
A man must bend his right knee or kneel on the ground while showing respect.

==Mariam Toure 2020GBJ002301==

女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。

==Rouabah Soumaya 202121080001==

寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。

==Muhammad Numan 202121080002==

面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing", "The New Language of the World" (世說新語容止):
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

“何平叔(晏)美姿仪，面至白。
"Uncle He Ping's face is white and beautiful.

==Muhammad Saqib Mehran 202121080004==

魏明帝疑其傅粉，正夏月，与热汤饼。
Translation : Weiming Siuyuy Full, Full Day, with hot soup.

==Zohaib Chand 202121080005==

既啖，大汗出，以朱衣自拭，色转皎然。”
Both, but sweat, to Zhu Jiazi, the color turned. "

==Jawad Ahmad 202121080006==

(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.

==Nizam Uddin 202121080007==

引申以泛喻男子姿容洁白秀美。

==Öncü 202121080008==

《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。

Two words in "Westlake Moon" According，Fill in two poems (also known as "Que") in the poem of "Westlake Moon".--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)

==Akira Jantarat 202121080009==

词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。

Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)

Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。

However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)

However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)

==Asep Budiman 202111080020==

故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)

The preceding phrase "filling in words" means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。

"Westlake Moon" is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw

"Westlake Moon" is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)

20211215 homework

2021-12-29T11:54:13Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 法语语言文学女 202120081477==

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': "''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini

（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)

== Headline text ==
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': "The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Lin is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Mascara Jade Forest replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Mascara Jade Forest, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to her. Grandma Merchant said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, "Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself. Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Xifeng said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Lady City smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)

The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Jubilee Hall"; Then there is a line of small characters: "on a certain date, this was given to Source Merchant, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Lady King invited Miss Forest to come and sit over there." When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady King and Mascara Jade Forest went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Grandama Merchant said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Grandama Merchant said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , "You all go and let's have a talk in our own comfort."

Now Mascara Jade saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, "I just have read the ''Four Books''." When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)

Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, "I have just begun reading the Four Books," Mascara Jade replied. "What books are my cousins reading?" Mascara Jade went on to ask. "Books, you say!" exclaimed Grandma Merchant; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Precious Jade was
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Grandma Merchant "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Precious Jade Merchant greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
Translation: The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211208 homework

2021-12-29T11:53:08Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

==陈静 Chén Jìng 国别女 202020080595==

说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。

"We talked for a while and give me two bundles of silver when leaving." Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)

“After talking for a while, he gave me two Liang of silver before he left. " The Zhen lady listened and felt sad. I was kept silence all night.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 法语语言文学女 202120081477==

次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。

The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)

The next day, Yucun sent two bundles of silver and four brocades to thank Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。

One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini

At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。

Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.

It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。

Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)

Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)

Although capable, he was a bit accustomed to corruption, too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。

The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)

The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。

After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。

This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。

In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)

In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；

It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)

It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。

Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)

Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。

The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)

The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。

The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)

The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。

The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)

During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。

He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)

Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled "Zhitong Temple", and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。

Rainvillage Merchant looked at it and thought, "although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.

Rainvillage Merchant looked at it and thought, "although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.

When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”

He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)

Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng who he’ve met in the city before. Yucun praised him most as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。

"When did you get here?" Rainvillage Merchant eagerly inquired also smilingly. "I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune." "I went home," Zi Xing replied, "at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)

"When did you get here?" Yue-ts'un eagerly and smilingly inquired. "I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune."
"I went home," Tzu-hsing replied, "about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。

He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting." While speaking, he invited Yue-ts'un to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)

“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter." While speaking, he invited Yue-ts'un to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”

Over drinking, they two talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: Is there anything new in the capital city? Joker answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)

They two drank and talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: "Is there anything new in the capital city?" Joker answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”

Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)

Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”

Yucun said: "It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)
Yucun said: "It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged."--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”
Zi Xing sighed, "Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions." Yucun said: "The Ning and Rong residences had a large population that day. Is it done?" Zi Xing said: "Exactly, it's a long story."--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)
The son sighed: "This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past." Rain village way: "that day ning, rong two house population is also very much, how then deserted?" Zi Xing said, "Exactly. It's a long story."--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。
Yu Village road: "Last year when I went to Jinling, because I wanted to visit the ruins of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ning Guo Fu, street west is Rong Guo Fu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)

Yucun said, "when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)

Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。

Zi Xing laughed and said, "You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)

Zi Xing chuckled, "You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。

Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)

In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”

There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations." When Yucun heard about it, he also said: "Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? " --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei

That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last." Hearing about that, Yucun replied:"a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?"--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；

"It's these two houses I'm talking about!" Son Prosperity signed, "Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)

Zi Xing sighed, "I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。

Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position. --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)

Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。

His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)

His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Mr. Zhen also has a son named Jia Rong who is 16 years old. Now, Lord Jing is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。

Mr. Zhen would not do any proper thing but to amuse himself. Even if he turns the Ning Mansion upside down, no one there dares to stop him. Then I will tell you about Rong Mansion where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)

Mr Zhen would not do any his proper business，but only amuse himself，and though he turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。

Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)

Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Jinling as his wife. They had two children: the elder son named Jia She, and the second named Jia Zheng. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。

The eldest son, Jia She, inherited the official position from his ancestors but he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)

Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。

Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)

Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。

Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)

Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”

Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)

Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。

Yu Cun laughed, "It's really strange. I'm afraid this man has a lot of history." Zi Xing laughed coldly and said, "Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)

Yu Cun laughed, "It's really strange. I'm afraid this man has a lot of fame" Zi Xing laughed ruthlessly and said, "Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说

But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)

However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’

Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)

It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, "Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。

"Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly." Jia Yucun said with a serious look: "Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)

“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。

If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)

If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil."--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；

The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)

If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。

Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)

Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。

In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)

In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；

His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)

Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。

Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)

If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。

This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)

This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”

Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)

Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。

Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)

Zixing said, "according to you, if you become a duke, if you lose, you will become a thief." Yucun said, "that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? " Zixing, "no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time."

Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?" Zi Xing said, "Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time."--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。

Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)

Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。
Even it is more ridiculous when he said: "I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. " He often said to his pageboys: "the word" daughter "is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)

Even it is more ridiculous when he said: "I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. " He often said to his pageboys: "the word" daughter "is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。

You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)

You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.

After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。

Then he heard his daughters make fun of him: "Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?" He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)

Then he heard his daughters make fun of him: "Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?" He answered it best, saying, "In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them".--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”

So he got the secret method, and every time he felt the pain, he called his sisters. " Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. "--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)

And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：

Zixing said, "The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:

“ The three girls in the Jia fumily aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s elder daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。

As dowager lady Shi is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault . Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)

“As dowager lady Shi is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。

But how is it that the Jia family have likewise fallen into this convention？"
"Not so！" said Zixing. "It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)

But how could that the Jia family have also become so vulgar in terms of the name of the daughters？"
"It’s not what you think" said Zixing. "It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。

If you don’t believe me, check up carefully when you go back. Yucun pounded the table with a laugh. That’s right. The name of my girl student is Daiyu. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)

If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；

It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, "Among the three sisters, she is the youngest and she's also dead."--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)

No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, "Among the three sisters, she is the youngest and she's also dead."--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”

There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)

“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。

Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”

Zi Xing said:" Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”

Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal."--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan

Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores. After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal."--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”

After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)

After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”

Yucun said: "I have to drink a few more cups of alcohol because I kept talking all the time". Zixing said while laughing: " Help yourself! Gossip goes well with alcohol". Yucun looked out the window and said:" It's getting dark. We'd better continue our talk after entering the city in case the gate is shut." --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)

Rainvillage Merchant said: "I accidentally drink a few more cups of alcohol because I kept talking all the time". Zixing said while laughing: " Enjoy yourself! Gossip goes well with alcohol". Yucun looked out the window and said:" It has been dark. We'd better continue our talk after entering the city in case the gate shuts."--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。

So they got up and paid for the wine. When they was leaving, he heard someone calling behind: "Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you." Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).

So they got up and paid for the wine. When they was leaving, he heard someone calling behind: "Congratulations! My friend Yucun. Someone brings a lucky message to you." Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。同寅皆侧目而视──同寅：即同僚。

"Wai Ban"(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called "jingguan", while those who were dispatched to other places as local officials were called "foreign class". Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called "outside the shift". Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)

Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called "jingguan", and those who were dispatched to other places as local officials were called "foreign class". Because the new officer distribution to the local to wait for the officer, according to the shift, so called "outside the shift". With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。
Code out of "Shang Shu · Yu Shu · Gao Tao Mo" : "100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere." Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)

The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere." The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':" Su Qin will say that the king of Chu is passing by Luoyang."--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks." Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks." Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the "nine states" delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': "The Huaihai Sea is only Yangzhou." The word "but" is synonymous with "wei".--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)

Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the "Kyushu" divided by Dayu. From the book Shangshu· Xiashu · Yugong "the Huaihai sea Wei Yangzhou” "Wei" is "wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。

Later generations intercepted "Weiyang" from "weiyangzhou" and replaced "Weiyang" with "Wei", so it became "Weiyang". For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, "the Huaihai sea is vast, more than 3000 miles." Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)

Later generations intercepted "Weiyang" from "weiyangzhou" and replaced "Weiyang" with "Wei", so it became "Weiyang". For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, "the Weiyang city is vast, more than 3000 miles." Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”

“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)

“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”

Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)

Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。

Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”, the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)

Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。
Marquis - Ancient Baron name. In Qin Dynasty, it was called "chehou", which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to "tonghou". "Tong" is synonymous with "Che" in Chinese, in this way changing the name without changing the meaning. "Tong Hou" means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)

Marquis──Ancient noble name. In Qin Dynasty, it was called "Che Hou", and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to "Tonghou" to avoid the taboo of Han Wudi Liu Che. "Tong" and "Che" are synonymous, which means changing the name without changing the meaning. "Tong Hou" means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。

Later it was changed to "Liehou", which means sequence. See Yan Shigu's Note in "The Book of Han·Gao Di Jixia". There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.

Later it was changed to "Liehou", which means sequence. See Yan Shigu's Note in "Book of Han• Han Gaozu ( the first emperor of Han dynasty)". There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

膝下荒凉──意谓子女稀少，尤无儿子。膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”

Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says "the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents." Emperor Xuanzong of Tang Dynasty noted: "Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)

Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. "The Book of Filial Piety·Shengzhi": "Therefore, the days of adoptive parents are strict under the knees of one's own birth." Tang Xuanzong's note: "You are still in love with you, and under your knees is the time of a child."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─ the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called "west seats" or "west guests".

Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called "west seats" or "West guests" for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: "Emperor Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West." Here refers to a tutor.A couplet of "behind you" - there is surplus behind you: it means that the remaining years are still very long ("behind you" cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)

==Nadia 202011080004==

忘缩手：是说不肯收手，还要争名夺利。

==Mahzad Heydarian 玛莎 202021080004==

无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it.

==Mariam toure 2020GBJ002301==

刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。

Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called "Buddha column

==Rouabah Soumaya 202121080001==

引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)

==Muhammad Numan 202121080002==

《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

百足之虫，死而不僵——典出三国魏·曹冏《六代论》：
A hundred-footed worm does not die - an allusion to Cao Jon's "Six Dynasties" in the Three Kingdoms.
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.

==Muhammad Saqib Mehran 202121080004==

“故语曰：‘百足之虫，死而不僵。’扶之者众也。”
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them."

[[File:Example.jpg]]==Zohaib Chand 202121080005==

比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.

==Jawad Ahmad 202121080006==

百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.

==Nizam Uddin 202121080007==

僵：倒下。安富尊荣──语出《孟子·尽心上》：

Stiff: fall down. Safety, wealth and honour──From the words "Mencius·All Your Heart":

==Öncü 202121080008==

“君子居是国也，其君用之，则安富尊荣。”

A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)

==Akira Jantarat 202121080009==

原意是君子因辅佐国君功勋卓著而享受荣华富贵。

Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)

The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

这里反用其意，意谓不劳而获，安享荣华富贵。

The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)

The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC)

==Asep Budiman 202111080020==

钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”

Zhongming Ding Shi-Quoting Tang Wang Bo's "Preface to the Pavilion of the King of Teng": "Lu Yan, the home of Zhong Ming Ding Shi." --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)

Zhongming Ding Shi-Speech by Tang Wang Bo "Preface to the Pavilion of the King of Teng": "Lu Yan rushes to the ground, the home of Zhongming Ding Shi." -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。

The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)

The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)

20211229 homework

2021-12-29T05:51:19Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

20211222 homework

2021-12-25T07:11:45Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211215 homework

2021-12-25T07:11:09Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 法语语言文学女 202120081477==

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': "''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini

（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)

== Headline text ==
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': "The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)

Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Lin is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Daiyu replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Daiyu said, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to her. Lady Dowager said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Daiyu nodded one by one. At the same time, Xifeng asked, "Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Xifeng said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Ladyship smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)
The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Rongxi hall"; Then there is a line of small characters: "on a certain date, this was given to Jia Yuan, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Mrs. Jia said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Mrs. Jia said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , "You all go and let's have a talk in our own comfort."

Now Daiyu saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, "I just have read the ''Four Books''." When Daiyu asked her sisters what books they read, Grandma Merchant said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)
Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, "I have just begun reading the Four Books," Mascara Jade replied. "What books are my cousins reading?" Mascara Jade went on to ask. "Books, you say!" exclaimed Grandma Merchant; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Precious Jade was
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211229 homework

2021-12-25T07:10:15Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211229 homework

2021-12-25T07:09:52Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211222 homework

2021-12-20T12:35:04Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211222 homework

2021-12-20T12:33:51Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

20211222 homework

2021-12-20T12:14:34Z

Li Aixuan: /* 李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496 */

20211215 homework

2021-12-20T11:13:02Z

Li Aixuan: /* 邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495 */

Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]

==陈静 Chén Jìng 国别女 202020080595==

鼎：古代食器。胡羼(chàn忏) ──胡闹。羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。

Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.
----

Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 法语语言文学女 202120081477==

抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。

== Headline text ==
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)

Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。致：获得，取得。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

格：推究，探究，探讨。尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)

Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。

Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)

Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)

==杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484==

这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；

All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.

All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)

The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；

Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)

Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；

Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)

Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。

Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。

Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

The man looked over and saw that all the lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。一舍：三十里。这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl

Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war.

Chapter 3

Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。

Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.

Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。

Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；

Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)

Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；

“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)

“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。

“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)

The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. "Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；
Ruhai also said: "I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?" Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: "Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。

In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)

The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”

After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters "Ningguo Mansion Built at Imperial Command". Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。

A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)

Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。

When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Lin is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

The Lady Dowager then introduced them respectively to Daiyu: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." Daiyu greeted them one by one. Her grandmother then said: "Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school." Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；

In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)

After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。

The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。

Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)

"Once she died before me, it is so sad that I could not see her again." she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。

So they asked:" What medicine do you usually take? Why doesn't it work?" Daiyu replied:" I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Daiyu said, "I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。

The monk said, "if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)

The monk said, "if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life." No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”

Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)

Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；

While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse. --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)

Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls, with colorful embroidery splendor, and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”

Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to her. Lady Dowager said with a smile, "You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。

Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)

Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。

Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:"There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)

Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:"There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, "I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。

The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!" He also took Daiyu's hand and asked, "How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. " Daiyu nodded one by one. At the same time, Xifeng asked, "Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”

Mrs. Wang said, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin ." Xifeng said, "I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin ." Xifeng said, "I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”

Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

Her Ladyship smiled, nodded but said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。

Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)
The mother laughed and said, "Exactly, you also go, no need to come." That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.

Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。

When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)

When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)

Mrs.Xing came back and said, "the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”

Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: "aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me."--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。

Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。

Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)

Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。

Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words "Rongxi hall"; Then there is a line of small characters: "on a certain date, this was given to Jia Yuan, the Duke of Honor", and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)

there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。

On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)

Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。

So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)

Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions. On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container; On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。

On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)

On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)

Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。

On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)

On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。

Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: "Your uncle has gone fast today, goodbye.

Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。

I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan

I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”

“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)

Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?" Lady King smiled and said, "You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。

“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。
Suddenly see a servant girl to say: "old lady there spread supper." Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)

Suddenly a servant girl said, "the old lady has passed on dinner." Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)

Lady King smiled at Mascara Jade Pearl and said: "This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her." On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)

So they entered the back room, where many people were already waiting, and when they saw Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup, Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。

Mrs. Jia said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)

Mrs. Jia said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；

Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)

The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , "You all go and let's have a talk in our own comfort."

Now Daiyu saw many rules here are not like the rules of her home. She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”

Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, "I just have read the ''Four Books''." When Daiyu asked her sisters what books they read, Grandma Merchant said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, "I have just begun reading the Four Books," Tai-yue replied. "What books are my cousins reading?" Tai-yue went on to ask. "Books, you say!" exclaimed dowager lady Chia; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Pao-yue was
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.

A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”

His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；

Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;

He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。
The poor lived up to the good times, and the country was hopeless at home.

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”

But she said that Mother Jia saw him come in and smiled: "The foreigner took off her clothes without seeing him, so she won't go to see your sister."

==Öncü 202121080008==

宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。

Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)

I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)

The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

Cult Turn EN 2

2021-12-15T15:21:59Z

Li Aixuan:

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of cultures in ways of thinking and emotional expression. (Zhang Jing, Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the culture in target language .(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of network words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.” (Jiang 2009:180)

Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television works is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of ''Empresses in the Palace'', which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "Domestication" and "Foreignization". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "Domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in ''Empresses in the Palace'', the proper use of Foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works.

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. This two translation strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of Domestication and Foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between Domestication and Foreignization. No translation method can be viewed in isolation, and Domestication must also be properly considered when viewing Foreignization. There is neither complete Domestication nor complete Foreignization. In translation practice, the assistance and cooperation of Domestication and Foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture[C]．London ＆ New York: Pinter Publishers．

Bassnett, Susan & Andre Lefevere(1998/2001). Constructing Cultures[C].Shanghai: Shanghai Foreign Language Education Press.

Gentzler, Edwin(1993). Contemporary Translation Theories [M]. London and NewYork: Routledge.

Jiang Qiuxia 姜秋霞(2009).文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮(2017).影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,6:64-66.

Munday, Jeremy(2001). Introducing Translation Studies: Theories and applications[M]. London: Routledge.

Sun Zhili 孙致礼(2002).中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,1.

Sun Zhili 孙致礼(2003).新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press.

Wang Sisi 王思思(2014).从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),41(S1):107-109.

Wang Ning 王宁(2009).翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press.

Zhou Tiantian 周甜甜(2020).纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,42:76-77.

Zhang Jing, Li Shuliang张静, 李树春(2006).“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College,4.

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T13:31:43Z

Li Aixuan: /* References */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works.

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. This two translation strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture[C]．London ＆ New York: Pinter Publishers．

Bassnett, Susan & Andre Lefevere(1998/2001). Constructing Cultures[C].Shanghai: Shanghai Foreign Language Education Press.

Gentzler, Edwin(1993). Contemporary Translation Theories [M]. London and NewYork: Routledge.

Jiang Qiuxia 姜秋霞(2009).文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮(2017).影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,6:64-66.

Munday, Jeremy(2001). Introducing Translation Studies: Theories and applications[M]. London: Routledge.

Sun Zhili 孙致礼(2002).中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,1.

Sun Zhili 孙致礼(2003).新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press.

Wang Sisi 王思思(2014).从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),41(S1):107-109.

Wang Ning 王宁(2009).翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press.

Zhou Tiantian 周甜甜(2020).纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,42:76-77.

Zhang Jing, Li Shuliang张静, 李树春(2006).“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College,4.

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T13:30:33Z

Li Aixuan: /* References */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works.

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. This two translation strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture［C］．London ＆ New York: Pinter Publishers．

Bassnett, Susan & Andre Lefevere(1998/2001). Constructing Cultures [C].Shanghai: Shanghai Foreign Language Education Press.

Gentzler, Edwin(1993). Contemporary Translation Theories [M]. London and NewYork: Routledge.

Jiang Qiuxia 姜秋霞(2009).文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮(2017).影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,6:64-66.

Munday, Jeremy(2001). Introducing Translation Studies: Theories and applications [M]. London: Routledge.

Sun Zhili 孙致礼(2002).中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,1.

Sun Zhili 孙致礼(2003).新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press.

Wang Sisi 王思思(2014).从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),41(S1):107-109.

Wang Ning 王宁(2009).翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press.

Zhou Tiantian 周甜甜(2020).纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,42:76-77.

Zhang Jing, Li Shuliang张静, 李树春(2006).“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College,4.

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 1

2021-12-13T13:15:02Z

Li Aixuan: /* Conclusion */

=Chapter 1 ：An analysis of the causes and influences of "cultural turn" in translation history =
'''浅析翻译研究历史中“文化转向”的原因和影响'''

金晓童 Jin Xiao, Hunan Normal University, China

[[Cult_Turn_EN_1]]
=== Abstract ===
The Culture Turn theorie of translation studies was initially put forword by Bassnett Susan and Andre Lefevre in 1990 in the book Translation, History and Culture: A Source book in which they affirmed that translation is not the simple transform between two languages, it goses in special cultural environment. Since then, the history of translation as a simple tool for the conversion of languages is fading away and gradually transformed into a carrier of culture. There is no doubt that there are differences among different cultures. As a “bridge”, translation plays an intermediary role in the communication between different cultures. However, in the context of globalization becoming the mainstream, the most important problem for translation in the face of cultural differences is how to deal with different cultures. Therefore, this paper aims to explore the causes of cultural turn, seek the positive and negative effects of cultural turn, and further elaborate on the enlightenment of cultural turn to all countries, especially to China, from the perspective of globalization.

''Translation, History and Culture''--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:49, 13 December 2021 (UTC)

=== Key Words ===
Culture Turn, causes, positives and negative effects, enlightenment

=== 摘要 ===
翻译研究的文化转向理论最早是由苏姗·巴斯奈特和安德烈·勒菲弗尔于1990年在《翻译、历史与文化论集》一书中提出的，他们认为翻译不是简单的两种语言之间的转换，而是在特殊的文化环境中进行的。自此，翻译单纯作为语言之间的转换工具的历史正在消逝，逐渐转变成为一种文化的载体。毋庸置疑，不同民族的文化之间具有差异性，翻译作为一座“桥梁”，起着不同文化交流的中介作用。而在全球化成为主流的大环境下，翻译在面对不同文化的差异时，最需要解决的问题就是如何对待不同的文化。因此本文旨在探究文化转向的原因，以寻求文化转向产生的积极影响和消极影响，并进一步阐述在全球化视角下文化转向给各国特别是中国所带来的启示。

=== 关键词 ===
文化转向，原因，积极和消极影响，启示

=== Title ===
An analysis of the causes and enlightenments of "cultural turn" in translation history from the perspective of globalization

=== Introduction ===
As a messenger of culture communication, translation plays an irreplaceable role in the process of spreading a country's culture. In human history, translation is an activity of exchange and interaction between different cultures, and culture is closely related to translation. Since the second half of the 20th century, contemporary western translation theory has undergone two turns, namely linguistic turn and cultural turn. Cultural turn makes translation studies no longer regard translation as an isolated fragment between language transformations, but examine translation in a grand cultural context. (Xie 2009:223)

"Fidelity" is no longer the only goal translators pursue in translation, and the cultural differences between source language and target language are the focus of translators' attention. In recent years, Cultural Turn in translation studies has gradually become the focus of attention of translation researchers and cultural researchers, and more and more people pay more attention to the role of culture in translation. In the context of globalization, international exchanges are becoming more frequent and cultural exchanges among countries are gradually increasing. Cultural factors are also playing an increasingly important role in the development of translation studies. "Cultural Turn" adds a new dimension to translation studies and provides a research horizon. But at the same time, we should fully recognize the challenges posed by its limitations to the development of translation studies in the future. (Tan 2004:128)

This paper is divided into three chapters: The first chapter briefly introduces what the "Cultural Turn" theory is; The second chapter primarily analyzes the internal and external causes of "Cultural Turn" in translation history from the internal necessity of translation itself and the external thrust of social influence. The third chapter mainly explores the positive and negative influences of the theory of cultural turn, and expounds the enlightenment brought by these influences under the background of globalization, that is, we should dialectically treat the Cultural Turn in translation, not lose the native culture in the mutual learning of cultures, and actively spread the native culture to promote the common progress of culture.

=== Literature review ===
==== Background of Cultural Turn ====
As a concept, culture first appeared in the Middle Ages of Europe and it becomes an eternal theme in the development of human beings, because culture involves all aspects of human life. However, as a discipline to study and form a systematic "cultural study" began in the 1950s. In fact, the rise and development of post-colonialism, feminism and the emergence and rapid spread of the Internet have made cultural studies necessary. In 1957, Hoggart published The Uses of Literacy, and Williams published Culture and Society 1780 － 1950 in 1958.Moreover, in 1964 The Centre for Contemporary Cultural Studies (CCCS) was founded at the University of Birmingham. All these marked the beginning of cultural studies. Since the early 1980s, "cultural studies" has been developed rapidly in many countries, and its research scope has also been expanded, showing a multi-disciplinary development trend. The study of Western culture has gone through more than half a century，Easthope classified the study of Western culture into three stages: (1)in the 1960s，we were devoted to expanding the concept of culture and making it cover mass culture, which was called the "Culturalist Phase"; (2)in the 1970s，we paid attention to the exploration of textualism and hegemonism, which was called the "Structuralist Phase"; (3) the "post-structuralist Phase" was characterized by the establishment of cultural pluralism. It can be seen that "cultural studies" is a kind of interdisciplinary and cross-field research with a very broad content. Therefore, the "cultural turn" proposed by Basnett appeared in the 1990s. In fact, with the rise of "cultural studies", translation as a cultural activity is inevitable and has been combined with cultural studies, the real "cultural turn" in translation studies began much earlier than the 1990s. (Wang 2009:50-51)

However, as a systematic discipline, "cultural study" began in the 1950s.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:03, 13 December 2021 (UTC)

With the development of translation studies in China, culture has gradually received attention. There are some translation theories and opinions scattered in Chinese Buddhist scriptures during the Han and Tang dynasties. Later, Lin Yutang, although Yan Fu and Zhao Yuanren have not made a systematic exposition of cultural translation, their views on translation studies are also consistent with cultural translation theory. In the contemporary time, Liu Shan is the first person to study the relationship between translation and culture as the subject. He pointed out that the accuracy and fidelity of translation depends on the reproduction of thoughts and culture reflected in another language, and stated the fact that the society at that time required translators to expand their cultural horizon. Moreover, Wang Zuoliang also realized the mutual influence between translation and culture, he emphasized that translators must understand both their own national culture and foreign culture. In the 1990s, the Cultural Turn theorie was introduced into China, and more domestic scholars stepped into the wave of cultural research. For example, Wang Bingqin's Cultural Translation studies is regarded as the beginning of China's cultural translation research, and this book laid an important foundation for the subsequent research. Liu Miqing's work of the same period, Outline of Cultural Translation, also exerted a profound influence on later studies. Yang Shizhang (2001) demonstrated in detail the interactive relationship between translation and culture from two aspects of the role of translation in cultural development and the promotion and restriction of culture on translation. Xu Jun (2002) pointed out that there were problems in Chinese translation studies, such as stressing technology over meaning, language over culture, etc. So he proposed to promote the establishment of cultural translation view. These scholars' active discussion on the relationship between translation and culture and its extension undoubtedly laid a solid foundation for the subsequent translation studies from the cultural perspective. In recent years, although it has been widely acknowledged that the western cultural turn is of great significance to translation studies, the theory of cultural turn tends to be far away from ontological studies, so that some scholars call for translation studies to return to ontology. The debate on cultural turn in translation studies has aroused the constant thinking and exploration of domestic scholars. (Peng 2016:141-142)

Throughout the western and Chinese translation studies, it can be found that the theories and practices related to cultural translation in foreign countries have a long history, starting from the 1960s to the early 1970s. Until the 1980s, the relevant research theory content gradually enriched. In the 1990s, because of the “Cultural Turn” theorie, western researchers paid more attention to cultural and social contexts in translation studies. Cultural consciousness in western translation studies has been more complete. The research on cultural translation in China began in the 1980s. Although it was a little later than that in western world, it caught up with the pace very fast, so that cultural translation has rapidly become an important part of the field of translation studies in China. Since the 1990s, some researchers did systematical research on cultural translation studies. However, although the theory is not that well developed, the achievements of domestic cultural translation studies are still improving. (Peng 2016:141-142)

==== Brief introduction: the schools, viewpoints and development of Cultural Turn in translation studies ====
The Cultural Turn in translation studies, advocated and developed by the cultural school, began in the late 1980s. It studies the cultural origin of translation and explores the political, economic, social, ideological and other cultural backgrounds of translation, which is closely related to the rise and prosperity of culturology. Looking back on the history, after the 1970s, under the influence of the booming trend of deconstruction, translation studies developed in the direction of diversification. Even Zohar, an Israeli scholor, proposed Polysystem Theory, which places translated literature at the historical and social levels of the target culture and breaks away from the static study of texts. Later, Toury proposed Descriptive Translation Studies and norms of translation behavior, adding cultural Studies to Translation Studies further. The multiple systems school represented by Even Zohar and Toury is regarded as the prelude to the rise of the cultural school, and their theories are regarded as the germination of the cultural turn in Western translation. (Pan 2002:24)

In Description of translation and others (1995), Toury described the function of translation, translation products and the relationship between the translation process, he thinks that function of translation decided the form of translation products, which determines the translation strategies. At the same time, the culture of the target language has an important influence on translation products and activities. In a word, the target language culture itself determines the function, form and strategy of translation. Then came the school of purpose, manipulation and deconstruction. In 1990, two major figures in translation studies: Susan Bassnett, a British scholar in comparative literature and translation studies, and Andre Lefevere, an American scholar in comparative literature and translation studies, explicitly proposed the "Cultural Turn" theorie in translation studies in the book Translation, History and Culture. In the following years, they published some influential papers and books on the "cultural turn" in translation studies. (Pan 2002:24)

In 1992, Lefevere published three books on translation studies: Translation, rewriting and the manipulation of literary fame, Translation, History and Culture: A Source book and, Translating literature: practice and theory in a comparative literature context. Among these books, Translation, rewriting and the manipulation of literary fame can be viewed as the representative work of Lefevere. In this book, he proposed the concept of "manipulation", believing that translation is rewriting, and that the mainstream ideology, poetics, patrons and other factors restrict or control translation activities. Then the cultural or manipulative school of translation studies was born. In 1994, Basnett edited Cross-cultural Communication: The Warrick Papers on Translation Studies. She pointed out that translation is a complex activity which involves questions such as how to choose the text to be translated, role of the translator in the selected text, roles of editors, publishers, or sponsor, what strategies the translator will take according to different criteria, how the text in the target system to be able to accept.。In 1998, after Lefebvre's death, the last book they wrote together, Constructing Cultures: Essays on Literary Translation, was published. These subsequent publications further expanded the influence of the translation cultural school, which gradually replaced the traditional linguistic school and became the mainstream school of translation studies today. (Lefevere 1992:26-27)

Of course, the above is only a review of the viewpoints of the representative figures and literary schools of "Cultural Turn". In fact, since the 1980s, "Cultural Turn" has become a fact, which also includes the development of "post-modern" translation theories such as deconstruction, feminism and post-colonialism. After the "Cultural Turn" theorie of translation was put forward, many scholars believed that translation has stepped out of the limitations of the traditional linguistic school, entered the wave of cultural studies and stepped onto a broader research space. Translation studies increasingly involved more fields such as ideology, ethnicity, race, feminism and so on. For example, Basnett published The theory and practice of Postcolonial Translation in 1999. Nida, the head of the linguistics school, also began to pay attention to cultural issues in his works in the 1990s. Louise von Flotow published Translation and Gender: Translating in the 'Era of Feminism' (1997), and Spivak (G. C. Spivak) has made a discussion on translation, the politics of translation, feminism and post-colonialism. American scholar L. Venuti proposed some such as "foreignization" and "domestication" and so on. Venuti believes that works translated into English since the 17th century are basically "domesticating translation", while most English translations into other languages are "foreignizing translation", which actually reflects the inequality between cultures. As a result, he thinks the "foreignizing translation" should be taken when translating the world affairs into English, it is a wise cultural interference, which contribute to change the language hegemony of English countries and the unequal status of culture in the global exchanges. This is a rejection of ethnocentrism, racism, cultural narcissism and cultural imperialism, and is conducive to the promotion of democracy in global geopolitical relations. The above views can be regarded as either the influence or the continuation of the "Cultural Turn" in translation studies. (Wang 2009:50)

标题首字母注意大写~Brief Introduction: the Schools, Viewpoints and Development of Cultural Turn in Translation Studies--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:10, 13 December 2021 (UTC)

=== The causes of “Cultural Turn”in translation history ===
"Cultural Turn" has become a trend, not only because it breaks through the previous theory with its own advantages, but also because of the influence of cultural turn and other external factors. Therefore, it can be said that the trend of "Cultural Turn" is produced under the joint action of internal and external factors.

==== The internal causes ====
The internal drive of "Cultural Turn" mainly comes from some positive views of the cultural school. They strongly advocated the transfer of the focus of translation studies from the text itself to the cultural context outside the text, and oppose the view which considered translation as a simple language transformation. Therefore, they tried their best to change the subsidiary status of translation in literature and art, and actively promoted translation to become an independent discipline.(Xie 2014:45)

===== Self-development of translation studies =====
Before the 20th century, western translation theory had been regarded as the "subordination" of literature and art. In this context, translation was merely regarded as an art, emphasizing the reproduction of the original text by the target text. Translation was even considered as a branch of comparative literature. In 1921, the German scholar W. Benjamin pointed out in his book The Task of The Translator that "If the ultimate essence of translation is to strive for similarity to the original, then no translation is possible." This view actually shows that the pursuit of linguistic absolute "faith" is not feasible in theory and in practice. In other words, the study of translation should break away from the excessive concern about words and turn to a more far-reaching and broad level, namely the cultural level. In 1971, Holmes put forward his unique views on the Nature, scope and structure of translation as an independent research field in the book The Name and Nature of Translation Studies. Since then, Translation Studies began to transform into an independent discipline, and The Name and Nature of Translation Studies is regarded as the declaration of independence of Translation Studies.(Xie 2014:46)

===== The importance attached by cultural school to culture =====
"Cultural school", as its name implies, attaches importance to the role of culture in translation and emphasizes the constraints of culture on translation. The cultural school has played an important role in promoting translation as an independent discipline. From Holmes, the founder of the cultural school, to the leading figures Snell-Hornby, Andre Lefevere and Susan Bassnett, they all mentioned the importance of culture to language and translation in their monographs (Jin , Zhu 2011:31).

Basnett once said, " Translation studies is actually an independent discipline. It is neither a subsidiary discipline of comparative literature studies nor a certain area of linguistic studies, but an extremely rich field of study with numerous sub-disciplines of its own." Later, she emphasized again in her book Comparative Literature published in 1993 that " When comparative literature is debating for itself whether it can become an independent discipline, translation studies has boldly declared itself to be an independent discipline, and the influence and force of translation studies have been affirmed and supported worldwide (Bassnett 1993:160)."

In addition, Basnett's graphic description of culture and language expresses her emphasis on culture. She points out that "culture is like a human body, and language is the heart of the body. Only the interaction between the heart and the body can sustain human vitality. Therefore, when surgeons operate on the heart, they cannot ignore the whole body carrying the heart. This is why it is dangerous for translators to separate text from culture and treat it in isolation." (Bassnett 2004:22).

According to professor Zeng Wenxiong, the origin of the cultural school can be traced back to the rationalism of Descartes in the 17th century, even to the skepticism of Perot and the materialism and evolution of Darwin, "These skeptical and survival of the fittest concepts subvert god and all the social and ethical structures that people take for granted, and then develop deconstructivism, post-colonialism and feminism that contain rebellion and independence."(Zeng 2006:64)

In short, the cultural school’s emphasis on culture is also reflected in its translation theory, the cultural school believes that "faithful" translation is impossible, so it pursues the cultural equivalence between the source text and the target text, that is, the equivalence of cultural functions. The research question has changed from how to be faithful to the source text to the causes and results of the target text's failure to be faithful to the source text. Translation should not be limited to the description of the source text, but pay attention to the functional equivalence of the text in the target language culture. Translation is to meet the needs of culture and the needs of different groups in a certain culture. Obviously, the development of cultural studies and the establishment of the cultural school have greatly promoted the consideration of cultural factors in various fields. In the field of translation, cultural studies and the cultural school have improved the cultural awareness of scholars, which has become a key factor for the rise of the "Cultural Turn". Thus, translation finally became an independent subject with its own characteristics under the strong advocacy of the cultural school, and laid a foundation for the rise of "Cultural Turn" in translation studies.(Zhu 2017:87)

==== The external causes ====
The development of translation studies and the influence of the cultural school promoted the birth of "Cultural Turn" theorie. At the same time, the limitation of linguistic school, the prevalence of cultural studies, the emergence of the theory of multiple systems and of deconstructivisme sped up the process of "Cultural Turn" in translation studies.(Wu 2009:104)

===== Limitations of the linguistic school =====
The linguistic school represented by Nida, Newmark and Catford have reached a "dead end" in translation studies at the end of the 20th century. Translation studies under the linguistic paradigm took structuralist linguistics and transformational generative grammar as theoretical frameworks, they paid attention to the correspondence between the original text and the translated words in the process of translation. Although such correspondence seems to be very scientific, it ignored many factors behind the words. Therefore, the study of linguistic school was considered by some scholars to be too standardized. However, for literary texts, the simple study of words and sentences can not reflect the relationship between the original text and the target text well to some extent, because literary texts contain more and more complex cultural factors behind the language. This translation equivalence theory takes the text itself as the object of translation, "it reduces the aesthetic problem to the logical problem, and ignores the descriptive study of the important factors such as the culture of the target language, the purpose and motivation of translation", which is too standardized. Therefore, the disadvantages of translation studies of the linguistic school became increasingly prominent and were gradually criticized by many scholars (Ran , Li 2012:4).

Andre Lefevere and Susan Bassnett criticized the linguistic school in the book Constructing Cultures: Essays on Literary Translation, "The success of machine translation makes people believe that the linguistic method of translation is an effective method... At the same time, they (linguists) said that their translation methods are not applicable to literary translation because literary translation is very special. Isn't literature written in language? Is the language of literature really so different from the language of translators?".It can be seen from the above citation that the theories of the linguistics school have been difficult to explain many problems and phenomena in the process of translation, which has been questioned by some experts and scholars. This provides the possibility for the emergence of a new paradigm in translation studies called "Cultural Turn". (Yang 2010:101).

===== The prevalence of cultural studies =====
Cultural studies originated in the United Kingdom in the 1950s, followed by a wave of cultural studies in Canada, Australia, the United States and China. Since the 1970s and 1980s, cultural studies have entered a period of interdisciplinary and diversified development. Sociology, literary theory, media studies, film and anthropology have all become the objects of cultural studies.The gradual rise of cultural studies made many scholars turn their attention to the discussion of cultural issues in translation studies, and analyzed the deeper cultural communication implied by language. Therefore, they no longer focused on the careful choice of words in the process of translation, but from the macro level to explore more profound cultural causes, thus contributing to the upsurge of "Cultural Turn" in translation studies. (Wang, 2005:34).

===== Inspiration of the Polysystem theory =====
The Polysystem theory was first proposed by the Israeli scholar Even-Zohar in the 1970s. He borrowed from Russian formalists who worked in literary historiography that literary works were not independent objects but should be regarded as part of the whole literary system. Before that, people's research on translation was static, while the Polysystem theory links translated works with social, historical and cultural factors. He believed that a polysystem system is composed of several subsystems, in which some subsystems are located at the center and others at the edge. Their positions and status are not fixed, but they compete with each other for a central position in the system. In addition, there are also interrelated and interactive relations between them. Therefore, as a member of many subsystems, translatology and other subsystems must be involved and influenced each other. Zohar mentioned that the culture of a country or a place may have advantage or disadvantage when compared to another culture in different periods. In different situation, translators in a country or a place will choose different translation strategies. If this situation changes, the translator's choice of translation strategies will also change, which forms a dynamic translation study. Therefore, Even-Zohar's polysystem theory makes people no longer look at translation and text in isolation, but combine multiple subsystems such as culture, society, politics and economy to look at the translation process from a broader perspective, and promote the emergence of cultural turn in translation. As student of Zohar, Toury offered new ideas as well as inherited his views. Then Toury put forward translation norms to judge the acceptability of texts by placing them within the target cultural system. These norms are certain social and cultural restrictions on culture, society and times, and people need to be educated and socialized to obtain them. It can be seen that Toury's theory is also based on social and cultural aspects. He believed that translation should be examined from the perspective of target language culture, "Translation is always limited by different social and literary background factors, so it has no fixed characteristics, and translation becomes a relative name relying on historical and cultural forces".(Gentzler 1993:129)

It can be said that their views provided the initial inspiration and theoretical basis for the theory of "Cultural Turn". The view of culture in polysystem theory has inspired the scholars of cultural school and finally led the translation studies to the rad of "Cultural Turn". Zhang Nanfeng once discussed in his article the positive effect of the polysystem theory on "Cultural Turn", he pointed out: "The polysystem theory has opened up a new approach to translation studies that is descriptive, systematic-oriented, functionalist and systematic. It has promoted the cultural turn of translation studies and spawned a cross-border school of translation studies." (Feng,Liu 2008:48)

===== The infiltration of deconstructive thought =====
Destructuralism, also known as post-structuralism, is a trend of thought established in the process of criticizing structuralism, and its main representative is Jacques Derrida. The philosopher Jacques Derrida, while criticizing structuralism, innovatively proposed the "deconstructive" theory, which has a profound influence on translation theory, cultural theory and literary criticism theory. Deconstructivists represented by Derrida denied the idea that language has ultimate meaning held by the language school, and believed that language words contain multiple meanings, so the meaning of the text formed by language words should be multiple. In addition, he also believed that the author is not the only creator of the text, which undoubtedly played an important role in enhancing the status of the translation and the subjectivity of the translator. Benjamin abandoned the traditional translation studies that only focused on the semantic meaning of the original text and the deconstruction of language. He believed that articles could survive only through translation, and that traditional translation could only be achieved in the environment of "pure language". If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. In short, many views of deconstructivisme have a strong role in inspiring and promoting "Cultural Turn". In addition, deconstructive translation thought puts more emphasis on many other factors that affect the text, such as ideology. The pluralism of meaning and pluralism of interpretation advocated by deconstructivisme theory enlighten the cultural schools, leading them to think about the relationship between source text and target text from a more macroscopic and completely different perspective, subverting the traditional view of translation. As Professor Wang Ning said, "Deconstructivisme plays an important role in promoting the cultural turn in contemporary translation studies" (Wang 2009:127).

=== The influences of “Cultural Turn” under the background of globalization ===
Any kind of theory has its advantages and limitations, so when looking at "Cultural Turn", it is the right choice to maintain rational mind and critical thinking and treat it objectively and dialectically.

==== The positives effects ====
The "Cultural Turn" theorie of translation studies raised the paradigm of translation studies from the pure language level to the broader cultural level, made the translation experts and scholars begin to consider power, poetics and the target language culture, the translator and the reader, and many other factors on translation institute, which broadened the field of translation study so that translation was no longer in vacuum environment.(Wu 2009：104)

The influence of cultural school on translation studies is mainly reflected in the political characteristics of its theories, such as post-colonial translation studies, feminist translation studies and cannibalism translation studies derived from historical events. Among them, a scholar of feminist translation Simon expressed her praise for “Cultural Turn”, pointing out that it is the most exciting progress in translation studies, because it means that translation studies have added an important dimension, which enables us to understand the organic connection between translation and other ways of communication. It regards translation as a writing practice that runs through all the strains of cultural expression.(Zeng 2006:92)

Looking at China, there are many experts and scholars who have a positive attitude towards the "Cultural Turn", such as Xie Tianzhen, Ran Shiyang, Feng Yawu and so on. Among them, Feng Yawu and Liu Quanfu clearly expressed their support for "Cultural Turn" in their articles "Cultural Turn" and "Cultural Translation Paradigm": "Cultural turn has awakened the cultural consciousness of translation researchers, greatly broadened their horizons, expanded the scope of translation studies, and added a new dimension of history and culture to the study of translators". Cultural turn has exerted an important influence on translation studies in China, which is enlightening and thought-provoking. Liu Xiaoqian once pointed out in her article that the cultural turn in translation studies has brought unprecedented opportunities to Translation studies in China. However, China is still a "weak country" in the field of translation studies.(Zeng 2006:92)

In terms of translation practice, there are more target works than source works. In translation theory, there are few influential theories and works created, and most of modern and contemporary theories are "taken" from foreign countries. Moreover, the cultural turn is characterized by interdisciplinary research, which warns Chinese translation researchers to have a higher level and constantly improve themselves. Therefore, translators in China should actively promote the "going out" of Chinese culture and contribute to the development of translation studies in China by taking advantage of the wind of "cultural turn" that has not yet disappeared. There is no doubt that the "Cultural Turn" of translation studies is of positive significance to the development of Translation studies in China.It has broken the shackles of translation studies within the linguistic system, shifted its focus from the microscopic linguistic transformation to the macroscopic cultural one, provided a new dimension for translation studies, and promoted the transformation of translation studies from "normative studies" to "descriptive studies" under the linguistic framework. Thus it provides a development platform for translation studies, broadening the horizon of translation studies, and lays the foundation for translation studies as an independent discipline. However, it should be emphasized that "Cultural Turn" is only a research perspective in multiple translation studies, and has its advantages and disadvantages like other paradigms.(Zeng 2005:70)

==== The negative effects ====
With the expansion of the research scope and the deepening of the research content, many problems have been exposed in translation studies under the "Cultural Turn", which has aroused the extensive thinking of domestic scholars. Although the cultural school broke through the shackle of the linguistic school and innovatively put forward the "Cultural Turn", the cultural school did not critically inherit and develop the theories and methods of the linguistic school, but blindly negated, subverted, disintegrated and abandoned them completely. In the view of the cultural school, translation studies before cultural translation lack the macroscopic theoretical guidance and cannot see into the functions and effects of translation. Only by combining culture with translation studies can the true meaning of cultural functions be obtained, thus forming a theoretical system guiding translation practice.(Zhang 2008:23)

Therefore, the extreme practice that his focus completely deviates from the text itself and shifts to the macro context has been criticized by later generations. In addition, because the cultural school advocates the study of translation in the context of society, history, language environment and culture, emphasizing the restriction of culture on translation, and attaches importance to the connection and combination between translation and linguistics, translation and literature, translation and poetics. As a result, some experts and scholars have raised doubts about the "cultural turn" at this point. In China, such as Zeng Wenxiong, Zhao Yanchun and so on all hold a negative attitude to the "cultural turn". Zhao Yanchun (2004) once pointed out that "the culture school emphasizes the restrictive function of cultural factors such as power relations, sponsors, ideology, mainstream poetics and others on translation, and try to deny the traditional research on translation within the text. Therefore, they exaggerate the restrictive function of culture, and it is impossible to summarize the rules for predicting translation phenomena and processes".(Hu 2011:7-8)

Its all-embracing openness makes the disciplinary boundaries of translation studies blurred. According to Zeng Wenxiong, the "cultural turn" has limited the scope of translation studies, narrowed the research field, blurred the disciplinary boundaries of translation studies, separated from the fundamental of translation-language, exaggerated the influence of factors other than text, and thus made it difficult to discover the fundamental laws of translation. However, the foundation of translation studies is language and text, and the excessive emphasis on external factors without language studies will undoubtedly push translation studies into a dangerous situation by infinitely amplifying the role of external factors in the translation process. Since its birth, Chinese translation activities have been accompanied by the introduction and absorption of foreign cultures. For example, the large-scale introduction and absorption of Western learning in the late Qing Dynasty, the New Chinese literature constructed under the influence of translated literature in the May Fourth Movement period and so on.(Sun 2008:10-11)

While absorbing foreign cultures, we should not ignore the "localization" of culture. The same is true of the cultural turn in translation studies. Wang Ning, in his book The Cultural Turn of Translation Studies, also put forward such a point of view: it is worth noting that the cultural school of translation studies is based on comparative literature and studies translation phenomena from the perspective of western studies. The great difference between culture and language reminds us that we should not ignore the actual situation of the construction of traditional translation studies and theories in China while drawing lessons from western translation theories and research achievements. In this regard, from the perspective of discipline construction, many domestic scholars have proposed that translation studies under the cultural turn should not ignore the study of translation ontology, and that translation studies should return to the study of translation ontology and adhere to the standard characteristics of translation discipline.(Wang 2003:90)

=== Conclusion ===
Due to the development of translation itself, the influence of the polysystem theory, the cultural school, deconstructivisme and other theories, the "Cultural Turn" emerged in the 1990s, breaking the model of translation studies that had lasted for thousands of years, breaking out of the rigid language level and placing translation in the dynamic history, culture and society. It has explained many translation phenomena that cannot be explained by the traditional school of linguistics. It not only adapts to the development of the times, but also is the inevitable way out of translation studies. Cultural turn is not only the inexorable trend of translation activities, but also promotes the diversified development of translation studies. With the development of global integration, translation culture turns to be closely combined with social, political, economic and other factors. Under the influence of this development trend, culture is bound to develop in the exchange and cooperation between countries, which is an inevitable tendency of translation studies.(Hu 2005:10)

Nowadays, translation plays an increasingly prominent role in cross-cultural communication as the field of international communication continues to expand. Translation should take the initiative to maintain the historical mission of linguistic diversity and cultural diversity, balance the subject culture and foreign culture, and keep the two cultures in a relatively reasonable range. But the problem lies in the lack of theoretical guidance in concrete practice, wo can only judge according to experience. The subject of translation is affected by many factors, so it is impossible to completely jump out of the subject culture, and the development of translation study is dynamic, with the development of translation theory and the development of The Times, many factors such as translation view and translation stand are constantly changing. Therefore, with the development of the times, we should study the problem dynamically and sum up the guiding ideology constantly, so as to achieve a balance between the subject culture and foreign culture. In the context of globalization, people should pay attention to the relationship between their own culture and foreign culture, and translators, as communicators of cultural exchange, should balance the relationship between the two. Only by treating the externalization objectively, taking its essence and discarding its dregs, making it mutually available with the national culture, innovating the national culture and enhancing the vitality of the national culture, can the Chinese culture endure long and have a long history.

Due to the development of translation itself and the influence of the polysystem theory, the cultural school, deconstructivism and other theories, the "Cultural Turn" emerged in the 1990s, breaking the model of translation studies that had lasted for thousands of years, breaking out of the rigid language level and placing translation in the dynamic history, culture and society.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:15, 13 December 2021 (UTC)

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture［C］．London ＆ New York: Pinter Publishers．

Bassnett，S．(2001). The Translation Turn in Cultural Studies［A］．in Bassnett ＆ Lefevere( ed)，Constructing Cultures Essays on Literary Translation［C］．Shanghai: Shanghai Foreign Language Education Press，2001．

Feng Yawu, Liu Quanfu 冯亚武，刘全福 (2008). “文化转向”与文化翻译范式[J] "Cultural turn" and cultural translation paradigm.西安外国语大学学报 Journal of Xi'an Foreign Studies University，4:48.

Hu Mu 胡牧 (2011). 翻译研究:回归现实世界-对“文化转向”的再思考[J] Translation studies: returning to the real world -- Rethinking the "cultural turn".中国翻译 Chinese Translators Journal, 5:5-10.

Lefevere, A. (1992). Translation, Rewriting, and the Manipulation of Literary Fame [M]. London and New York: Routledge, 26-27.

Peng Ping 彭萍 (2016). 当代西方翻译研究的“文化转向”和“社会转向”综述[J] A summary of "cultural turn" and "social turn" in Contemporary Western Translation Studies.江西师范大学学报(哲学社会科版,2016(3) Journal of Jiangxi Normal University (Philosophy and social sciences edition), 3:141-142.

Sun Yifeng 孙艺风 (2008). 文化翻译与全球本土化[J] Cultural translation and global localization.中国翻译 Chinese Translators Journal, 1:5-11.

Tan Zaixi 谭载喜 (2004). 西方翻译简史[M] 西方翻译简史 A brief history of Western Translation.北京：商务印书馆 Beijing:The Commercial Press.

Wang Ning 王宁 (2003). 全球化、文化研究和文学研究[M] Globalization, cultural studies and Literary Studies.桂林:广西师范大学出版社 Guilin: Guangxi Normal University Press.

Wang Ning 王宁 (2005). 翻译的文化建构和文化研究的翻译学转向[J] The cultural construction of translation and the translatological turn of Cultural Studies.中国翻译 Chinese Translators Journal, 6:16.

Wang Ning 王宁 (2009). 翻译研究的文化转向[M] The Cultural Turn in translation studies.北京：清华大学出版社 Beijing: Tsinghua University publishing house.

Wu Xiaojun 伍小君 (2009). 翻译研究中的文化转向:批判与反思[J] Cultural turn in translation studies: Criticism and reflection. 外语学刊 Foreign language journal, 4:103-105.

Xie Tianzheng 谢天振 (2009)．中西翻译简史［M］A brief history of Chinese and Western Translation．北京:外语教学与研究出版社 Beijing: foreign language teaching and Research Press.

Xie Tianzhen 谢天振 (2014). 正确理解“文化转向”的实质[J] Correctly understand the essence of "cultural turn". 外国语 foreign language, 5:45-46.

Zeng Wenxiong 曾文雄 (2006).对翻译研究“文化转向”的反思[J] Reflections on the "cultural turn" in Translation Studies.外语研究 Foreign Language Studies 3:62-66.

Zhu Huichao 朱慧超 (2017). 简析翻译学中的文化转向[J] A brief analysis of the cultural turn in Translation Studies. 文化学研究 Cultural Studies, 9:86-88.

Written by --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:59, 13 December 2021 (UTC)

Cult Turn EN 1

2021-12-13T13:10:56Z

Li Aixuan: /* Brief introduction: the schools, viewpoints and development of Cultural Turn in translation studies */

=Chapter 1 ：An analysis of the causes and influences of "cultural turn" in translation history =
'''浅析翻译研究历史中“文化转向”的原因和影响'''

金晓童 Jin Xiao, Hunan Normal University, China

[[Cult_Turn_EN_1]]
=== Abstract ===
The Culture Turn theorie of translation studies was initially put forword by Bassnett Susan and Andre Lefevre in 1990 in the book Translation, History and Culture: A Source book in which they affirmed that translation is not the simple transform between two languages, it goses in special cultural environment. Since then, the history of translation as a simple tool for the conversion of languages is fading away and gradually transformed into a carrier of culture. There is no doubt that there are differences among different cultures. As a “bridge”, translation plays an intermediary role in the communication between different cultures. However, in the context of globalization becoming the mainstream, the most important problem for translation in the face of cultural differences is how to deal with different cultures. Therefore, this paper aims to explore the causes of cultural turn, seek the positive and negative effects of cultural turn, and further elaborate on the enlightenment of cultural turn to all countries, especially to China, from the perspective of globalization.

''Translation, History and Culture''--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:49, 13 December 2021 (UTC)

=== Key Words ===
Culture Turn, causes, positives and negative effects, enlightenment

=== 摘要 ===
翻译研究的文化转向理论最早是由苏姗·巴斯奈特和安德烈·勒菲弗尔于1990年在《翻译、历史与文化论集》一书中提出的，他们认为翻译不是简单的两种语言之间的转换，而是在特殊的文化环境中进行的。自此，翻译单纯作为语言之间的转换工具的历史正在消逝，逐渐转变成为一种文化的载体。毋庸置疑，不同民族的文化之间具有差异性，翻译作为一座“桥梁”，起着不同文化交流的中介作用。而在全球化成为主流的大环境下，翻译在面对不同文化的差异时，最需要解决的问题就是如何对待不同的文化。因此本文旨在探究文化转向的原因，以寻求文化转向产生的积极影响和消极影响，并进一步阐述在全球化视角下文化转向给各国特别是中国所带来的启示。

=== 关键词 ===
文化转向，原因，积极和消极影响，启示

=== Title ===
An analysis of the causes and enlightenments of "cultural turn" in translation history from the perspective of globalization

=== Introduction ===
As a messenger of culture communication, translation plays an irreplaceable role in the process of spreading a country's culture. In human history, translation is an activity of exchange and interaction between different cultures, and culture is closely related to translation. Since the second half of the 20th century, contemporary western translation theory has undergone two turns, namely linguistic turn and cultural turn. Cultural turn makes translation studies no longer regard translation as an isolated fragment between language transformations, but examine translation in a grand cultural context. (Xie 2009:223)

"Fidelity" is no longer the only goal translators pursue in translation, and the cultural differences between source language and target language are the focus of translators' attention. In recent years, Cultural Turn in translation studies has gradually become the focus of attention of translation researchers and cultural researchers, and more and more people pay more attention to the role of culture in translation. In the context of globalization, international exchanges are becoming more frequent and cultural exchanges among countries are gradually increasing. Cultural factors are also playing an increasingly important role in the development of translation studies. "Cultural Turn" adds a new dimension to translation studies and provides a research horizon. But at the same time, we should fully recognize the challenges posed by its limitations to the development of translation studies in the future. (Tan 2004:128)

This paper is divided into three chapters: The first chapter briefly introduces what the "Cultural Turn" theory is; The second chapter primarily analyzes the internal and external causes of "Cultural Turn" in translation history from the internal necessity of translation itself and the external thrust of social influence. The third chapter mainly explores the positive and negative influences of the theory of cultural turn, and expounds the enlightenment brought by these influences under the background of globalization, that is, we should dialectically treat the Cultural Turn in translation, not lose the native culture in the mutual learning of cultures, and actively spread the native culture to promote the common progress of culture.

=== Literature review ===
==== Background of Cultural Turn ====
As a concept, culture first appeared in the Middle Ages of Europe and it becomes an eternal theme in the development of human beings, because culture involves all aspects of human life. However, as a discipline to study and form a systematic "cultural study" began in the 1950s. In fact, the rise and development of post-colonialism, feminism and the emergence and rapid spread of the Internet have made cultural studies necessary. In 1957, Hoggart published The Uses of Literacy, and Williams published Culture and Society 1780 － 1950 in 1958.Moreover, in 1964 The Centre for Contemporary Cultural Studies (CCCS) was founded at the University of Birmingham. All these marked the beginning of cultural studies. Since the early 1980s, "cultural studies" has been developed rapidly in many countries, and its research scope has also been expanded, showing a multi-disciplinary development trend. The study of Western culture has gone through more than half a century，Easthope classified the study of Western culture into three stages: (1)in the 1960s，we were devoted to expanding the concept of culture and making it cover mass culture, which was called the "Culturalist Phase"; (2)in the 1970s，we paid attention to the exploration of textualism and hegemonism, which was called the "Structuralist Phase"; (3) the "post-structuralist Phase" was characterized by the establishment of cultural pluralism. It can be seen that "cultural studies" is a kind of interdisciplinary and cross-field research with a very broad content. Therefore, the "cultural turn" proposed by Basnett appeared in the 1990s. In fact, with the rise of "cultural studies", translation as a cultural activity is inevitable and has been combined with cultural studies, the real "cultural turn" in translation studies began much earlier than the 1990s. (Wang 2009:50-51)

However, as a systematic discipline, "cultural study" began in the 1950s.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:03, 13 December 2021 (UTC)

With the development of translation studies in China, culture has gradually received attention. There are some translation theories and opinions scattered in Chinese Buddhist scriptures during the Han and Tang dynasties. Later, Lin Yutang, although Yan Fu and Zhao Yuanren have not made a systematic exposition of cultural translation, their views on translation studies are also consistent with cultural translation theory. In the contemporary time, Liu Shan is the first person to study the relationship between translation and culture as the subject. He pointed out that the accuracy and fidelity of translation depends on the reproduction of thoughts and culture reflected in another language, and stated the fact that the society at that time required translators to expand their cultural horizon. Moreover, Wang Zuoliang also realized the mutual influence between translation and culture, he emphasized that translators must understand both their own national culture and foreign culture. In the 1990s, the Cultural Turn theorie was introduced into China, and more domestic scholars stepped into the wave of cultural research. For example, Wang Bingqin's Cultural Translation studies is regarded as the beginning of China's cultural translation research, and this book laid an important foundation for the subsequent research. Liu Miqing's work of the same period, Outline of Cultural Translation, also exerted a profound influence on later studies. Yang Shizhang (2001) demonstrated in detail the interactive relationship between translation and culture from two aspects of the role of translation in cultural development and the promotion and restriction of culture on translation. Xu Jun (2002) pointed out that there were problems in Chinese translation studies, such as stressing technology over meaning, language over culture, etc. So he proposed to promote the establishment of cultural translation view. These scholars' active discussion on the relationship between translation and culture and its extension undoubtedly laid a solid foundation for the subsequent translation studies from the cultural perspective. In recent years, although it has been widely acknowledged that the western cultural turn is of great significance to translation studies, the theory of cultural turn tends to be far away from ontological studies, so that some scholars call for translation studies to return to ontology. The debate on cultural turn in translation studies has aroused the constant thinking and exploration of domestic scholars. (Peng 2016:141-142)

Throughout the western and Chinese translation studies, it can be found that the theories and practices related to cultural translation in foreign countries have a long history, starting from the 1960s to the early 1970s. Until the 1980s, the relevant research theory content gradually enriched. In the 1990s, because of the “Cultural Turn” theorie, western researchers paid more attention to cultural and social contexts in translation studies. Cultural consciousness in western translation studies has been more complete. The research on cultural translation in China began in the 1980s. Although it was a little later than that in western world, it caught up with the pace very fast, so that cultural translation has rapidly become an important part of the field of translation studies in China. Since the 1990s, some researchers did systematical research on cultural translation studies. However, although the theory is not that well developed, the achievements of domestic cultural translation studies are still improving. (Peng 2016:141-142)

==== Brief introduction: the schools, viewpoints and development of Cultural Turn in translation studies ====
The Cultural Turn in translation studies, advocated and developed by the cultural school, began in the late 1980s. It studies the cultural origin of translation and explores the political, economic, social, ideological and other cultural backgrounds of translation, which is closely related to the rise and prosperity of culturology. Looking back on the history, after the 1970s, under the influence of the booming trend of deconstruction, translation studies developed in the direction of diversification. Even Zohar, an Israeli scholor, proposed Polysystem Theory, which places translated literature at the historical and social levels of the target culture and breaks away from the static study of texts. Later, Toury proposed Descriptive Translation Studies and norms of translation behavior, adding cultural Studies to Translation Studies further. The multiple systems school represented by Even Zohar and Toury is regarded as the prelude to the rise of the cultural school, and their theories are regarded as the germination of the cultural turn in Western translation. (Pan 2002:24)

In Description of translation and others (1995), Toury described the function of translation, translation products and the relationship between the translation process, he thinks that function of translation decided the form of translation products, which determines the translation strategies. At the same time, the culture of the target language has an important influence on translation products and activities. In a word, the target language culture itself determines the function, form and strategy of translation. Then came the school of purpose, manipulation and deconstruction. In 1990, two major figures in translation studies: Susan Bassnett, a British scholar in comparative literature and translation studies, and Andre Lefevere, an American scholar in comparative literature and translation studies, explicitly proposed the "Cultural Turn" theorie in translation studies in the book Translation, History and Culture. In the following years, they published some influential papers and books on the "cultural turn" in translation studies. (Pan 2002:24)

In 1992, Lefevere published three books on translation studies: Translation, rewriting and the manipulation of literary fame, Translation, History and Culture: A Source book and, Translating literature: practice and theory in a comparative literature context. Among these books, Translation, rewriting and the manipulation of literary fame can be viewed as the representative work of Lefevere. In this book, he proposed the concept of "manipulation", believing that translation is rewriting, and that the mainstream ideology, poetics, patrons and other factors restrict or control translation activities. Then the cultural or manipulative school of translation studies was born. In 1994, Basnett edited Cross-cultural Communication: The Warrick Papers on Translation Studies. She pointed out that translation is a complex activity which involves questions such as how to choose the text to be translated, role of the translator in the selected text, roles of editors, publishers, or sponsor, what strategies the translator will take according to different criteria, how the text in the target system to be able to accept.。In 1998, after Lefebvre's death, the last book they wrote together, Constructing Cultures: Essays on Literary Translation, was published. These subsequent publications further expanded the influence of the translation cultural school, which gradually replaced the traditional linguistic school and became the mainstream school of translation studies today. (Lefevere 1992:26-27)

Of course, the above is only a review of the viewpoints of the representative figures and literary schools of "Cultural Turn". In fact, since the 1980s, "Cultural Turn" has become a fact, which also includes the development of "post-modern" translation theories such as deconstruction, feminism and post-colonialism. After the "Cultural Turn" theorie of translation was put forward, many scholars believed that translation has stepped out of the limitations of the traditional linguistic school, entered the wave of cultural studies and stepped onto a broader research space. Translation studies increasingly involved more fields such as ideology, ethnicity, race, feminism and so on. For example, Basnett published The theory and practice of Postcolonial Translation in 1999. Nida, the head of the linguistics school, also began to pay attention to cultural issues in his works in the 1990s. Louise von Flotow published Translation and Gender: Translating in the 'Era of Feminism' (1997), and Spivak (G. C. Spivak) has made a discussion on translation, the politics of translation, feminism and post-colonialism. American scholar L. Venuti proposed some such as "foreignization" and "domestication" and so on. Venuti believes that works translated into English since the 17th century are basically "domesticating translation", while most English translations into other languages are "foreignizing translation", which actually reflects the inequality between cultures. As a result, he thinks the "foreignizing translation" should be taken when translating the world affairs into English, it is a wise cultural interference, which contribute to change the language hegemony of English countries and the unequal status of culture in the global exchanges. This is a rejection of ethnocentrism, racism, cultural narcissism and cultural imperialism, and is conducive to the promotion of democracy in global geopolitical relations. The above views can be regarded as either the influence or the continuation of the "Cultural Turn" in translation studies. (Wang 2009:50)

标题首字母注意大写~Brief Introduction: the Schools, Viewpoints and Development of Cultural Turn in Translation Studies--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:10, 13 December 2021 (UTC)

=== The causes of “Cultural Turn”in translation history ===
"Cultural Turn" has become a trend, not only because it breaks through the previous theory with its own advantages, but also because of the influence of cultural turn and other external factors. Therefore, it can be said that the trend of "Cultural Turn" is produced under the joint action of internal and external factors.

==== The internal causes ====
The internal drive of "Cultural Turn" mainly comes from some positive views of the cultural school. They strongly advocated the transfer of the focus of translation studies from the text itself to the cultural context outside the text, and oppose the view which considered translation as a simple language transformation. Therefore, they tried their best to change the subsidiary status of translation in literature and art, and actively promoted translation to become an independent discipline.(Xie 2014:45)

===== Self-development of translation studies =====
Before the 20th century, western translation theory had been regarded as the "subordination" of literature and art. In this context, translation was merely regarded as an art, emphasizing the reproduction of the original text by the target text. Translation was even considered as a branch of comparative literature. In 1921, the German scholar W. Benjamin pointed out in his book The Task of The Translator that "If the ultimate essence of translation is to strive for similarity to the original, then no translation is possible." This view actually shows that the pursuit of linguistic absolute "faith" is not feasible in theory and in practice. In other words, the study of translation should break away from the excessive concern about words and turn to a more far-reaching and broad level, namely the cultural level. In 1971, Holmes put forward his unique views on the Nature, scope and structure of translation as an independent research field in the book The Name and Nature of Translation Studies. Since then, Translation Studies began to transform into an independent discipline, and The Name and Nature of Translation Studies is regarded as the declaration of independence of Translation Studies.(Xie 2014:46)

===== The importance attached by cultural school to culture =====
"Cultural school", as its name implies, attaches importance to the role of culture in translation and emphasizes the constraints of culture on translation. The cultural school has played an important role in promoting translation as an independent discipline. From Holmes, the founder of the cultural school, to the leading figures Snell-Hornby, Andre Lefevere and Susan Bassnett, they all mentioned the importance of culture to language and translation in their monographs (Jin , Zhu 2011:31).

Basnett once said, " Translation studies is actually an independent discipline. It is neither a subsidiary discipline of comparative literature studies nor a certain area of linguistic studies, but an extremely rich field of study with numerous sub-disciplines of its own." Later, she emphasized again in her book Comparative Literature published in 1993 that " When comparative literature is debating for itself whether it can become an independent discipline, translation studies has boldly declared itself to be an independent discipline, and the influence and force of translation studies have been affirmed and supported worldwide (Bassnett 1993:160)."

In addition, Basnett's graphic description of culture and language expresses her emphasis on culture. She points out that "culture is like a human body, and language is the heart of the body. Only the interaction between the heart and the body can sustain human vitality. Therefore, when surgeons operate on the heart, they cannot ignore the whole body carrying the heart. This is why it is dangerous for translators to separate text from culture and treat it in isolation." (Bassnett 2004:22).

According to professor Zeng Wenxiong, the origin of the cultural school can be traced back to the rationalism of Descartes in the 17th century, even to the skepticism of Perot and the materialism and evolution of Darwin, "These skeptical and survival of the fittest concepts subvert god and all the social and ethical structures that people take for granted, and then develop deconstructivism, post-colonialism and feminism that contain rebellion and independence."(Zeng 2006:64)

In short, the cultural school’s emphasis on culture is also reflected in its translation theory, the cultural school believes that "faithful" translation is impossible, so it pursues the cultural equivalence between the source text and the target text, that is, the equivalence of cultural functions. The research question has changed from how to be faithful to the source text to the causes and results of the target text's failure to be faithful to the source text. Translation should not be limited to the description of the source text, but pay attention to the functional equivalence of the text in the target language culture. Translation is to meet the needs of culture and the needs of different groups in a certain culture. Obviously, the development of cultural studies and the establishment of the cultural school have greatly promoted the consideration of cultural factors in various fields. In the field of translation, cultural studies and the cultural school have improved the cultural awareness of scholars, which has become a key factor for the rise of the "Cultural Turn". Thus, translation finally became an independent subject with its own characteristics under the strong advocacy of the cultural school, and laid a foundation for the rise of "Cultural Turn" in translation studies.(Zhu 2017:87)

==== The external causes ====
The development of translation studies and the influence of the cultural school promoted the birth of "Cultural Turn" theorie. At the same time, the limitation of linguistic school, the prevalence of cultural studies, the emergence of the theory of multiple systems and of deconstructivisme sped up the process of "Cultural Turn" in translation studies.(Wu 2009:104)

===== Limitations of the linguistic school =====
The linguistic school represented by Nida, Newmark and Catford have reached a "dead end" in translation studies at the end of the 20th century. Translation studies under the linguistic paradigm took structuralist linguistics and transformational generative grammar as theoretical frameworks, they paid attention to the correspondence between the original text and the translated words in the process of translation. Although such correspondence seems to be very scientific, it ignored many factors behind the words. Therefore, the study of linguistic school was considered by some scholars to be too standardized. However, for literary texts, the simple study of words and sentences can not reflect the relationship between the original text and the target text well to some extent, because literary texts contain more and more complex cultural factors behind the language. This translation equivalence theory takes the text itself as the object of translation, "it reduces the aesthetic problem to the logical problem, and ignores the descriptive study of the important factors such as the culture of the target language, the purpose and motivation of translation", which is too standardized. Therefore, the disadvantages of translation studies of the linguistic school became increasingly prominent and were gradually criticized by many scholars (Ran , Li 2012:4).

Andre Lefevere and Susan Bassnett criticized the linguistic school in the book Constructing Cultures: Essays on Literary Translation, "The success of machine translation makes people believe that the linguistic method of translation is an effective method... At the same time, they (linguists) said that their translation methods are not applicable to literary translation because literary translation is very special. Isn't literature written in language? Is the language of literature really so different from the language of translators?".It can be seen from the above citation that the theories of the linguistics school have been difficult to explain many problems and phenomena in the process of translation, which has been questioned by some experts and scholars. This provides the possibility for the emergence of a new paradigm in translation studies called "Cultural Turn". (Yang 2010:101).

===== The prevalence of cultural studies =====
Cultural studies originated in the United Kingdom in the 1950s, followed by a wave of cultural studies in Canada, Australia, the United States and China. Since the 1970s and 1980s, cultural studies have entered a period of interdisciplinary and diversified development. Sociology, literary theory, media studies, film and anthropology have all become the objects of cultural studies.The gradual rise of cultural studies made many scholars turn their attention to the discussion of cultural issues in translation studies, and analyzed the deeper cultural communication implied by language. Therefore, they no longer focused on the careful choice of words in the process of translation, but from the macro level to explore more profound cultural causes, thus contributing to the upsurge of "Cultural Turn" in translation studies. (Wang, 2005:34).

===== Inspiration of the Polysystem theory =====
The Polysystem theory was first proposed by the Israeli scholar Even-Zohar in the 1970s. He borrowed from Russian formalists who worked in literary historiography that literary works were not independent objects but should be regarded as part of the whole literary system. Before that, people's research on translation was static, while the Polysystem theory links translated works with social, historical and cultural factors. He believed that a polysystem system is composed of several subsystems, in which some subsystems are located at the center and others at the edge. Their positions and status are not fixed, but they compete with each other for a central position in the system. In addition, there are also interrelated and interactive relations between them. Therefore, as a member of many subsystems, translatology and other subsystems must be involved and influenced each other. Zohar mentioned that the culture of a country or a place may have advantage or disadvantage when compared to another culture in different periods. In different situation, translators in a country or a place will choose different translation strategies. If this situation changes, the translator's choice of translation strategies will also change, which forms a dynamic translation study. Therefore, Even-Zohar's polysystem theory makes people no longer look at translation and text in isolation, but combine multiple subsystems such as culture, society, politics and economy to look at the translation process from a broader perspective, and promote the emergence of cultural turn in translation. As student of Zohar, Toury offered new ideas as well as inherited his views. Then Toury put forward translation norms to judge the acceptability of texts by placing them within the target cultural system. These norms are certain social and cultural restrictions on culture, society and times, and people need to be educated and socialized to obtain them. It can be seen that Toury's theory is also based on social and cultural aspects. He believed that translation should be examined from the perspective of target language culture, "Translation is always limited by different social and literary background factors, so it has no fixed characteristics, and translation becomes a relative name relying on historical and cultural forces".(Gentzler 1993:129)

It can be said that their views provided the initial inspiration and theoretical basis for the theory of "Cultural Turn". The view of culture in polysystem theory has inspired the scholars of cultural school and finally led the translation studies to the rad of "Cultural Turn". Zhang Nanfeng once discussed in his article the positive effect of the polysystem theory on "Cultural Turn", he pointed out: "The polysystem theory has opened up a new approach to translation studies that is descriptive, systematic-oriented, functionalist and systematic. It has promoted the cultural turn of translation studies and spawned a cross-border school of translation studies." (Feng,Liu 2008:48)

===== The infiltration of deconstructive thought =====
Destructuralism, also known as post-structuralism, is a trend of thought established in the process of criticizing structuralism, and its main representative is Jacques Derrida. The philosopher Jacques Derrida, while criticizing structuralism, innovatively proposed the "deconstructive" theory, which has a profound influence on translation theory, cultural theory and literary criticism theory. Deconstructivists represented by Derrida denied the idea that language has ultimate meaning held by the language school, and believed that language words contain multiple meanings, so the meaning of the text formed by language words should be multiple. In addition, he also believed that the author is not the only creator of the text, which undoubtedly played an important role in enhancing the status of the translation and the subjectivity of the translator. Benjamin abandoned the traditional translation studies that only focused on the semantic meaning of the original text and the deconstruction of language. He believed that articles could survive only through translation, and that traditional translation could only be achieved in the environment of "pure language". If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. In short, many views of deconstructivisme have a strong role in inspiring and promoting "Cultural Turn". In addition, deconstructive translation thought puts more emphasis on many other factors that affect the text, such as ideology. The pluralism of meaning and pluralism of interpretation advocated by deconstructivisme theory enlighten the cultural schools, leading them to think about the relationship between source text and target text from a more macroscopic and completely different perspective, subverting the traditional view of translation. As Professor Wang Ning said, "Deconstructivisme plays an important role in promoting the cultural turn in contemporary translation studies" (Wang 2009:127).

=== The influences of “Cultural Turn” under the background of globalization ===
Any kind of theory has its advantages and limitations, so when looking at "Cultural Turn", it is the right choice to maintain rational mind and critical thinking and treat it objectively and dialectically.

==== The positives effects ====
The "Cultural Turn" theorie of translation studies raised the paradigm of translation studies from the pure language level to the broader cultural level, made the translation experts and scholars begin to consider power, poetics and the target language culture, the translator and the reader, and many other factors on translation institute, which broadened the field of translation study so that translation was no longer in vacuum environment.(Wu 2009：104)

The influence of cultural school on translation studies is mainly reflected in the political characteristics of its theories, such as post-colonial translation studies, feminist translation studies and cannibalism translation studies derived from historical events. Among them, a scholar of feminist translation Simon expressed her praise for “Cultural Turn”, pointing out that it is the most exciting progress in translation studies, because it means that translation studies have added an important dimension, which enables us to understand the organic connection between translation and other ways of communication. It regards translation as a writing practice that runs through all the strains of cultural expression.(Zeng 2006:92)

Looking at China, there are many experts and scholars who have a positive attitude towards the "Cultural Turn", such as Xie Tianzhen, Ran Shiyang, Feng Yawu and so on. Among them, Feng Yawu and Liu Quanfu clearly expressed their support for "Cultural Turn" in their articles "Cultural Turn" and "Cultural Translation Paradigm": "Cultural turn has awakened the cultural consciousness of translation researchers, greatly broadened their horizons, expanded the scope of translation studies, and added a new dimension of history and culture to the study of translators". Cultural turn has exerted an important influence on translation studies in China, which is enlightening and thought-provoking. Liu Xiaoqian once pointed out in her article that the cultural turn in translation studies has brought unprecedented opportunities to Translation studies in China. However, China is still a "weak country" in the field of translation studies.(Zeng 2006:92)

In terms of translation practice, there are more target works than source works. In translation theory, there are few influential theories and works created, and most of modern and contemporary theories are "taken" from foreign countries. Moreover, the cultural turn is characterized by interdisciplinary research, which warns Chinese translation researchers to have a higher level and constantly improve themselves. Therefore, translators in China should actively promote the "going out" of Chinese culture and contribute to the development of translation studies in China by taking advantage of the wind of "cultural turn" that has not yet disappeared. There is no doubt that the "Cultural Turn" of translation studies is of positive significance to the development of Translation studies in China.It has broken the shackles of translation studies within the linguistic system, shifted its focus from the microscopic linguistic transformation to the macroscopic cultural one, provided a new dimension for translation studies, and promoted the transformation of translation studies from "normative studies" to "descriptive studies" under the linguistic framework. Thus it provides a development platform for translation studies, broadening the horizon of translation studies, and lays the foundation for translation studies as an independent discipline. However, it should be emphasized that "Cultural Turn" is only a research perspective in multiple translation studies, and has its advantages and disadvantages like other paradigms.(Zeng 2005:70)

==== The negative effects ====
With the expansion of the research scope and the deepening of the research content, many problems have been exposed in translation studies under the "Cultural Turn", which has aroused the extensive thinking of domestic scholars. Although the cultural school broke through the shackle of the linguistic school and innovatively put forward the "Cultural Turn", the cultural school did not critically inherit and develop the theories and methods of the linguistic school, but blindly negated, subverted, disintegrated and abandoned them completely. In the view of the cultural school, translation studies before cultural translation lack the macroscopic theoretical guidance and cannot see into the functions and effects of translation. Only by combining culture with translation studies can the true meaning of cultural functions be obtained, thus forming a theoretical system guiding translation practice.(Zhang 2008:23)

Therefore, the extreme practice that his focus completely deviates from the text itself and shifts to the macro context has been criticized by later generations. In addition, because the cultural school advocates the study of translation in the context of society, history, language environment and culture, emphasizing the restriction of culture on translation, and attaches importance to the connection and combination between translation and linguistics, translation and literature, translation and poetics. As a result, some experts and scholars have raised doubts about the "cultural turn" at this point. In China, such as Zeng Wenxiong, Zhao Yanchun and so on all hold a negative attitude to the "cultural turn". Zhao Yanchun (2004) once pointed out that "the culture school emphasizes the restrictive function of cultural factors such as power relations, sponsors, ideology, mainstream poetics and others on translation, and try to deny the traditional research on translation within the text. Therefore, they exaggerate the restrictive function of culture, and it is impossible to summarize the rules for predicting translation phenomena and processes".(Hu 2011:7-8)

Its all-embracing openness makes the disciplinary boundaries of translation studies blurred. According to Zeng Wenxiong, the "cultural turn" has limited the scope of translation studies, narrowed the research field, blurred the disciplinary boundaries of translation studies, separated from the fundamental of translation-language, exaggerated the influence of factors other than text, and thus made it difficult to discover the fundamental laws of translation. However, the foundation of translation studies is language and text, and the excessive emphasis on external factors without language studies will undoubtedly push translation studies into a dangerous situation by infinitely amplifying the role of external factors in the translation process. Since its birth, Chinese translation activities have been accompanied by the introduction and absorption of foreign cultures. For example, the large-scale introduction and absorption of Western learning in the late Qing Dynasty, the New Chinese literature constructed under the influence of translated literature in the May Fourth Movement period and so on.(Sun 2008:10-11)

While absorbing foreign cultures, we should not ignore the "localization" of culture. The same is true of the cultural turn in translation studies. Wang Ning, in his book The Cultural Turn of Translation Studies, also put forward such a point of view: it is worth noting that the cultural school of translation studies is based on comparative literature and studies translation phenomena from the perspective of western studies. The great difference between culture and language reminds us that we should not ignore the actual situation of the construction of traditional translation studies and theories in China while drawing lessons from western translation theories and research achievements. In this regard, from the perspective of discipline construction, many domestic scholars have proposed that translation studies under the cultural turn should not ignore the study of translation ontology, and that translation studies should return to the study of translation ontology and adhere to the standard characteristics of translation discipline.(Wang 2003:90)

=== Conclusion ===
Due to the development of translation itself, the influence of the polysystem theory, the cultural school, deconstructivisme and other theories, the "Cultural Turn" emerged in the 1990s, breaking the model of translation studies that had lasted for thousands of years, breaking out of the rigid language level and placing translation in the dynamic history, culture and society. It has explained many translation phenomena that cannot be explained by the traditional school of linguistics. It not only adapts to the development of the times, but also is the inevitable way out of translation studies. Cultural turn is not only the inexorable trend of translation activities, but also promotes the diversified development of translation studies. With the development of global integration, translation culture turns to be closely combined with social, political, economic and other factors. Under the influence of this development trend, culture is bound to develop in the exchange and cooperation between countries, which is an inevitable tendency of translation studies.(Hu 2005:10)

Nowadays, translation plays an increasingly prominent role in cross-cultural communication as the field of international communication continues to expand. Translation should take the initiative to maintain the historical mission of linguistic diversity and cultural diversity, balance the subject culture and foreign culture, and keep the two cultures in a relatively reasonable range. But the problem lies in the lack of theoretical guidance in concrete practice, wo can only judge according to experience. The subject of translation is affected by many factors, so it is impossible to completely jump out of the subject culture, and the development of translation study is dynamic, with the development of translation theory and the development of The Times, many factors such as translation view and translation stand are constantly changing. Therefore, with the development of the times, we should study the problem dynamically and sum up the guiding ideology constantly, so as to achieve a balance between the subject culture and foreign culture. In the context of globalization, people should pay attention to the relationship between their own culture and foreign culture, and translators, as communicators of cultural exchange, should balance the relationship between the two. Only by treating the externalization objectively, taking its essence and discarding its dregs, making it mutually available with the national culture, innovating the national culture and enhancing the vitality of the national culture, can the Chinese culture endure long and have a long history.

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture［C］．London ＆ New York: Pinter Publishers．

Bassnett，S．(2001). The Translation Turn in Cultural Studies［A］．in Bassnett ＆ Lefevere( ed)，Constructing Cultures Essays on Literary Translation［C］．Shanghai: Shanghai Foreign Language Education Press，2001．

Feng Yawu, Liu Quanfu 冯亚武，刘全福 (2008). “文化转向”与文化翻译范式[J] "Cultural turn" and cultural translation paradigm.西安外国语大学学报 Journal of Xi'an Foreign Studies University，4:48.

Hu Mu 胡牧 (2011). 翻译研究:回归现实世界-对“文化转向”的再思考[J] Translation studies: returning to the real world -- Rethinking the "cultural turn".中国翻译 Chinese Translators Journal, 5:5-10.

Lefevere, A. (1992). Translation, Rewriting, and the Manipulation of Literary Fame [M]. London and New York: Routledge, 26-27.

Peng Ping 彭萍 (2016). 当代西方翻译研究的“文化转向”和“社会转向”综述[J] A summary of "cultural turn" and "social turn" in Contemporary Western Translation Studies.江西师范大学学报(哲学社会科版,2016(3) Journal of Jiangxi Normal University (Philosophy and social sciences edition), 3:141-142.

Sun Yifeng 孙艺风 (2008). 文化翻译与全球本土化[J] Cultural translation and global localization.中国翻译 Chinese Translators Journal, 1:5-11.

Tan Zaixi 谭载喜 (2004). 西方翻译简史[M] 西方翻译简史 A brief history of Western Translation.北京：商务印书馆 Beijing:The Commercial Press.

Wang Ning 王宁 (2003). 全球化、文化研究和文学研究[M] Globalization, cultural studies and Literary Studies.桂林:广西师范大学出版社 Guilin: Guangxi Normal University Press.

Wang Ning 王宁 (2005). 翻译的文化建构和文化研究的翻译学转向[J] The cultural construction of translation and the translatological turn of Cultural Studies.中国翻译 Chinese Translators Journal, 6:16.

Wang Ning 王宁 (2009). 翻译研究的文化转向[M] The Cultural Turn in translation studies.北京：清华大学出版社 Beijing: Tsinghua University publishing house.

Wu Xiaojun 伍小君 (2009). 翻译研究中的文化转向:批判与反思[J] Cultural turn in translation studies: Criticism and reflection. 外语学刊 Foreign language journal, 4:103-105.

Xie Tianzheng 谢天振 (2009)．中西翻译简史［M］A brief history of Chinese and Western Translation．北京:外语教学与研究出版社 Beijing: foreign language teaching and Research Press.

Xie Tianzhen 谢天振 (2014). 正确理解“文化转向”的实质[J] Correctly understand the essence of "cultural turn". 外国语 foreign language, 5:45-46.

Zeng Wenxiong 曾文雄 (2006).对翻译研究“文化转向”的反思[J] Reflections on the "cultural turn" in Translation Studies.外语研究 Foreign Language Studies 3:62-66.

Zhu Huichao 朱慧超 (2017). 简析翻译学中的文化转向[J] A brief analysis of the cultural turn in Translation Studies. 文化学研究 Cultural Studies, 9:86-88.

Written by --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:59, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T13:09:21Z

Li Aixuan: /* Domestication and Foreignization */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works.

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. This two translation strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===

Bassnett, Susan & Andre Lefevere. Constructing Cultures [C].Shanghai: Shanghai Foreign Language Education Press, 1998/2001

Gentzler, Edwin. Contemporary Translation Theories [M]. London and NewYork: Routledge, 1993.

Jiang Qiuxia 姜秋霞.文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press,2009.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮.影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,2017(06):64-66.

Munday, Jeremy. Introducing Translation Studies: Theories and applications [M]. London: Routledge, 2001.

Sun Zhili 孙致礼.中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,2002(1).

Sun Zhili 孙致礼.新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press, 2003.

Wang Sisi 王思思.从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),2014,41(S1):107-109.

Wang Ning 王宁.翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press,2009

Zhou Tiantian 周甜甜.纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,2020(42):76-77.

Zhang Jing, Li Shuliang张静, 李树春.“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College, 2006, (4).

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T13:06:33Z

Li Aixuan: /* Study Methods */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works. (Liu 2017:67)

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The use of the two translation strategies is not independent. The two strategies can achieve effective combination and appropriate re-creation of the source language content, to transform cultural images, make up for cultural gaps and achieve the purpose of cultural transmission. (Liu 2017:67)

In the play, Wen Shichu quoted this ancient poems to express his love to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The two strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:29, 13 December 2021 (UTC)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===

Bassnett, Susan & Andre Lefevere. Constructing Cultures [C].Shanghai: Shanghai Foreign Language Education Press, 1998/2001

Gentzler, Edwin. Contemporary Translation Theories [M]. London and NewYork: Routledge, 1993.

Jiang Qiuxia 姜秋霞.文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press,2009.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮.影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,2017(06):64-66.

Munday, Jeremy. Introducing Translation Studies: Theories and applications [M]. London: Routledge, 2001.

Sun Zhili 孙致礼.中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,2002(1).

Sun Zhili 孙致礼.新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press, 2003.

Wang Sisi 王思思.从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),2014,41(S1):107-109.

Wang Ning 王宁.翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press,2009

Zhou Tiantian 周甜甜.纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,2020(42):76-77.

Zhang Jing, Li Shuliang张静, 李树春.“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College, 2006, (4).

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 1

2021-12-13T13:03:38Z

Li Aixuan: /* Background of Cultural Turn */

=Chapter 1 ：An analysis of the causes and influences of "cultural turn" in translation history =
'''浅析翻译研究历史中“文化转向”的原因和影响'''

金晓童 Jin Xiao, Hunan Normal University, China

[[Cult_Turn_EN_1]]
=== Abstract ===
The Culture Turn theorie of translation studies was initially put forword by Bassnett Susan and Andre Lefevre in 1990 in the book Translation, History and Culture: A Source book in which they affirmed that translation is not the simple transform between two languages, it goses in special cultural environment. Since then, the history of translation as a simple tool for the conversion of languages is fading away and gradually transformed into a carrier of culture. There is no doubt that there are differences among different cultures. As a “bridge”, translation plays an intermediary role in the communication between different cultures. However, in the context of globalization becoming the mainstream, the most important problem for translation in the face of cultural differences is how to deal with different cultures. Therefore, this paper aims to explore the causes of cultural turn, seek the positive and negative effects of cultural turn, and further elaborate on the enlightenment of cultural turn to all countries, especially to China, from the perspective of globalization.

''Translation, History and Culture''--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:49, 13 December 2021 (UTC)

=== Key Words ===
Culture Turn, causes, positives and negative effects, enlightenment

=== 摘要 ===
翻译研究的文化转向理论最早是由苏姗·巴斯奈特和安德烈·勒菲弗尔于1990年在《翻译、历史与文化论集》一书中提出的，他们认为翻译不是简单的两种语言之间的转换，而是在特殊的文化环境中进行的。自此，翻译单纯作为语言之间的转换工具的历史正在消逝，逐渐转变成为一种文化的载体。毋庸置疑，不同民族的文化之间具有差异性，翻译作为一座“桥梁”，起着不同文化交流的中介作用。而在全球化成为主流的大环境下，翻译在面对不同文化的差异时，最需要解决的问题就是如何对待不同的文化。因此本文旨在探究文化转向的原因，以寻求文化转向产生的积极影响和消极影响，并进一步阐述在全球化视角下文化转向给各国特别是中国所带来的启示。

=== 关键词 ===
文化转向，原因，积极和消极影响，启示

=== Title ===
An analysis of the causes and enlightenments of "cultural turn" in translation history from the perspective of globalization

=== Introduction ===
As a messenger of culture communication, translation plays an irreplaceable role in the process of spreading a country's culture. In human history, translation is an activity of exchange and interaction between different cultures, and culture is closely related to translation. Since the second half of the 20th century, contemporary western translation theory has undergone two turns, namely linguistic turn and cultural turn. Cultural turn makes translation studies no longer regard translation as an isolated fragment between language transformations, but examine translation in a grand cultural context. (Xie 2009:223)

"Fidelity" is no longer the only goal translators pursue in translation, and the cultural differences between source language and target language are the focus of translators' attention. In recent years, Cultural Turn in translation studies has gradually become the focus of attention of translation researchers and cultural researchers, and more and more people pay more attention to the role of culture in translation. In the context of globalization, international exchanges are becoming more frequent and cultural exchanges among countries are gradually increasing. Cultural factors are also playing an increasingly important role in the development of translation studies. "Cultural Turn" adds a new dimension to translation studies and provides a research horizon. But at the same time, we should fully recognize the challenges posed by its limitations to the development of translation studies in the future. (Tan 2004:128)

This paper is divided into three chapters: The first chapter briefly introduces what the "Cultural Turn" theory is; The second chapter primarily analyzes the internal and external causes of "Cultural Turn" in translation history from the internal necessity of translation itself and the external thrust of social influence. The third chapter mainly explores the positive and negative influences of the theory of cultural turn, and expounds the enlightenment brought by these influences under the background of globalization, that is, we should dialectically treat the Cultural Turn in translation, not lose the native culture in the mutual learning of cultures, and actively spread the native culture to promote the common progress of culture.

=== Literature review ===
==== Background of Cultural Turn ====
As a concept, culture first appeared in the Middle Ages of Europe and it becomes an eternal theme in the development of human beings, because culture involves all aspects of human life. However, as a discipline to study and form a systematic "cultural study" began in the 1950s. In fact, the rise and development of post-colonialism, feminism and the emergence and rapid spread of the Internet have made cultural studies necessary. In 1957, Hoggart published The Uses of Literacy, and Williams published Culture and Society 1780 － 1950 in 1958.Moreover, in 1964 The Centre for Contemporary Cultural Studies (CCCS) was founded at the University of Birmingham. All these marked the beginning of cultural studies. Since the early 1980s, "cultural studies" has been developed rapidly in many countries, and its research scope has also been expanded, showing a multi-disciplinary development trend. The study of Western culture has gone through more than half a century，Easthope classified the study of Western culture into three stages: (1)in the 1960s，we were devoted to expanding the concept of culture and making it cover mass culture, which was called the "Culturalist Phase"; (2)in the 1970s，we paid attention to the exploration of textualism and hegemonism, which was called the "Structuralist Phase"; (3) the "post-structuralist Phase" was characterized by the establishment of cultural pluralism. It can be seen that "cultural studies" is a kind of interdisciplinary and cross-field research with a very broad content. Therefore, the "cultural turn" proposed by Basnett appeared in the 1990s. In fact, with the rise of "cultural studies", translation as a cultural activity is inevitable and has been combined with cultural studies, the real "cultural turn" in translation studies began much earlier than the 1990s. (Wang 2009:50-51)

However, as a systematic discipline, "cultural study" began in the 1950s.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:03, 13 December 2021 (UTC)

With the development of translation studies in China, culture has gradually received attention. There are some translation theories and opinions scattered in Chinese Buddhist scriptures during the Han and Tang dynasties. Later, Lin Yutang, although Yan Fu and Zhao Yuanren have not made a systematic exposition of cultural translation, their views on translation studies are also consistent with cultural translation theory. In the contemporary time, Liu Shan is the first person to study the relationship between translation and culture as the subject. He pointed out that the accuracy and fidelity of translation depends on the reproduction of thoughts and culture reflected in another language, and stated the fact that the society at that time required translators to expand their cultural horizon. Moreover, Wang Zuoliang also realized the mutual influence between translation and culture, he emphasized that translators must understand both their own national culture and foreign culture. In the 1990s, the Cultural Turn theorie was introduced into China, and more domestic scholars stepped into the wave of cultural research. For example, Wang Bingqin's Cultural Translation studies is regarded as the beginning of China's cultural translation research, and this book laid an important foundation for the subsequent research. Liu Miqing's work of the same period, Outline of Cultural Translation, also exerted a profound influence on later studies. Yang Shizhang (2001) demonstrated in detail the interactive relationship between translation and culture from two aspects of the role of translation in cultural development and the promotion and restriction of culture on translation. Xu Jun (2002) pointed out that there were problems in Chinese translation studies, such as stressing technology over meaning, language over culture, etc. So he proposed to promote the establishment of cultural translation view. These scholars' active discussion on the relationship between translation and culture and its extension undoubtedly laid a solid foundation for the subsequent translation studies from the cultural perspective. In recent years, although it has been widely acknowledged that the western cultural turn is of great significance to translation studies, the theory of cultural turn tends to be far away from ontological studies, so that some scholars call for translation studies to return to ontology. The debate on cultural turn in translation studies has aroused the constant thinking and exploration of domestic scholars. (Peng 2016:141-142)

Throughout the western and Chinese translation studies, it can be found that the theories and practices related to cultural translation in foreign countries have a long history, starting from the 1960s to the early 1970s. Until the 1980s, the relevant research theory content gradually enriched. In the 1990s, because of the “Cultural Turn” theorie, western researchers paid more attention to cultural and social contexts in translation studies. Cultural consciousness in western translation studies has been more complete. The research on cultural translation in China began in the 1980s. Although it was a little later than that in western world, it caught up with the pace very fast, so that cultural translation has rapidly become an important part of the field of translation studies in China. Since the 1990s, some researchers did systematical research on cultural translation studies. However, although the theory is not that well developed, the achievements of domestic cultural translation studies are still improving. (Peng 2016:141-142)

==== Brief introduction: the schools, viewpoints and development of Cultural Turn in translation studies ====
The Cultural Turn in translation studies, advocated and developed by the cultural school, began in the late 1980s. It studies the cultural origin of translation and explores the political, economic, social, ideological and other cultural backgrounds of translation, which is closely related to the rise and prosperity of culturology. Looking back on the history, after the 1970s, under the influence of the booming trend of deconstruction, translation studies developed in the direction of diversification. Even Zohar, an Israeli scholor, proposed Polysystem Theory, which places translated literature at the historical and social levels of the target culture and breaks away from the static study of texts. Later, Toury proposed Descriptive Translation Studies and norms of translation behavior, adding cultural Studies to Translation Studies further. The multiple systems school represented by Even Zohar and Toury is regarded as the prelude to the rise of the cultural school, and their theories are regarded as the germination of the cultural turn in Western translation. (Pan 2002:24)

In Description of translation and others (1995), Toury described the function of translation, translation products and the relationship between the translation process, he thinks that function of translation decided the form of translation products, which determines the translation strategies. At the same time, the culture of the target language has an important influence on translation products and activities. In a word, the target language culture itself determines the function, form and strategy of translation. Then came the school of purpose, manipulation and deconstruction. In 1990, two major figures in translation studies: Susan Bassnett, a British scholar in comparative literature and translation studies, and Andre Lefevere, an American scholar in comparative literature and translation studies, explicitly proposed the "Cultural Turn" theorie in translation studies in the book Translation, History and Culture. In the following years, they published some influential papers and books on the "cultural turn" in translation studies. (Pan 2002:24)

In 1992, Lefevere published three books on translation studies: Translation, rewriting and the manipulation of literary fame, Translation, History and Culture: A Source book and, Translating literature: practice and theory in a comparative literature context. Among these books, Translation, rewriting and the manipulation of literary fame can be viewed as the representative work of Lefevere. In this book, he proposed the concept of "manipulation", believing that translation is rewriting, and that the mainstream ideology, poetics, patrons and other factors restrict or control translation activities. Then the cultural or manipulative school of translation studies was born. In 1994, Basnett edited Cross-cultural Communication: The Warrick Papers on Translation Studies. She pointed out that translation is a complex activity which involves questions such as how to choose the text to be translated, role of the translator in the selected text, roles of editors, publishers, or sponsor, what strategies the translator will take according to different criteria, how the text in the target system to be able to accept.。In 1998, after Lefebvre's death, the last book they wrote together, Constructing Cultures: Essays on Literary Translation, was published. These subsequent publications further expanded the influence of the translation cultural school, which gradually replaced the traditional linguistic school and became the mainstream school of translation studies today. (Lefevere 1992:26-27)

Of course, the above is only a review of the viewpoints of the representative figures and literary schools of "Cultural Turn". In fact, since the 1980s, "Cultural Turn" has become a fact, which also includes the development of "post-modern" translation theories such as deconstruction, feminism and post-colonialism. After the "Cultural Turn" theorie of translation was put forward, many scholars believed that translation has stepped out of the limitations of the traditional linguistic school, entered the wave of cultural studies and stepped onto a broader research space. Translation studies increasingly involved more fields such as ideology, ethnicity, race, feminism and so on. For example, Basnett published The theory and practice of Postcolonial Translation in 1999. Nida, the head of the linguistics school, also began to pay attention to cultural issues in his works in the 1990s. Louise von Flotow published Translation and Gender: Translating in the 'Era of Feminism' (1997), and Spivak (G. C. Spivak) has made a discussion on translation, the politics of translation, feminism and post-colonialism. American scholar L. Venuti proposed some such as "foreignization" and "domestication" and so on. Venuti believes that works translated into English since the 17th century are basically "domesticating translation", while most English translations into other languages are "foreignizing translation", which actually reflects the inequality between cultures. As a result, he thinks the "foreignizing translation" should be taken when translating the world affairs into English, it is a wise cultural interference, which contribute to change the language hegemony of English countries and the unequal status of culture in the global exchanges. This is a rejection of ethnocentrism, racism, cultural narcissism and cultural imperialism, and is conducive to the promotion of democracy in global geopolitical relations. The above views can be regarded as either the influence or the continuation of the "Cultural Turn" in translation studies. (Wang 2009:50)

=== The causes of “Cultural Turn”in translation history ===
"Cultural Turn" has become a trend, not only because it breaks through the previous theory with its own advantages, but also because of the influence of cultural turn and other external factors. Therefore, it can be said that the trend of "Cultural Turn" is produced under the joint action of internal and external factors.

==== The internal causes ====
The internal drive of "Cultural Turn" mainly comes from some positive views of the cultural school. They strongly advocated the transfer of the focus of translation studies from the text itself to the cultural context outside the text, and oppose the view which considered translation as a simple language transformation. Therefore, they tried their best to change the subsidiary status of translation in literature and art, and actively promoted translation to become an independent discipline.(Xie 2014:45)

===== Self-development of translation studies =====
Before the 20th century, western translation theory had been regarded as the "subordination" of literature and art. In this context, translation was merely regarded as an art, emphasizing the reproduction of the original text by the target text. Translation was even considered as a branch of comparative literature. In 1921, the German scholar W. Benjamin pointed out in his book The Task of The Translator that "If the ultimate essence of translation is to strive for similarity to the original, then no translation is possible." This view actually shows that the pursuit of linguistic absolute "faith" is not feasible in theory and in practice. In other words, the study of translation should break away from the excessive concern about words and turn to a more far-reaching and broad level, namely the cultural level. In 1971, Holmes put forward his unique views on the Nature, scope and structure of translation as an independent research field in the book The Name and Nature of Translation Studies. Since then, Translation Studies began to transform into an independent discipline, and The Name and Nature of Translation Studies is regarded as the declaration of independence of Translation Studies.(Xie 2014:46)

===== The importance attached by cultural school to culture =====
"Cultural school", as its name implies, attaches importance to the role of culture in translation and emphasizes the constraints of culture on translation. The cultural school has played an important role in promoting translation as an independent discipline. From Holmes, the founder of the cultural school, to the leading figures Snell-Hornby, Andre Lefevere and Susan Bassnett, they all mentioned the importance of culture to language and translation in their monographs (Jin , Zhu 2011:31).

Basnett once said, " Translation studies is actually an independent discipline. It is neither a subsidiary discipline of comparative literature studies nor a certain area of linguistic studies, but an extremely rich field of study with numerous sub-disciplines of its own." Later, she emphasized again in her book Comparative Literature published in 1993 that " When comparative literature is debating for itself whether it can become an independent discipline, translation studies has boldly declared itself to be an independent discipline, and the influence and force of translation studies have been affirmed and supported worldwide (Bassnett 1993:160)."

In addition, Basnett's graphic description of culture and language expresses her emphasis on culture. She points out that "culture is like a human body, and language is the heart of the body. Only the interaction between the heart and the body can sustain human vitality. Therefore, when surgeons operate on the heart, they cannot ignore the whole body carrying the heart. This is why it is dangerous for translators to separate text from culture and treat it in isolation." (Bassnett 2004:22).

According to professor Zeng Wenxiong, the origin of the cultural school can be traced back to the rationalism of Descartes in the 17th century, even to the skepticism of Perot and the materialism and evolution of Darwin, "These skeptical and survival of the fittest concepts subvert god and all the social and ethical structures that people take for granted, and then develop deconstructivism, post-colonialism and feminism that contain rebellion and independence."(Zeng 2006:64)

In short, the cultural school’s emphasis on culture is also reflected in its translation theory, the cultural school believes that "faithful" translation is impossible, so it pursues the cultural equivalence between the source text and the target text, that is, the equivalence of cultural functions. The research question has changed from how to be faithful to the source text to the causes and results of the target text's failure to be faithful to the source text. Translation should not be limited to the description of the source text, but pay attention to the functional equivalence of the text in the target language culture. Translation is to meet the needs of culture and the needs of different groups in a certain culture. Obviously, the development of cultural studies and the establishment of the cultural school have greatly promoted the consideration of cultural factors in various fields. In the field of translation, cultural studies and the cultural school have improved the cultural awareness of scholars, which has become a key factor for the rise of the "Cultural Turn". Thus, translation finally became an independent subject with its own characteristics under the strong advocacy of the cultural school, and laid a foundation for the rise of "Cultural Turn" in translation studies.(Zhu 2017:87)

==== The external causes ====
The development of translation studies and the influence of the cultural school promoted the birth of "Cultural Turn" theorie. At the same time, the limitation of linguistic school, the prevalence of cultural studies, the emergence of the theory of multiple systems and of deconstructivisme sped up the process of "Cultural Turn" in translation studies.(Wu 2009:104)

===== Limitations of the linguistic school =====
The linguistic school represented by Nida, Newmark and Catford have reached a "dead end" in translation studies at the end of the 20th century. Translation studies under the linguistic paradigm took structuralist linguistics and transformational generative grammar as theoretical frameworks, they paid attention to the correspondence between the original text and the translated words in the process of translation. Although such correspondence seems to be very scientific, it ignored many factors behind the words. Therefore, the study of linguistic school was considered by some scholars to be too standardized. However, for literary texts, the simple study of words and sentences can not reflect the relationship between the original text and the target text well to some extent, because literary texts contain more and more complex cultural factors behind the language. This translation equivalence theory takes the text itself as the object of translation, "it reduces the aesthetic problem to the logical problem, and ignores the descriptive study of the important factors such as the culture of the target language, the purpose and motivation of translation", which is too standardized. Therefore, the disadvantages of translation studies of the linguistic school became increasingly prominent and were gradually criticized by many scholars (Ran , Li 2012:4).

Andre Lefevere and Susan Bassnett criticized the linguistic school in the book Constructing Cultures: Essays on Literary Translation, "The success of machine translation makes people believe that the linguistic method of translation is an effective method... At the same time, they (linguists) said that their translation methods are not applicable to literary translation because literary translation is very special. Isn't literature written in language? Is the language of literature really so different from the language of translators?".It can be seen from the above citation that the theories of the linguistics school have been difficult to explain many problems and phenomena in the process of translation, which has been questioned by some experts and scholars. This provides the possibility for the emergence of a new paradigm in translation studies called "Cultural Turn". (Yang 2010:101).

===== The prevalence of cultural studies =====
Cultural studies originated in the United Kingdom in the 1950s, followed by a wave of cultural studies in Canada, Australia, the United States and China. Since the 1970s and 1980s, cultural studies have entered a period of interdisciplinary and diversified development. Sociology, literary theory, media studies, film and anthropology have all become the objects of cultural studies.The gradual rise of cultural studies made many scholars turn their attention to the discussion of cultural issues in translation studies, and analyzed the deeper cultural communication implied by language. Therefore, they no longer focused on the careful choice of words in the process of translation, but from the macro level to explore more profound cultural causes, thus contributing to the upsurge of "Cultural Turn" in translation studies. (Wang, 2005:34).

===== Inspiration of the Polysystem theory =====
The Polysystem theory was first proposed by the Israeli scholar Even-Zohar in the 1970s. He borrowed from Russian formalists who worked in literary historiography that literary works were not independent objects but should be regarded as part of the whole literary system. Before that, people's research on translation was static, while the Polysystem theory links translated works with social, historical and cultural factors. He believed that a polysystem system is composed of several subsystems, in which some subsystems are located at the center and others at the edge. Their positions and status are not fixed, but they compete with each other for a central position in the system. In addition, there are also interrelated and interactive relations between them. Therefore, as a member of many subsystems, translatology and other subsystems must be involved and influenced each other. Zohar mentioned that the culture of a country or a place may have advantage or disadvantage when compared to another culture in different periods. In different situation, translators in a country or a place will choose different translation strategies. If this situation changes, the translator's choice of translation strategies will also change, which forms a dynamic translation study. Therefore, Even-Zohar's polysystem theory makes people no longer look at translation and text in isolation, but combine multiple subsystems such as culture, society, politics and economy to look at the translation process from a broader perspective, and promote the emergence of cultural turn in translation. As student of Zohar, Toury offered new ideas as well as inherited his views. Then Toury put forward translation norms to judge the acceptability of texts by placing them within the target cultural system. These norms are certain social and cultural restrictions on culture, society and times, and people need to be educated and socialized to obtain them. It can be seen that Toury's theory is also based on social and cultural aspects. He believed that translation should be examined from the perspective of target language culture, "Translation is always limited by different social and literary background factors, so it has no fixed characteristics, and translation becomes a relative name relying on historical and cultural forces".(Gentzler 1993:129)

It can be said that their views provided the initial inspiration and theoretical basis for the theory of "Cultural Turn". The view of culture in polysystem theory has inspired the scholars of cultural school and finally led the translation studies to the rad of "Cultural Turn". Zhang Nanfeng once discussed in his article the positive effect of the polysystem theory on "Cultural Turn", he pointed out: "The polysystem theory has opened up a new approach to translation studies that is descriptive, systematic-oriented, functionalist and systematic. It has promoted the cultural turn of translation studies and spawned a cross-border school of translation studies." (Feng,Liu 2008:48)

===== The infiltration of deconstructive thought =====
Destructuralism, also known as post-structuralism, is a trend of thought established in the process of criticizing structuralism, and its main representative is Jacques Derrida. The philosopher Jacques Derrida, while criticizing structuralism, innovatively proposed the "deconstructive" theory, which has a profound influence on translation theory, cultural theory and literary criticism theory. Deconstructivists represented by Derrida denied the idea that language has ultimate meaning held by the language school, and believed that language words contain multiple meanings, so the meaning of the text formed by language words should be multiple. In addition, he also believed that the author is not the only creator of the text, which undoubtedly played an important role in enhancing the status of the translation and the subjectivity of the translator. Benjamin abandoned the traditional translation studies that only focused on the semantic meaning of the original text and the deconstruction of language. He believed that articles could survive only through translation, and that traditional translation could only be achieved in the environment of "pure language". If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. In short, many views of deconstructivisme have a strong role in inspiring and promoting "Cultural Turn". In addition, deconstructive translation thought puts more emphasis on many other factors that affect the text, such as ideology. The pluralism of meaning and pluralism of interpretation advocated by deconstructivisme theory enlighten the cultural schools, leading them to think about the relationship between source text and target text from a more macroscopic and completely different perspective, subverting the traditional view of translation. As Professor Wang Ning said, "Deconstructivisme plays an important role in promoting the cultural turn in contemporary translation studies" (Wang 2009:127).

=== The influences of “Cultural Turn” under the background of globalization ===
Any kind of theory has its advantages and limitations, so when looking at "Cultural Turn", it is the right choice to maintain rational mind and critical thinking and treat it objectively and dialectically.

==== The positives effects ====
The "Cultural Turn" theorie of translation studies raised the paradigm of translation studies from the pure language level to the broader cultural level, made the translation experts and scholars begin to consider power, poetics and the target language culture, the translator and the reader, and many other factors on translation institute, which broadened the field of translation study so that translation was no longer in vacuum environment.(Wu 2009：104)

The influence of cultural school on translation studies is mainly reflected in the political characteristics of its theories, such as post-colonial translation studies, feminist translation studies and cannibalism translation studies derived from historical events. Among them, a scholar of feminist translation Simon expressed her praise for “Cultural Turn”, pointing out that it is the most exciting progress in translation studies, because it means that translation studies have added an important dimension, which enables us to understand the organic connection between translation and other ways of communication. It regards translation as a writing practice that runs through all the strains of cultural expression.(Zeng 2006:92)

Looking at China, there are many experts and scholars who have a positive attitude towards the "Cultural Turn", such as Xie Tianzhen, Ran Shiyang, Feng Yawu and so on. Among them, Feng Yawu and Liu Quanfu clearly expressed their support for "Cultural Turn" in their articles "Cultural Turn" and "Cultural Translation Paradigm": "Cultural turn has awakened the cultural consciousness of translation researchers, greatly broadened their horizons, expanded the scope of translation studies, and added a new dimension of history and culture to the study of translators". Cultural turn has exerted an important influence on translation studies in China, which is enlightening and thought-provoking. Liu Xiaoqian once pointed out in her article that the cultural turn in translation studies has brought unprecedented opportunities to Translation studies in China. However, China is still a "weak country" in the field of translation studies.(Zeng 2006:92)

In terms of translation practice, there are more target works than source works. In translation theory, there are few influential theories and works created, and most of modern and contemporary theories are "taken" from foreign countries. Moreover, the cultural turn is characterized by interdisciplinary research, which warns Chinese translation researchers to have a higher level and constantly improve themselves. Therefore, translators in China should actively promote the "going out" of Chinese culture and contribute to the development of translation studies in China by taking advantage of the wind of "cultural turn" that has not yet disappeared. There is no doubt that the "Cultural Turn" of translation studies is of positive significance to the development of Translation studies in China.It has broken the shackles of translation studies within the linguistic system, shifted its focus from the microscopic linguistic transformation to the macroscopic cultural one, provided a new dimension for translation studies, and promoted the transformation of translation studies from "normative studies" to "descriptive studies" under the linguistic framework. Thus it provides a development platform for translation studies, broadening the horizon of translation studies, and lays the foundation for translation studies as an independent discipline. However, it should be emphasized that "Cultural Turn" is only a research perspective in multiple translation studies, and has its advantages and disadvantages like other paradigms.(Zeng 2005:70)

==== The negative effects ====
With the expansion of the research scope and the deepening of the research content, many problems have been exposed in translation studies under the "Cultural Turn", which has aroused the extensive thinking of domestic scholars. Although the cultural school broke through the shackle of the linguistic school and innovatively put forward the "Cultural Turn", the cultural school did not critically inherit and develop the theories and methods of the linguistic school, but blindly negated, subverted, disintegrated and abandoned them completely. In the view of the cultural school, translation studies before cultural translation lack the macroscopic theoretical guidance and cannot see into the functions and effects of translation. Only by combining culture with translation studies can the true meaning of cultural functions be obtained, thus forming a theoretical system guiding translation practice.(Zhang 2008:23)

Therefore, the extreme practice that his focus completely deviates from the text itself and shifts to the macro context has been criticized by later generations. In addition, because the cultural school advocates the study of translation in the context of society, history, language environment and culture, emphasizing the restriction of culture on translation, and attaches importance to the connection and combination between translation and linguistics, translation and literature, translation and poetics. As a result, some experts and scholars have raised doubts about the "cultural turn" at this point. In China, such as Zeng Wenxiong, Zhao Yanchun and so on all hold a negative attitude to the "cultural turn". Zhao Yanchun (2004) once pointed out that "the culture school emphasizes the restrictive function of cultural factors such as power relations, sponsors, ideology, mainstream poetics and others on translation, and try to deny the traditional research on translation within the text. Therefore, they exaggerate the restrictive function of culture, and it is impossible to summarize the rules for predicting translation phenomena and processes".(Hu 2011:7-8)

Its all-embracing openness makes the disciplinary boundaries of translation studies blurred. According to Zeng Wenxiong, the "cultural turn" has limited the scope of translation studies, narrowed the research field, blurred the disciplinary boundaries of translation studies, separated from the fundamental of translation-language, exaggerated the influence of factors other than text, and thus made it difficult to discover the fundamental laws of translation. However, the foundation of translation studies is language and text, and the excessive emphasis on external factors without language studies will undoubtedly push translation studies into a dangerous situation by infinitely amplifying the role of external factors in the translation process. Since its birth, Chinese translation activities have been accompanied by the introduction and absorption of foreign cultures. For example, the large-scale introduction and absorption of Western learning in the late Qing Dynasty, the New Chinese literature constructed under the influence of translated literature in the May Fourth Movement period and so on.(Sun 2008:10-11)

While absorbing foreign cultures, we should not ignore the "localization" of culture. The same is true of the cultural turn in translation studies. Wang Ning, in his book The Cultural Turn of Translation Studies, also put forward such a point of view: it is worth noting that the cultural school of translation studies is based on comparative literature and studies translation phenomena from the perspective of western studies. The great difference between culture and language reminds us that we should not ignore the actual situation of the construction of traditional translation studies and theories in China while drawing lessons from western translation theories and research achievements. In this regard, from the perspective of discipline construction, many domestic scholars have proposed that translation studies under the cultural turn should not ignore the study of translation ontology, and that translation studies should return to the study of translation ontology and adhere to the standard characteristics of translation discipline.(Wang 2003:90)

=== Conclusion ===
Due to the development of translation itself, the influence of the polysystem theory, the cultural school, deconstructivisme and other theories, the "Cultural Turn" emerged in the 1990s, breaking the model of translation studies that had lasted for thousands of years, breaking out of the rigid language level and placing translation in the dynamic history, culture and society. It has explained many translation phenomena that cannot be explained by the traditional school of linguistics. It not only adapts to the development of the times, but also is the inevitable way out of translation studies. Cultural turn is not only the inexorable trend of translation activities, but also promotes the diversified development of translation studies. With the development of global integration, translation culture turns to be closely combined with social, political, economic and other factors. Under the influence of this development trend, culture is bound to develop in the exchange and cooperation between countries, which is an inevitable tendency of translation studies.(Hu 2005:10)

Nowadays, translation plays an increasingly prominent role in cross-cultural communication as the field of international communication continues to expand. Translation should take the initiative to maintain the historical mission of linguistic diversity and cultural diversity, balance the subject culture and foreign culture, and keep the two cultures in a relatively reasonable range. But the problem lies in the lack of theoretical guidance in concrete practice, wo can only judge according to experience. The subject of translation is affected by many factors, so it is impossible to completely jump out of the subject culture, and the development of translation study is dynamic, with the development of translation theory and the development of The Times, many factors such as translation view and translation stand are constantly changing. Therefore, with the development of the times, we should study the problem dynamically and sum up the guiding ideology constantly, so as to achieve a balance between the subject culture and foreign culture. In the context of globalization, people should pay attention to the relationship between their own culture and foreign culture, and translators, as communicators of cultural exchange, should balance the relationship between the two. Only by treating the externalization objectively, taking its essence and discarding its dregs, making it mutually available with the national culture, innovating the national culture and enhancing the vitality of the national culture, can the Chinese culture endure long and have a long history.

=== References ===
Bassnett，S．＆ Lefevere，A．(1990) Translation，History and Culture［C］．London ＆ New York: Pinter Publishers．

Bassnett，S．(2001). The Translation Turn in Cultural Studies［A］．in Bassnett ＆ Lefevere( ed)，Constructing Cultures Essays on Literary Translation［C］．Shanghai: Shanghai Foreign Language Education Press，2001．

Feng Yawu, Liu Quanfu 冯亚武，刘全福 (2008). “文化转向”与文化翻译范式[J] "Cultural turn" and cultural translation paradigm.西安外国语大学学报 Journal of Xi'an Foreign Studies University，4:48.

Hu Mu 胡牧 (2011). 翻译研究:回归现实世界-对“文化转向”的再思考[J] Translation studies: returning to the real world -- Rethinking the "cultural turn".中国翻译 Chinese Translators Journal, 5:5-10.

Lefevere, A. (1992). Translation, Rewriting, and the Manipulation of Literary Fame [M]. London and New York: Routledge, 26-27.

Peng Ping 彭萍 (2016). 当代西方翻译研究的“文化转向”和“社会转向”综述[J] A summary of "cultural turn" and "social turn" in Contemporary Western Translation Studies.江西师范大学学报(哲学社会科版,2016(3) Journal of Jiangxi Normal University (Philosophy and social sciences edition), 3:141-142.

Sun Yifeng 孙艺风 (2008). 文化翻译与全球本土化[J] Cultural translation and global localization.中国翻译 Chinese Translators Journal, 1:5-11.

Tan Zaixi 谭载喜 (2004). 西方翻译简史[M] 西方翻译简史 A brief history of Western Translation.北京：商务印书馆 Beijing:The Commercial Press.

Wang Ning 王宁 (2003). 全球化、文化研究和文学研究[M] Globalization, cultural studies and Literary Studies.桂林:广西师范大学出版社 Guilin: Guangxi Normal University Press.

Wang Ning 王宁 (2005). 翻译的文化建构和文化研究的翻译学转向[J] The cultural construction of translation and the translatological turn of Cultural Studies.中国翻译 Chinese Translators Journal, 6:16.

Wang Ning 王宁 (2009). 翻译研究的文化转向[M] The Cultural Turn in translation studies.北京：清华大学出版社 Beijing: Tsinghua University publishing house.

Wu Xiaojun 伍小君 (2009). 翻译研究中的文化转向:批判与反思[J] Cultural turn in translation studies: Criticism and reflection. 外语学刊 Foreign language journal, 4:103-105.

Xie Tianzheng 谢天振 (2009)．中西翻译简史［M］A brief history of Chinese and Western Translation．北京:外语教学与研究出版社 Beijing: foreign language teaching and Research Press.

Xie Tianzhen 谢天振 (2014). 正确理解“文化转向”的实质[J] Correctly understand the essence of "cultural turn". 外国语 foreign language, 5:45-46.

Zeng Wenxiong 曾文雄 (2006).对翻译研究“文化转向”的反思[J] Reflections on the "cultural turn" in Translation Studies.外语研究 Foreign Language Studies 3:62-66.

Zhu Huichao 朱慧超 (2017). 简析翻译学中的文化转向[J] A brief analysis of the cultural turn in Translation Studies. 文化学研究 Cultural Studies, 9:86-88.

Written by --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:59, 13 December 2021 (UTC)

Cult Turn EN 1

2021-12-13T12:49:36Z

Li Aixuan: /* Abstract */

=Chapter 1 ：An analysis of the causes and influences of "cultural turn" in translation history =
'''浅析翻译研究历史中“文化转向”的原因和影响'''

金晓童 Jin Xiao, Hunan Normal University, China

[[Cult_Turn_EN_1]]
=== Abstract ===
The Culture Turn theorie of translation studies was initially put forword by Bassnett Susan and Andre Lefevre in 1990 in the book Translation, History and Culture: A Source book in which they affirmed that translation is not the simple transform between two languages, it goses in special cultural environment. Since then, the history of translation as a simple tool for the conversion of languages is fading away and gradually transformed into a carrier of culture. There is no doubt that there are differences among different cultures. As a “bridge”, translation plays an intermediary role in the communication between different cultures. However, in the context of globalization becoming the mainstream, the most important problem for translation in the face of cultural differences is how to deal with different cultures. Therefore, this paper aims to explore the causes of cultural turn, seek the positive and negative effects of cultural turn, and further elaborate on the enlightenment of cultural turn to all countries, especially to China, from the perspective of globalization.

''Translation, History and Culture''--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:49, 13 December 2021 (UTC)

=== Key Words ===
Culture Turn, causes, positives and negative effects, enlightenment

=== 摘要 ===
翻译研究的文化转向理论最早是由苏姗·巴斯奈特和安德烈·勒菲弗尔于1990年在《翻译、历史与文化论集》一书中提出的，他们认为翻译不是简单的两种语言之间的转换，而是在特殊的文化环境中进行的。自此，翻译单纯作为语言之间的转换工具的历史正在消逝，逐渐转变成为一种文化的载体。毋庸置疑，不同民族的文化之间具有差异性，翻译作为一座“桥梁”，起着不同文化交流的中介作用。而在全球化成为主流的大环境下，翻译在面对不同文化的差异时，最需要解决的问题就是如何对待不同的文化。因此本文旨在探究文化转向的原因，以寻求文化转向产生的积极影响和消极影响，并进一步阐述在全球化视角下文化转向给各国特别是中国所带来的启示。

=== 关键词 ===
文化转向，原因，积极和消极影响，启示

=== Title ===
An analysis of the causes and enlightenments of "cultural turn" in translation history from the perspective of globalization

=== Introduction ===
As a messenger of culture communication, translation plays an irreplaceable role in the process of spreading a country's culture. In human history, translation is an activity of exchange and interaction between different cultures, and culture is closely related to translation. Since the second half of the 20th century, contemporary western translation theory has undergone two turns, namely linguistic turn and cultural turn. Cultural turn makes translation studies no longer regard translation as an isolated fragment between language transformations, but examine translation in a grand cultural context. (Xie 2009:223)

"Fidelity" is no longer the only goal translators pursue in translation, and the cultural differences between source language and target language are the focus of translators' attention. In recent years, Cultural Turn in translation studies has gradually become the focus of attention of translation researchers and cultural researchers, and more and more people pay more attention to the role of culture in translation. In the context of globalization, international exchanges are becoming more frequent and cultural exchanges among countries are gradually increasing. Cultural factors are also playing an increasingly important role in the development of translation studies. "Cultural Turn" adds a new dimension to translation studies and provides a research horizon. But at the same time, we should fully recognize the challenges posed by its limitations to the development of translation studies in the future. (Tan 2004:128)

This paper is divided into three chapters: The first chapter briefly introduces what the "Cultural Turn" theory is; The second chapter primarily analyzes the internal and external causes of "Cultural Turn" in translation history from the internal necessity of translation itself and the external thrust of social influence. The third chapter mainly explores the positive and negative influences of the theory of cultural turn, and expounds the enlightenment brought by these influences under the background of globalization, that is, we should dialectically treat the Cultural Turn in translation, not lose the native culture in the mutual learning of cultures, and actively spread the native culture to promote the common progress of culture.

=== Literature review ===
==== Background of Cultural Turn ====
As a concept, culture first appeared in the Middle Ages of Europe and it becomes an eternal theme in the development of human beings, because culture involves all aspects of human life. However, as a discipline to study and form a systematic "cultural study" began in the 1950s. In fact, the rise and development of post-colonialism, feminism and the emergence and rapid spread of the Internet have made cultural studies necessary. In 1957, Hoggart published The Uses of Literacy, and Williams published Culture and Society 1780 － 1950 in 1958.Moreover, in 1964 The Centre for Contemporary Cultural Studies (CCCS) was founded at the University of Birmingham. All these marked the beginning of cultural studies. Since the early 1980s, "cultural studies" has been developed rapidly in many countries, and its research scope has also been expanded, showing a multi-disciplinary development trend. The study of Western culture has gone through more than half a century，Easthope classified the study of Western culture into three stages: (1)in the 1960s，we were devoted to expanding the concept of culture and making it cover mass culture, which was called the "Culturalist Phase"; (2)in the 1970s，we paid attention to the exploration of textualism and hegemonism, which was called the "Structuralist Phase"; (3) the "post-structuralist Phase" was characterized by the establishment of cultural pluralism. It can be seen that "cultural studies" is a kind of interdisciplinary and cross-field research with a very broad content. Therefore, the "cultural turn" proposed by Basnett appeared in the 1990s. In fact, with the rise of "cultural studies", translation as a cultural activity is inevitable and has been combined with cultural studies, the real "cultural turn" in translation studies began much earlier than the 1990s. (Wang 2009:50-51)

With the development of translation studies in China, culture has gradually received attention. There are some translation theories and opinions scattered in Chinese Buddhist scriptures during the Han and Tang dynasties. Later, Lin Yutang, although Yan Fu and Zhao Yuanren have not made a systematic exposition of cultural translation, their views on translation studies are also consistent with cultural translation theory. In the contemporary time, Liu Shan is the first person to study the relationship between translation and culture as the subject. He pointed out that the accuracy and fidelity of translation depends on the reproduction of thoughts and culture reflected in another language, and stated the fact that the society at that time required translators to expand their cultural horizon. Moreover, Wang Zuoliang also realized the mutual influence between translation and culture, he emphasized that translators must understand both their own national culture and foreign culture. In the 1990s, the Cultural Turn theorie was introduced into China, and more domestic scholars stepped into the wave of cultural research. For example, Wang Bingqin's Cultural Translation studies is regarded as the beginning of China's cultural translation research, and this book laid an important foundation for the subsequent research. Liu Miqing's work of the same period, Outline of Cultural Translation, also exerted a profound influence on later studies. Yang Shizhang (2001) demonstrated in detail the interactive relationship between translation and culture from two aspects of the role of translation in cultural development and the promotion and restriction of culture on translation. Xu Jun (2002) pointed out that there were problems in Chinese translation studies, such as stressing technology over meaning, language over culture, etc. So he proposed to promote the establishment of cultural translation view. These scholars' active discussion on the relationship between translation and culture and its extension undoubtedly laid a solid foundation for the subsequent translation studies from the cultural perspective. In recent years, although it has been widely acknowledged that the western cultural turn is of great significance to translation studies, the theory of cultural turn tends to be far away from ontological studies, so that some scholars call for translation studies to return to ontology. The debate on cultural turn in translation studies has aroused the constant thinking and exploration of domestic scholars. (Peng 2016:141-142)

Throughout the western and Chinese translation studies, it can be found that the theories and practices related to cultural translation in foreign countries have a long history, starting from the 1960s to the early 1970s. Until the 1980s, the relevant research theory content gradually enriched. In the 1990s, because of the “Cultural Turn” theorie, western researchers paid more attention to cultural and social contexts in translation studies. Cultural consciousness in western translation studies has been more complete. The research on cultural translation in China began in the 1980s. Although it was a little later than that in western world, it caught up with the pace very fast, so that cultural translation has rapidly become an important part of the field of translation studies in China. Since the 1990s, some researchers did systematical research on cultural translation studies. However, although the theory is not that well developed, the achievements of domestic cultural translation studies are still improving. (Peng 2016:141-142)

==== Brief introduction: the schools, viewpoints and development of Cultural Turn in translation studies ====
The Cultural Turn in translation studies, advocated and developed by the cultural school, began in the late 1980s. It studies the cultural origin of translation and explores the political, economic, social, ideological and other cultural backgrounds of translation, which is closely related to the rise and prosperity of culturology. Looking back on the history, after the 1970s, under the influence of the booming trend of deconstruction, translation studies developed in the direction of diversification. Even Zohar, an Israeli scholor, proposed Polysystem Theory, which places translated literature at the historical and social levels of the target culture and breaks away from the static study of texts. Later, Toury proposed Descriptive Translation Studies and norms of translation behavior, adding cultural Studies to Translation Studies further. The multiple systems school represented by Even Zohar and Toury is regarded as the prelude to the rise of the cultural school, and their theories are regarded as the germination of the cultural turn in Western translation. (Pan 2002:24)

In Description of translation and others (1995), Toury described the function of translation, translation products and the relationship between the translation process, he thinks that function of translation decided the form of translation products, which determines the translation strategies. At the same time, the culture of the target language has an important influence on translation products and activities. In a word, the target language culture itself determines the function, form and strategy of translation. Then came the school of purpose, manipulation and deconstruction. In 1990, two major figures in translation studies: Susan Bassnett, a British scholar in comparative literature and translation studies, and Andre Lefevere, an American scholar in comparative literature and translation studies, explicitly proposed the "Cultural Turn" theorie in translation studies in the book Translation, History and Culture. In the following years, they published some influential papers and books on the "cultural turn" in translation studies. (Pan 2002:24)

In 1992, Lefevere published three books on translation studies: Translation, rewriting and the manipulation of literary fame, Translation, History and Culture: A Source book and, Translating literature: practice and theory in a comparative literature context. Among these books, Translation, rewriting and the manipulation of literary fame can be viewed as the representative work of Lefevere. In this book, he proposed the concept of "manipulation", believing that translation is rewriting, and that the mainstream ideology, poetics, patrons and other factors restrict or control translation activities. Then the cultural or manipulative school of translation studies was born. In 1994, Basnett edited Cross-cultural Communication: The Warrick Papers on Translation Studies. She pointed out that translation is a complex activity which involves questions such as how to choose the text to be translated, role of the translator in the selected text, roles of editors, publishers, or sponsor, what strategies the translator will take according to different criteria, how the text in the target system to be able to accept.。In 1998, after Lefebvre's death, the last book they wrote together, Constructing Cultures: Essays on Literary Translation, was published. These subsequent publications further expanded the influence of the translation cultural school, which gradually replaced the traditional linguistic school and became the mainstream school of translation studies today. (Lefevere 1992:26-27)

Of course, the above is only a review of the viewpoints of the representative figures and literary schools of "Cultural Turn". In fact, since the 1980s, "Cultural Turn" has become a fact, which also includes the development of "post-modern" translation theories such as deconstruction, feminism and post-colonialism. After the "Cultural Turn" theorie of translation was put forward, many scholars believed that translation has stepped out of the limitations of the traditional linguistic school, entered the wave of cultural studies and stepped onto a broader research space. Translation studies increasingly involved more fields such as ideology, ethnicity, race, feminism and so on. For example, Basnett published The theory and practice of Postcolonial Translation in 1999. Nida, the head of the linguistics school, also began to pay attention to cultural issues in his works in the 1990s. Louise von Flotow published Translation and Gender: Translating in the 'Era of Feminism' (1997), and Spivak (G. C. Spivak) has made a discussion on translation, the politics of translation, feminism and post-colonialism. American scholar L. Venuti proposed some such as "foreignization" and "domestication" and so on. Venuti believes that works translated into English since the 17th century are basically "domesticating translation", while most English translations into other languages are "foreignizing translation", which actually reflects the inequality between cultures. As a result, he thinks the "foreignizing translation" should be taken when translating the world affairs into English, it is a wise cultural interference, which contribute to change the language hegemony of English countries and the unequal status of culture in the global exchanges. This is a rejection of ethnocentrism, racism, cultural narcissism and cultural imperialism, and is conducive to the promotion of democracy in global geopolitical relations. The above views can be regarded as either the influence or the continuation of the "Cultural Turn" in translation studies. (Wang 2009:50)

=== The causes of “Cultural Turn”in translation history ===
"Cultural Turn" has become a trend, not only because it breaks through the previous theory with its own advantages, but also because of the influence of cultural turn and other external factors. Therefore, it can be said that the trend of "Cultural Turn" is produced under the joint action of internal and external factors.

==== The internal causes ====
The internal drive of "Cultural Turn" mainly comes from some positive views of the cultural school. They strongly advocated the transfer of the focus of translation studies from the text itself to the cultural context outside the text, and oppose the view which considered translation as a simple language transformation. Therefore, they tried their best to change the subsidiary status of translation in literature and art, and actively promoted translation to become an independent discipline.(Xie 2014:45)

===== Self-development of translation studies =====
Before the 20th century, western translation theory had been regarded as the "subordination" of literature and art. In this context, translation was merely regarded as an art, emphasizing the reproduction of the original text by the target text. Translation was even considered as a branch of comparative literature. In 1921, the German scholar W. Benjamin pointed out in his book The Task of The Translator that "If the ultimate essence of translation is to strive for similarity to the original, then no translation is possible." This view actually shows that the pursuit of linguistic absolute "faith" is not feasible in theory and in practice. In other words, the study of translation should break away from the excessive concern about words and turn to a more far-reaching and broad level, namely the cultural level. In 1971, Holmes put forward his unique views on the Nature, scope and structure of translation as an independent research field in the book The Name and Nature of Translation Studies. Since then, Translation Studies began to transform into an independent discipline, and The Name and Nature of Translation Studies is regarded as the declaration of independence of Translation Studies.(Xie 2014:46)

===== The importance attached by cultural school to culture =====
"Cultural school", as its name implies, attaches importance to the role of culture in translation and emphasizes the constraints of culture on translation. The cultural school has played an important role in promoting translation as an independent discipline. From Holmes, the founder of the cultural school, to the leading figures Snell-Hornby, Andre Lefevere and Susan Bassnett, they all mentioned the importance of culture to language and translation in their monographs (Jin , Zhu 2011:31).

Basnett once said, " Translation studies is actually an independent discipline. It is neither a subsidiary discipline of comparative literature studies nor a certain area of linguistic studies, but an extremely rich field of study with numerous sub-disciplines of its own." Later, she emphasized again in her book Comparative Literature published in 1993 that " When comparative literature is debating for itself whether it can become an independent discipline, translation studies has boldly declared itself to be an independent discipline, and the influence and force of translation studies have been affirmed and supported worldwide (Bassnett 1993:160)."

In addition, Basnett's graphic description of culture and language expresses her emphasis on culture. She points out that "culture is like a human body, and language is the heart of the body. Only the interaction between the heart and the body can sustain human vitality. Therefore, when surgeons operate on the heart, they cannot ignore the whole body carrying the heart. This is why it is dangerous for translators to separate text from culture and treat it in isolation." (Bassnett 2004:22).

According to professor Zeng Wenxiong, the origin of the cultural school can be traced back to the rationalism of Descartes in the 17th century, even to the skepticism of Perot and the materialism and evolution of Darwin, "These skeptical and survival of the fittest concepts subvert god and all the social and ethical structures that people take for granted, and then develop deconstructivism, post-colonialism and feminism that contain rebellion and independence."(Zeng 2006:64)

In short, the cultural school’s emphasis on culture is also reflected in its translation theory, the cultural school believes that "faithful" translation is impossible, so it pursues the cultural equivalence between the source text and the target text, that is, the equivalence of cultural functions. The research question has changed from how to be faithful to the source text to the causes and results of the target text's failure to be faithful to the source text. Translation should not be limited to the description of the source text, but pay attention to the functional equivalence of the text in the target language culture. Translation is to meet the needs of culture and the needs of different groups in a certain culture. Obviously, the development of cultural studies and the establishment of the cultural school have greatly promoted the consideration of cultural factors in various fields. In the field of translation, cultural studies and the cultural school have improved the cultural awareness of scholars, which has become a key factor for the rise of the "Cultural Turn". Thus, translation finally became an independent subject with its own characteristics under the strong advocacy of the cultural school, and laid a foundation for the rise of "Cultural Turn" in translation studies.(Zhu 2017:87)

==== The external causes ====
The development of translation studies and the influence of the cultural school promoted the birth of "Cultural Turn" theorie. At the same time, the limitation of linguistic school, the prevalence of cultural studies, the emergence of the theory of multiple systems and of deconstructivisme sped up the process of "Cultural Turn" in translation studies.(Wu 2009:104)

===== Limitations of the linguistic school =====
The linguistic school represented by Nida, Newmark and Catford have reached a "dead end" in translation studies at the end of the 20th century. Translation studies under the linguistic paradigm took structuralist linguistics and transformational generative grammar as theoretical frameworks, they paid attention to the correspondence between the original text and the translated words in the process of translation. Although such correspondence seems to be very scientific, it ignored many factors behind the words. Therefore, the study of linguistic school was considered by some scholars to be too standardized. However, for literary texts, the simple study of words and sentences can not reflect the relationship between the original text and the target text well to some extent, because literary texts contain more and more complex cultural factors behind the language. This translation equivalence theory takes the text itself as the object of translation, "it reduces the aesthetic problem to the logical problem, and ignores the descriptive study of the important factors such as the culture of the target language, the purpose and motivation of translation", which is too standardized. Therefore, the disadvantages of translation studies of the linguistic school became increasingly prominent and were gradually criticized by many scholars (Ran , Li 2012:4).

Andre Lefevere and Susan Bassnett criticized the linguistic school in the book Constructing Cultures: Essays on Literary Translation, "The success of machine translation makes people believe that the linguistic method of translation is an effective method... At the same time, they (linguists) said that their translation methods are not applicable to literary translation because literary translation is very special. Isn't literature written in language? Is the language of literature really so different from the language of translators?".It can be seen from the above citation that the theories of the linguistics school have been difficult to explain many problems and phenomena in the process of translation, which has been questioned by some experts and scholars. This provides the possibility for the emergence of a new paradigm in translation studies called "Cultural Turn". (Yang 2010:101).

===== The prevalence of cultural studies =====
Cultural studies originated in the United Kingdom in the 1950s, followed by a wave of cultural studies in Canada, Australia, the United States and China. Since the 1970s and 1980s, cultural studies have entered a period of interdisciplinary and diversified development. Sociology, literary theory, media studies, film and anthropology have all become the objects of cultural studies.The gradual rise of cultural studies made many scholars turn their attention to the discussion of cultural issues in translation studies, and analyzed the deeper cultural communication implied by language. Therefore, they no longer focused on the careful choice of words in the process of translation, but from the macro level to explore more profound cultural causes, thus contributing to the upsurge of "Cultural Turn" in translation studies. (Wang, 2005:34).

===== Inspiration of the Polysystem theory =====
The Polysystem theory was first proposed by the Israeli scholar Even-Zohar in the 1970s. He borrowed from Russian formalists who worked in literary historiography that literary works were not independent objects but should be regarded as part of the whole literary system. Before that, people's research on translation was static, while the Polysystem theory links translated works with social, historical and cultural factors. He believed that a polysystem system is composed of several subsystems, in which some subsystems are located at the center and others at the edge. Their positions and status are not fixed, but they compete with each other for a central position in the system. In addition, there are also interrelated and interactive relations between them. Therefore, as a member of many subsystems, translatology and other subsystems must be involved and influenced each other. Zohar mentioned that the culture of a country or a place may have advantage or disadvantage when compared to another culture in different periods. In different situation, translators in a country or a place will choose different translation strategies. If this situation changes, the translator's choice of translation strategies will also change, which forms a dynamic translation study. Therefore, Even-Zohar's polysystem theory makes people no longer look at translation and text in isolation, but combine multiple subsystems such as culture, society, politics and economy to look at the translation process from a broader perspective, and promote the emergence of cultural turn in translation. As student of Zohar, Toury offered new ideas as well as inherited his views. Then Toury put forward translation norms to judge the acceptability of texts by placing them within the target cultural system. These norms are certain social and cultural restrictions on culture, society and times, and people need to be educated and socialized to obtain them. It can be seen that Toury's theory is also based on social and cultural aspects. He believed that translation should be examined from the perspective of target language culture, "Translation is always limited by different social and literary background factors, so it has no fixed characteristics, and translation becomes a relative name relying on historical and cultural forces".(Gentzler 1993:129)

It can be said that their views provided the initial inspiration and theoretical basis for the theory of "Cultural Turn". The view of culture in polysystem theory has inspired the scholars of cultural school and finally led the translation studies to the rad of "Cultural Turn". Zhang Nanfeng once discussed in his article the positive effect of the polysystem theory on "Cultural Turn", he pointed out: "The polysystem theory has opened up a new approach to translation studies that is descriptive, systematic-oriented, functionalist and systematic. It has promoted the cultural turn of translation studies and spawned a cross-border school of translation studies." (Feng,Liu 2008:48)

===== The infiltration of deconstructive thought =====
Destructuralism, also known as post-structuralism, is a trend of thought established in the process of criticizing structuralism, and its main representative is Jacques Derrida. The philosopher Jacques Derrida, while criticizing structuralism, innovatively proposed the "deconstructive" theory, which has a profound influence on translation theory, cultural theory and literary criticism theory. Deconstructivists represented by Derrida denied the idea that language has ultimate meaning held by the language school, and believed that language words contain multiple meanings, so the meaning of the text formed by language words should be multiple. In addition, he also believed that the author is not the only creator of the text, which undoubtedly played an important role in enhancing the status of the translation and the subjectivity of the translator. Benjamin abandoned the traditional translation studies that only focused on the semantic meaning of the original text and the deconstruction of language. He believed that articles could survive only through translation, and that traditional translation could only be achieved in the environment of "pure language". If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. If the original text needs translation to survive and spread, then the status of the translator and the translation should be higher than the original author and the original text, because to a certain extent, the former determines whether the article can obtain new life in the new language environment. In short, many views of deconstructivisme have a strong role in inspiring and promoting "Cultural Turn". In addition, deconstructive translation thought puts more emphasis on many other factors that affect the text, such as ideology. The pluralism of meaning and pluralism of interpretation advocated by deconstructivisme theory enlighten the cultural schools, leading them to think about the relationship between source text and target text from a more macroscopic and completely different perspective, subverting the traditional view of translation. As Professor Wang Ning said, "Deconstructivisme plays an important role in promoting the cultural turn in contemporary translation studies" (Wang 2009:127).

=== The influences of “Cultural Turn” under the background of globalization ===
Any kind of theory has its advantages and limitations, so when looking at "Cultural Turn", it is the right choice to maintain rational mind and critical thinking and treat it objectively and dialectically.

==== The positives effects ====
The "Cultural Turn" theorie of translation studies raised the paradigm of translation studies from the pure language level to the broader cultural level, made the translation experts and scholars begin to consider power, poetics and the target language culture, the translator and the reader, and many other factors on translation institute, which broadened the field of translation study so that translation was no longer in vacuum environment.(Wu 2009：104)

The influence of cultural school on translation studies is mainly reflected in the political characteristics of its theories, such as post-colonial translation studies, feminist translation studies and cannibalism translation studies derived from historical events. Among them, a scholar of feminist translation Simon expressed her praise for “Cultural Turn”, pointing out that it is the most exciting progress in translation studies, because it means that translation studies have added an important dimension, which enables us to understand the organic connection between translation and other ways of communication. It regards translation as a writing practice that runs through all the strains of cultural expression.(Zeng 2006:92)

Looking at China, there are many experts and scholars who have a positive attitude towards the "Cultural Turn", such as Xie Tianzhen, Ran Shiyang, Feng Yawu and so on. Among them, Feng Yawu and Liu Quanfu clearly expressed their support for "Cultural Turn" in their articles "Cultural Turn" and "Cultural Translation Paradigm": "Cultural turn has awakened the cultural consciousness of translation researchers, greatly broadened their horizons, expanded the scope of translation studies, and added a new dimension of history and culture to the study of translators". Cultural turn has exerted an important influence on translation studies in China, which is enlightening and thought-provoking. Liu Xiaoqian once pointed out in her article that the cultural turn in translation studies has brought unprecedented opportunities to Translation studies in China. However, China is still a "weak country" in the field of translation studies.(Zeng 2006:92)

In terms of translation practice, there are more target works than source works. In translation theory, there are few influential theories and works created, and most of modern and contemporary theories are "taken" from foreign countries. Moreover, the cultural turn is characterized by interdisciplinary research, which warns Chinese translation researchers to have a higher level and constantly improve themselves. Therefore, translators in China should actively promote the "going out" of Chinese culture and contribute to the development of translation studies in China by taking advantage of the wind of "cultural turn" that has not yet disappeared. There is no doubt that the "Cultural Turn" of translation studies is of positive significance to the development of Translation studies in China.It has broken the shackles of translation studies within the linguistic system, shifted its focus from the microscopic linguistic transformation to the macroscopic cultural one, provided a new dimension for translation studies, and promoted the transformation of translation studies from "normative studies" to "descriptive studies" under the linguistic framework. Thus it provides a development platform for translation studies, broadening the horizon of translation studies, and lays the foundation for translation studies as an independent discipline. However, it should be emphasized that "Cultural Turn" is only a research perspective in multiple translation studies, and has its advantages and disadvantages like other paradigms.(Zeng 2005:70)

==== The negative effects ====
With the expansion of the research scope and the deepening of the research content, many problems have been exposed in translation studies under the "Cultural Turn", which has aroused the extensive thinking of domestic scholars. Although the cultural school broke through the shackle of the linguistic school and innovatively put forward the "Cultural Turn", the cultural school did not critically inherit and develop the theories and methods of the linguistic school, but blindly negated, subverted, disintegrated and abandoned them completely. In the view of the cultural school, translation studies before cultural translation lack the macroscopic theoretical guidance and cannot see into the functions and effects of translation. Only by combining culture with translation studies can the true meaning of cultural functions be obtained, thus forming a theoretical system guiding translation practice.(Zhang 2008:23)

Therefore, the extreme practice that his focus completely deviates from the text itself and shifts to the macro context has been criticized by later generations. In addition, because the cultural school advocates the study of translation in the context of society, history, language environment and culture, emphasizing the restriction of culture on translation, and attaches importance to the connection and combination between translation and linguistics, translation and literature, translation and poetics. As a result, some experts and scholars have raised doubts about the "cultural turn" at this point. In China, such as Zeng Wenxiong, Zhao Yanchun and so on all hold a negative attitude to the "cultural turn". Zhao Yanchun (2004) once pointed out that "the culture school emphasizes the restrictive function of cultural factors such as power relations, sponsors, ideology, mainstream poetics and others on translation, and try to deny the traditional research on translation within the text. Therefore, they exaggerate the restrictive function of culture, and it is impossible to summarize the rules for predicting translation phenomena and processes".(Hu 2011:7-8)

Its all-embracing openness makes the disciplinary boundaries of translation studies blurred. According to Zeng Wenxiong, the "cultural turn" has limited the scope of translation studies, narrowed the research field, blurred the disciplinary boundaries of translation studies, separated from the fundamental of translation-language, exaggerated the influence of factors other than text, and thus made it difficult to discover the fundamental laws of translation. However, the foundation of translation studies is language and text, and the excessive emphasis on external factors without language studies will undoubtedly push translation studies into a dangerous situation by infinitely amplifying the role of external factors in the translation process. Since its birth, Chinese translation activities have been accompanied by the introduction and absorption of foreign cultures. For example, the large-scale introduction and absorption of Western learning in the late Qing Dynasty, the New Chinese literature constructed under the influence of translated literature in the May Fourth Movement period and so on.(Sun 2008:10-11)

While absorbing foreign cultures, we should not ignore the "localization" of culture. The same is true of the cultural turn in translation studies. Wang Ning, in his book The Cultural Turn of Translation Studies, also put forward such a point of view: it is worth noting that the cultural school of translation studies is based on comparative literature and studies translation phenomena from the perspective of western studies. The great difference between culture and language reminds us that we should not ignore the actual situation of the construction of traditional translation studies and theories in China while drawing lessons from western translation theories and research achievements. In this regard, from the perspective of discipline construction, many domestic scholars have proposed that translation studies under the cultural turn should not ignore the study of translation ontology, and that translation studies should return to the study of translation ontology and adhere to the standard characteristics of translation discipline.(Wang 2003:90)

=== Conclusion ===
Due to the development of translation itself, the influence of the polysystem theory, the cultural school, deconstructivisme and other theories, the "Cultural Turn" emerged in the 1990s, breaking the model of translation studies that had lasted for thousands of years, breaking out of the rigid language level and placing translation in the dynamic history, culture and society. It has explained many translation phenomena that cannot be explained by the traditional school of linguistics. It not only adapts to the development of the times, but also is the inevitable way out of translation studies. Cultural turn is not only the inexorable trend of translation activities, but also promotes the diversified development of translation studies. With the development of global integration, translation culture turns to be closely combined with social, political, economic and other factors. Under the influence of this development trend, culture is bound to develop in the exchange and cooperation between countries, which is an inevitable tendency of translation studies.(Hu 2005:10)

Nowadays, translation plays an increasingly prominent role in cross-cultural communication as the field of international communication continues to expand. Translation should take the initiative to maintain the historical mission of linguistic diversity and cultural diversity, balance the subject culture and foreign culture, and keep the two cultures in a relatively reasonable range. But the problem lies in the lack of theoretical guidance in concrete practice, wo can only judge according to experience. The subject of translation is affected by many factors, so it is impossible to completely jump out of the subject culture, and the development of translation study is dynamic, with the development of translation theory and the development of The Times, many factors such as translation view and translation stand are constantly changing. Therefore, with the development of the times, we should study the problem dynamically and sum up the guiding ideology constantly, so as to achieve a balance between the subject culture and foreign culture. In the context of globalization, people should pay attention to the relationship between their own culture and foreign culture, and translators, as communicators of cultural exchange, should balance the relationship between the two. Only by treating the externalization objectively, taking its essence and discarding its dregs, making it mutually available with the national culture, innovating the national culture and enhancing the vitality of the national culture, can the Chinese culture endure long and have a long history.

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2021-12-13T12:46:03Z

Li Aixuan: /* Conclusion */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies against the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, the author explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:23, 13 December 2021 (UTC)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works. (Liu 2017:67)

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The use of the two translation strategies is not independent. The two strategies can achieve effective combination and appropriate re-creation of the source language content, to transform cultural images, make up for cultural gaps and achieve the purpose of cultural transmission. (Liu 2017:67)

In the play, Wen Shichu quoted this ancient poems to express his love to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The two strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:29, 13 December 2021 (UTC)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.

=== References ===

Bassnett, Susan & Andre Lefevere. Constructing Cultures [C].Shanghai: Shanghai Foreign Language Education Press, 1998/2001

Gentzler, Edwin. Contemporary Translation Theories [M]. London and NewYork: Routledge, 1993.

Jiang Qiuxia 姜秋霞.文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press,2009.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮.影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,2017(06):64-66.

Munday, Jeremy. Introducing Translation Studies: Theories and applications [M]. London: Routledge, 2001.

Sun Zhili 孙致礼.中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,2002(1).

Sun Zhili 孙致礼.新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press, 2003.

Wang Sisi 王思思.从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),2014,41(S1):107-109.

Wang Ning 王宁.翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press,2009

Zhou Tiantian 周甜甜.纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,2020(42):76-77.

Zhang Jing, Li Shuliang张静, 李树春.“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College, 2006, (4).

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T12:39:46Z

Li Aixuan: /* References */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies against the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, the author explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:23, 13 December 2021 (UTC)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works. (Liu 2017:67)

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The use of the two translation strategies is not independent. The two strategies can achieve effective combination and appropriate re-creation of the source language content, to transform cultural images, make up for cultural gaps and achieve the purpose of cultural transmission. (Liu 2017:67)

In the play, Wen Shichu quoted this ancient poems to express his love to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The two strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:29, 13 December 2021 (UTC)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.(Jiang 2009:14)

=== References ===

Bassnett, Susan & Andre Lefevere. Constructing Cultures [C].Shanghai: Shanghai Foreign Language Education Press, 1998/2001

Gentzler, Edwin. Contemporary Translation Theories [M]. London and NewYork: Routledge, 1993.

Jiang Qiuxia 姜秋霞.文学翻译与社会文化的相互作用关系研究 A Study on the Interaction Between Literary Translation and Social Culture[M].北京: 外语教育与研究出版社 Foreign Language Teaching and Research Press,2009.

Liu Xiaohui, Zhang Liang 刘晓辉,张亮.影视剧字幕翻译及跨文化传播——以美版《甄嬛传》为例 Subtitle Translation and Cross-cultural Communication of Film and Television Dramas -- Taking the American version of Empresses in the Palaceas an Example[J].出版广角 View on Publishing,2017(06):64-66.

Munday, Jeremy. Introducing Translation Studies: Theories and applications [M]. London: Routledge, 2001.

Sun Zhili 孙致礼.中国文学翻译：从归化趋向异化 Chinese Literary Translation: from Domestication to Foreignization[J].中国翻译 Chinese Translation,2002(1).

Sun Zhili 孙致礼.新编汉英翻译教程 A New Coursebook on Chinese-English Translation[M].上海:上海外语教育出版社 Shanghai Forengn Language Education Press, 2003.

Wang Sisi 王思思.从文化转向看中国文化在电影字幕中的翻译 On the Translation of Chinese Culture in Film Subtitles from the Perspective of Cultural Turn[J].山西师大学报(社会科学版) Journal of Shanxi Normal University(Social Science Edition),2014,41(S1):107-109.

Wang Ning 王宁.翻译研究的文化转向Cultural Turn in Translation Studies[M].北京:清华大学出版社 Tsinghua University Press,2009

Zhou Tiantian 周甜甜.纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 On the Subtitle Translation of the American Version of Empresses in the Palaceas from the Perspective of Newmark's Translation Theory[J].今古文创 Modern and Ancient Cultural Creation,2020(42):76-77.

Zhang Jing, Li Shuliang张静, 李树春.“文化转向”及其在翻译中的重要性"Cultural Turn" and Its Importance in Translation[J] . 沧州师范专科学校学报Journal of Cangzhou Teachers'College, 2006, (4).

Written by --[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:39, 13 December 2021 (UTC)

Cult Turn EN 2

2021-12-13T12:37:47Z

Li Aixuan: /* References */

'''The Cultural Turn'''

[[The_cultural_turn|Overview Page of The Cultural Turn]]

=Chapter2 Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''=

影视翻译中的文化转向：以《甄嬛传》为例

李爱璇 Li Aixuan, Hunan Normal University, China

=== Abstract ===
The Culture Turn is a term in the field of translation studies which means that translation studies should not only focus on language, but also carry out their own discussion in a broader historical and cultural perspective. Film and television have always played an important role in the communication and exchange of national cultures. The audiovisual subtitle translation even plays a more critical role. In the previous studies, there are a few studies on subtitle translation strategies, but few scholars explore ''Empresses in the Palace'', a classic Chinese TV drama, from the perspective of Cultural Turn. （斜体《甄嬛传》英译名， Corrected by --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:32, 13 December 2021 (UTC)） In this thesis, the author aims to do some research on the translation strategies in audiovisual subtitle translation based on “Cultural Turn”, in order to explore how cultural turn affects audiovisual subtitle translation, and provide a new perspective for later scholars or subtitle translators.

=== Key Words ===
Culture Turn; subtitle translation; ''Empresses in the Palace''; translation strategy

=== 摘要 ===
文化转向是翻译研究领域的一个术语，它意味着翻译研究不仅应该关注语言，而且应该从更广阔的历史和文化视角进行探讨。影视在民族文化的传播和交流中一直发挥着重要作用。影视字幕翻译甚至起着更为关键的作用。在以往的研究中，关于字幕翻译策略的研究并不少，但很少有学者从文化转向的角度来探讨中国经典电视剧《甄嬛传》。本文旨在研究基于“文化转向”的影视字幕翻译中的翻译策略，以探讨文化转向对影视字幕翻译的影响，并为后来的学者或字幕译者提供一个新的视角。

=== 关键词 ===
文化转向；字幕翻译；《甄嬛传》；翻译策略

=== Title ===
Cultural Turn in Film and Television Subtitle Translation：a Case Study of ''Empresses in the Palace''

=== Introduction ===
==== Backgroud of the Study ====
Throughout the translation studies in the 20th century, there are many schools. Each school competes with and affects each other one after another, which makes translation studies flourish in recent decades and establish its status as an independent discipline. As the publication of ''Translation, History and Cultural'' written by Susan Bassnett and André Lefevere, Culture Turn appeared in people's vision in 1990. The translation view of Cultural Turn has brought a new vision and breakthrough to the translation studies, which has been bound by linguistics for a long time.(Lefevere 2001:70)

==== Significance and Objectives of the Study ====
As an effective mass media in the context of globalization, film and television works, with their unique artistic charm and rich cultural carrier, have promoted the cultural communication and exchange between various countries and cultures, and become a powerful tool to strengthen their own cultural characteristics and cross-cultural communication. With the deepening of cultural exchanges among countries, the study of subtitle translation of film and television works has increasingly highlighted its important significance of the times. In this context of cultural output, how to integrate Chinese culture into the external translation of film and television works has become an important aspect of cultural communication. Cultural differences lead to different understanding of culture, so there are higher requirements for the translation of works. The emergence of “cultural turn” has brought a new wind to the translation circle, provided new ideas for the development of translation methods, and provided a new research field to the translation circle.(Lefevere 2001:70)

==== Study Methods ====
This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies against the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, the author explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70)

This paper takes the subtitles of the famous Chinese costume drama ''Empresses in the Palace'' as the research object, and focuses on its translation strategies under the background of “Cultural Turn”. This paper will use the method of theoretical analysis. Based on the widely accepted English version as the corpus source, this paper explores the effect of the English version according to the theory of Domestication and Foreignization and the translation strategies of semantic translation and communicative translation.(Lefevere 2001:70) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:23, 13 December 2021 (UTC)

=== Literature Review ===
==== On Culture Turn ====
In the 1950s and 1960s, the linguistic view of translation dominated translation studies, and translation was regarded as the transformation between different languages. Those scholars try to use linguistic theories (such as semantics, semiotics, pragmatics, etc.) to construct the discipline theory of translation studies. Their representatives are Jakobson, Catford, Nida and Newmark. However, this linguistic view of translation cannot solve the social, cultural, and historical problems well encountered in translation, and translation is affected by the differences of different cultures in ways of thinking and emotional expression. (Zhang Jing Li Shuchun 2006:83)

Since the 1960s, some scholars in Europe, especially in Britain, have successively published some articles and Monographs on studying the class system and reexamining the cultural connotation, which marks the rise of culturology. In the 1970s, scholars represented by Even-Zohar put forward the polysystem theory. This school believes that "literary works are an integral part of the overall framework of society, culture, literature and history" and "the isolated research of a single text is placed in the multi system of culture and literature". (Munday 2001:109;111)

This view has broken through the traditional view of linguistic translation and can be regarded as the bud of cultural turn, although it still does not completely get rid of the shackles of linguistics. Later, Lambert and robyns thought that translation was "less as an interactive process and more as an internal activity". (Gentzler 1993:186)

Later, the academic conference held in Belgium marked the establishment of translation as an independent discipline. Bassnett and Lefevere inherited and developed the polysystem theory and formally put forward the “cultural turn” in translation studies in their book Translation, History, and Culture in 1990. The Cultural School of translation breaks through the linguistic school, which focuses on the comparison and transformation between different languages, and connects translation with society, history, and culture. The “cultural turn” of the cultural school turns the paradigm of translation studies from the pure language level to the translation activities that explore the interaction and restriction of cultural level and various factors, outlines the framework of translation studies, and provides a new research paradigm for translation studies. The cultural turn in translation studies is neither a theory nor a school, but an ideological trend. It refers to the gradual shift from translation studies to cultural studies, that is, to study how culture affects and manipulates the translator, the translation process, and the translated text, and how translation affects the target language culture.(Lefevere 2001:130)

==== On Audiovisual Subtitle Translation ====
The rendering in a different language of verbal message in film media, in the shape of one or more lines of written text, presented on the screen in sync with the original verbal message. (cited in orero 2004:86). Firstly, from the perspective of linguistics, subtitle translation can be divided into intralingual subtitles and interlingual subtitles. The former is mainly responsible for transforming discourse into text. At this time, the language itself has not changed. From the perspective of time, subtitles can be divided into pre-prepared subtitles and live or real time subtitles. Interlingual subtitle translation is the process of translating the source language into the target language while retaining the original sound, and synchronously displaying the target language at the bottom of the screen or picture. The audience can not only feast their eyes on foreign works, but also get as much subtitle information as possible. What we usually call subtitle translation is interlingual subtitle translation. The characteristics of audio-visual language lie in its listening, comprehensiveness, instantaneity, popularity, and non-attention. (Wang 2014:107)

The foreign films introduced in China in the early stage are generally translated by the professional film and television translation department of TV stations or film studios. This translation model has many disadvantages, such as too pursuing commercial value, ignoring artistry and the cultural communication function of subtitles. Today, with the development of network technology, the monopoly of subtitle translation by professional film and television translation departments has been broken, and a large number of voluntary film and television subtitle translation teams have emerged, commonly known as online subtitle groups. In just a few hours after broadcasting abroad, the subtitle group can release subtitles in China, which undoubtedly meets the audience's timeliness needs for film and television works. But at the same time, it should be noted that there are still some problems in the online subtitle group, such as the proliferation of online words, excessive translation cavity, excessive pursuit of translation speed, fuzzy translation standards and so on.(Wang 2014:107)

=== Theoritical Foundation ===
“Translation strategy” is “on the macro level, it mostly refers to the overall assumption, main ways and cultural attitude of conveying the content and form of the original work, such as domestication and alienation; on the micro level, it refers to specific transformation methods or skills, such as substitution, addition, ellipsis, word by word translation, literal translation and annotation, transliteration, as well as sub translation and combined translation. The macro strategy mainly reflects the culture of translation Value orientation; specific methods and techniques are extensive, including both the means of transforming cultural information and the language transformation methods of non-cultural information.”
Peter Newmark, a British translation theorist, is a famous and important figure in the field of translation. He deeply studies the translation thoughts and theories of various schools, has his own unique views on translation, and his discussion on translation theory is incisive and unique. semantic translation and communicative translation are not only the core of Newmark's translation theory, but also the most important part of Newmark’s translation theory.(Jiang 2009:180)

Semantic translation refers to expressing the overall meaning of the original text as accurately as possible within the scope allowed by the semantics and language structure of the target language. Semantic translation is more considered by the original author, trying to ensure that the original author’s unique language expression will not be changed. Semantic translation strives to be accurate and objective, and pays attention to the original author and source language. Therefore, in the process of semantic translation, the text will be interpreted only when there is an objection to the understanding of the original text. However, semantic translation will not ignore readers’reading feelings and understand that the main purpose of the translation is to convey information to readers. Although semantic translation is closer to the language form of the source language, it will still strive to make the translation closer to the reader. Therefore, semantic translation pays more attention to reproducing the thinking process of the original author’s writing.(Zhou 2020:76)

While communicative translation pays more attention to language effect, and strives to make the language effect of the target language on the target readers equal to that of the source language on the original readers as far as possible. Compared with semantic translation, communicative translation is more subjective. Because communicative translation pays more attention to the transmission of language information and the production of language effect, it only pays attention to the reading feeling of the target readers. Communicative translation strives not to cause any reading obstacles and questions to the target readers. Therefore, the translator can also modify the source text appropriately when considering the target language environment and respecting the source text.(Zhou 2020:76)

The domestication“requires the translator to approach the target language readers and adopt the target language expression used by the target language readers to convey the content of the original text.” Sun Zhili believes that the domestication is mainly manifested at the pure language level and can be used as a compromise means to solve the language barrier. However, in translation, language can be transformed or even domesticated, but cultural characteristics should not be changed. If it is not a last resort, it is particularly inappropriate to domesticate, but to convey it as much as possible. Excessive domestication may not play the role of translation in disseminating foreign cultures and customs.(Sun 2003:34)

Compared with the domestication, the foreignization translation method “requires the translator to approach the author and adopt the source language expression corresponding to the author to convey the content of the original text.” Therefore, Sun Zhili pointed out that the core of the foreignization is to convey the “heterogeneous factors” of the original text as much as possible, is to try to convey the exotic cultural characteristics, foreign language forms and the author's abnormal writing techniques of the original work.(Sun 2003:40)

=== Translation Strategies used in the Subtitle Translation of ''Empresses in the Palace'' ===
==== Domestication and Foreignization ====

Subtitle translation of film and television plays is a balanced art, which accurately and appropriately conveys the wonderful plot and language and cultural information to the target audience, so that the audience can obtain the aesthetic experience, but also avoid the obstacles and deficiencies of cultural exchange. The translation of Empresses in the Palace, which has attracted much attention and many difficulties, should achieve a perfect balance between the huge language and cultural differences between China and the United States, and should also combine the two translation strategies of "domestication" and "alienation". Domestication is to use the expression and cultural image of the target language to convey the original meaning and respect the language habits of the target language audience. Foreignization is to use the expression and cultural image of the source language to convey the content of the original text and highlight the “exotic style” of the source language in the translation. (Liu 2017:67)

In the subtitle translation of ''Empresses in the Palace'', the translation strategy of "domestication" is adopted for the cultural factors that are difficult to convert, so as to avoid the obstacles to understanding caused by the translation. For the cultural factors with unique national characteristics that can be transformed, the “alienation” translation strategy can be adopted. It is worth noting that excessive foreignization translation will make the audience of film and television dramas feel obscure and difficult to understand due to the intervention of many foreign cultures, and finally lose their interest in watching. Although excessive domestication translation makes the translation easy to understand, it will lose the text characteristics and exotic flavor of the source language, and make the target audience lose the opportunity and fun to understand foreign culture. For example, the translation of Chinese network catchwords in British costume dramas, or the street speaking of the United States in Chinese court dramas, will destroy the harmonious beauty of the original film and television works.(Liu 2017:67)

In view of the large number of cultural images rich in cultural connotation in Empresses in the Palace, the proper use of foreignization translation can maintain the cultural connotation and artistic characteristics of the original film and television works. (Liu 2017:67)

SL: 袅楚宫腰

TL: the slim waist of the containers of the Chu Palace

For example, the protagonist’s name “Huan Huan” is interpreted to “袅楚宫腰” which is translated into “the slim waist of the containers of the Chu Palace” in the American version. The cultural background of the state of Chu is added here, which reflects the profound cultural connotation of its name and the hero's love for the heroine. However, it may be slightly obscure for the audience of American TV dramas who do not understand the ancient cultural history of China. (Liu 2017:67)

SL:一片冰心在玉壶

TL: a jade vessel is the symbol of a pure heart.

In the play, Wen Shichu quoted this ancient poems to express his confession to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The use of the two translation strategies is not independent. The two strategies can achieve effective combination and appropriate re-creation of the source language content, to transform cultural images, make up for cultural gaps and achieve the purpose of cultural transmission. (Liu 2017:67)

In the play, Wen Shichu quoted this ancient poems to express his love to Zhen Huan. This interpretative translation explains the symbolic meaning of ice heart and jade vessel, which makes the target audience understand easily. The two strategies can achieve effective combination and appropriate re-creation of the source language content, and is good for transforming cultural images, making up for cultural gaps and achieving the purpose of cultural transmission. (Liu 2017:67) Corrected by--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:29, 13 December 2021 (UTC)

The focus of foreignization translation strategy coincides with the cultural turn to examine translation from a cultural perspective. Through foreignization translation, the translator can try to convey the source language culture to the target language readers, to retain the different cultural characteristics of the source language. Instead of just considering the acceptability and cultural context of the target language readers in order to better achieve the smoothness of the translation. Finally, readers can also examine the gains and losses of the translation by feeling the culture in the original, and gain a new understanding of the culture of other countries to a certain extent. (Liu 2017:67)

The reason why we gradually tend to foreignization translation strategy in the continuous practice of domestication and foreignization is that under the influence of the tension of foreignization translation method, we deeply feel the cultural interaction brought by foreignization translation in the current era of cultural diversity brought about by globalization, and retain and consolidate their own cultural characteristics through foreignization translation, It has also promoted global cultural exchanges. Nevertheless, in the specific translation practice, when facing the choice of translation strategies, it should still be measured and balance the harmony between domestication and foreignization. No translation method can be viewed in isolation, and domestication must also be properly considered when viewing alienation. There is neither complete domestication nor complete alienation. In translation practice, the assistance and cooperation of domestication and foreignization should be considered. Only in this way can there be no farfetched and unreasonable translation in some places. Therefore, properly incorporated domestication translation method can make the translation more in line with the reading habits of target language readers and more acceptable to them.(Liu 2017:67)

==== Semantic Translation and Communicative Translation ====

SL：那就赏夏常在一丈红吧。

TL：Then I will award Attendant Xia the Scarlet Red.

In ''Empresses in the Palace'', this sentence was said by imperial concubine Hua, which meant that Xia Changzai, a women in the emperor's harem who violated the palace rules, would be punished in the palace. It was to take a two inch thick and five foot long wooden board to beat the prisoner below the waist, regardless of the number, until her muscles and bones were broken and her flesh and blood were blurred. It looked bright red from a distance. Therefore, “一丈” in the original text does not represent accurate measurement, and there is no need to translate “一丈红” into “3.33-meter red” in the translation. “Scarlett” in the translation means “sinful, unforgivable and licentious”, while Xia Chang was punished for violating palace rules in the play, so the translation of “the Scarlett Red” is not in line with the plot setting. Although the meaning of “the Scarlett Red” can be better understood by the target language audience, it will cause ambiguity. The derogatory meaning of this word can reflect the irony of the word “award”. Overall, it is feasible, but there is still room for improvement.(Zhou 2020:76)

SL：奴才如此，必然是上梁不正才下梁歪。

TL：They have surely been influenced by the improper behavior of their mistresses．

In ''Empresses in the Palace'', this is imperial concubine Hua’s evaluation of the tyranny of slaves in the imperial palace. She thinks that this is because their masters’ virtue is notorious and is imitated by their subordinates. “The upper beam is not straight and the lower beam is crooked” is a daily saying. In ancient China, most residents lived in houses with civil structures, which were basically composed of buildings, columns, beams, purlins, rafters and so on. “Beam” is a long wood that is erected on the columns along the front and rear directions. Generally, two houses with wooden structure should have three beams and six columns, and the construction process should also be based on precise calculation. Therefore, once the upper beam is misplaced and affects the whole house structure, the lower beam will naturally be crooked. Later, “the upper beam is not right and the lower beam is crooked” was used to compare the main people, such as leaders or elders, who do things against the law and moral standards, and the rest will learn to do so. This idiom in the original text is related to Chinese architectural structure, which may be difficult for the target language readers to understand. Moreover, for the translation of proverbs, we don't need to translate words by words, just translate its connotation. Although the translation of these two sentences has nothing to do with the source language, considering the cultural environment of the target language, the translation will be more in line with the development of the plot.(Zhou 2020:76)

SL：先敬罗衣后敬人。

TL：The clothing completes the person．

In the plot of ''Empresses in the Palace'', Xia Dongchun was accidentally splashed with tea by An Lingrong and humiliated An by virtue of her own background. This line is what Zhen Huan said to An after the event. Its extended meaning is to satirize people by their appearance and judge a person’s character according to their appearance and dress. In the original text, “Luoyi” refers to silk clothes, which is another name for ancient clothes. The Chinese audience knows that it generally refers to clothes, but the target language audience can't understand the ancient Chinese language and culture. Therefore, the translator did not translate the word literally according to the source language, but followed the principle of communicative translation. In order to highlight the language effect, he translated it freely to avoid causing reading difficulties to the target language audience.(Zhou 2020:76)

SL：嬛嬛，你给了朕一对龙凤呈祥。

TL ：Huan Huan，you have given me a dragon and a phoenix of good fortune.

In the plot of ''Empresses in the Palace'', the emperor said this to Zhen Huan, who had just given birth to a pair of twins. “龙凤呈祥” means auspicious events, that is, giving birth to both boy and girl in the play. “Dragon and Phoenix fetus” means twins of a man and a woman, “dragon” describes men and “phoenix” describes women. Therefore, the English translation is “pigeon pair”. However, in translation, the translator did not translate “dragon and phoenix” into “pigeon pair”, but faithfully translated it into “a dragon and a phoenix of good fortune”. This is because in ancient China, “dragon” and “phoenix” were used to refer to emperors, noble people, or people with excellent talents. The emperor's descendants are people of noble status, and the birth of “dragon and Phoenix fetus” in China is a great auspicious thing, so the literal translation of “a dragon and a phoenix of good fortune” can not only express the substantive meaning of the original text, but also correspond to the translation.(Zhou 2020:76)

=== The Influence of Culture Turn on Chinese Subtitle Translation ===

With the development of “cultural turn”, feminist translation theory, postcolonial translation theory and post-imperialist translation theory came into being. Their characteristics are more concerned about politics, race and other political elements. At the same time, people gradually realize that the changes of any element in the cultural system are not independent, but exist and develop in coordination with each other. Under the influence of “cultural turn”, translation is regarded as a rewriting of the original text under specific conditions. The rewriting is produced under the action of history, society, culture and context. The translator puts various factors together to form a new text, in order to solve the untranslatable problem caused by cultural conflict in Translation.(Wang 2014:109)

Language is the carrier of culture, and the presentation of meaning is inevitably affected by cultural factors. In subtitle translation, cultural factors in both the source language and the target language play a key role. As a popular academic topic, cultural research has overwhelmed the general international academic research in the field of social science and art, especially translation research. Translation studies and cultural studies may be two different disciplines. They have a lot in common. They are interdisciplinary sciences and new disciplines in social sciences. Therefore, the development of cultural studies provides experience for the development of translation studies and plays a great role in promoting translation studies.(Wang 2014:109)

During the globalization of economic, cultural and information, the rapid development of mass media has a profound impact on our social life and ideology. As the most intuitive and vivid cultural product and carrier, film and television works are more and more welcomed by the public. Different from ordinary written translation, culture can only be conveyed by symbols. The audio-visual information synchronized with subtitles in film and television works can effectively interpret and convey culture. The multimedia nature of film and television works provides many favorable conditions for overcoming cultural differences.(Wang 2014:109)

The distinctive national cultural characteristics in Empresses in the Palace reflect the cultural and aesthetic value of national film and television works, which is the greatest advantage of Chinese film and television art. In the process of subtitle translation, the appropriate use of translation strategies can avoid the lack and fracture of cultural expression. While respecting the audience’s viewing feelings, it spreads Chinese traditional culture, and combines the mass characteristics of film and television works with the task of cultural communication. Only by showing the traditional oriental culture in modern western language can Chinese film and television works.(Wang 2014:109)

With the development of the film industry and the advent of the information age, the domestic audience’s demand for authentic films is growing. Therefore, subtitles for imported foreign films, especially British and American films, meet the audience's demand to a certain extent. This kind of film after subtitle translation can not only preserve the auditory enjoyment brought by the original language to the audience, but also promote the cultural transmission of film as a media. Subtitle translation is not only the transformation between two languages, but also a cultural transformation and the implantation of the target culture.(Wang 2014:109)

For a long time, film and television subtitle translation has attached great importance to the translation of cultural factors. However, many translators are vulnerable to the influence of conservative mentality such as cultural superiority, ethnocentrism, and cultural stereotypes. They cannot face up to his national culture in the process of translation with an equal attitude, so as to psychologically refuse the infiltration of other cultures, blindly use the way of domestication, and even use words with strong national color. The cultural transmission of translation does not just mean being faithful to the source culture, which will fall into another extreme position. The films produced by various countries have more or less the special brand of their own culture, which is inevitable. The plot, content or characters in the film are derived from life, but higher than life, which itself has cultural uniqueness. (Wang 2014:109)

When dealing with culture related subtitle translation, the translator should first investigate whether the cultural nature of the subtitle must be translated or can be omitted. Secondly, one should pay attention to the continuity and communication of culture, try to select the cultural characteristics that are easy for the target audience to accept, and omit some relevant information that has no great impact on the film. According to different types of films, the requirements for subtitle translation are also different. Comedies require subtitle translators to maximize the laughter of the original language, so that the target language audience can feel it and achieve the purpose of entertaining the public. Tragic films require subtitle translators to use the text of the original language to stimulate the inner resonance of the audience and follow the emotional life and death of the film characters. The requirements of subtitle translators will be different for films with different themes. Therefore, subtitle translation is by no means easy. How to make film and television subtitle translation equal to the original film not only in language, but also in culture is a new challenge for the translation community.(Wang 2014:109)

=== Conclusion ===
This paper mainly analyses the cultural turn in film and television subtitle translation and illustrates it with an example of Empresses in the Palace. The writer tried to find some proper strategies to deal with culture transmission problems in visual-audio subtitle translation especially the translation from Chinese to English, which are the combination of literal translation and free translation and the combination of domestication and foreignization. Translator’s task is to make a full use of those kind of translation strategies to transmit national culture, especially in such a condition of globalization and cultural communication. Moreover, the translation of the subtitle of Empresses in the Palace can be a good example for other translators. (Jiang 2009:14)

However, one case cannot be enough to illustrate the phenomenon of culture turn and there are few good film or television plays in Chinese, let alone the transmission our Chinese culture. Moreover, there must be more translation strategies could be used in subtitle translation, waiting us to explore.(Jiang 2009:14)

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