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20211229 homework

2021-12-30T07:14:06Z

Li Wen: /* 李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500 */

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]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.

==陈静 Chén Jìng 国别女 202020080595==

心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。

The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,"I heard that a saint has seven hole in his heart." Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)

The heart is one more hole than Bigan. Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, "I heard that the heart of Bigan.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)

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

古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。

病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。

The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)

The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever.
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

故以“病如西子胜三分”形容黛玉病弱而娇美。胜：胜过，超过。下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。
Therefore, Mascara Jade Forest is described as weak and beautiful by "sick as Xizi wins three points". Next, Precious Jade Merchant wrote "Pingping" for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. --[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)

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

教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。

“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：

Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as "Jiuda". Later, the big families followed the suit.
The sentence "flower spirit attacks people" is half of a sentence in "Village Residence Book Xi" by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini

Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.

The sentence "flower spirit attacks people" is half of a sentence in "Book of Happiness Living in Village" by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)

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

“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”

Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。

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

省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)

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

意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。

This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, "introspection" is an abbreviation of "morning introspection". --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)

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

指子女早晨向父母请安问候的礼节。

第四回薄命女偏逢薄命郎，葫芦僧判断葫芦案

It refers to the politeness children greet their parents in the morning.

The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)

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

却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。

Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。

Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)

Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些《女四书》、《烈女传》读读，认得几个字，记得前朝这几个贤女便了；

When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)

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

却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。

She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。

Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)

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

那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；

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

这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。

But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)

But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)

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

小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”

I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!" "This is a scandal!" fumed Rainvillage Merchant. "How can men commit a murder and go without punishment?"--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang

He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)

He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)

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

雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。

Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)

Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)

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

原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。

It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)

The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)

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

便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. "Friendships," Rainvillage Merchant remarked, putting on a smiling expression, "contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?" The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. "Friendships," Yue-ts'un remarked, putting on a smiling expression, "contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down." The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)

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

雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”

Chia Yu-tsun asked, "Why did you not grant me the passport just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? " Yu-tsun was confused and thus continued, "guard officer?".--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)

Chia Yu-tsun asked, "Why did you not grant me the warrant just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? " Yu-tsun was confused and thus continued, "What's the protection charm?".--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！

The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)

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

所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”

“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)

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

一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。
On the one hand, while taking out a copy of the "protection charm" from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)
At the same time, he took out a copy of "protecting official Fu" from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)

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

阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: "Wang master came to visit." Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: "the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)

Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : "Wang master come to visit." Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: "the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)

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

今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？

The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)

The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)

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

你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：

You probably know where the murderer is hiding? " The doorman smiled and said, "to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)

==刘薇 Liú Wēi 国别女 202120081507==

这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。

The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei

The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)

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

所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。

So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)

So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；

He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)

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

这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！

human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?" Yu Cun replyed:"How should I know?" Menzi laughed coldly and said, "This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)

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

他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。

She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple." Yu Cun shocked: "So it's her! I heard that she was abducted at five, but why is she being sold recently?" Menzi said:"This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)

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

当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。

When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)

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

偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’

The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that "I don’t remember what happened when I was a child".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)

The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)

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

这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。

There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)

There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。

I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)

I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)

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

只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。

Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)

You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)

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

若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。

If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)

It would be better if Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)

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

这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？

“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)

“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)

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

这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。

Finally, Pity Zhen could get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)

Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)

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

这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？

It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?" The servant said with a smile, "Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?"--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)

It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)

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

小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”

I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)

I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)

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

雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：

Rain Village Merchant says: " What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable."The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)

Rain Village Merchant said:" What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable." Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)

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

“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”

“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)

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

雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。

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

凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。

Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a "violent illness" and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)

The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a "violent illness" and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)

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

老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：

The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)

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

今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。

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

众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。

The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)

The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)

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

老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。

The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)

What about this plan, Master?" Yu Cun laughed, "No, it's not good. I'll have to think about it again, so that I can convince them." The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)

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

果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.

Seeing Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)

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

冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。

The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said "nephew has finished, do not have to worry about" words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)

The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said "things about your nephew has been finished, do not need to worry about" words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)

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

此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。

It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)

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

且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；

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

且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。

In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.

In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)

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

虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。

Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)

Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)

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

寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。

Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .

Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。

His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)

ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。

Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)

Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。

Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)

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

薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。

Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)

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

便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。

Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)

Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”

No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:" I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!"

No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: " I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan

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

因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”

So he discussed with his mother, "Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up." His mother said, "Why do you have to be so flashy? "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan

So he discussed with his mother, "Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, "Why do you have to be so flashy? "--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)

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

咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”

Now we go to the capital Beijing, and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)

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

薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。

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

况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：

In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)

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

守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”

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

薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.

Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”

Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)

Seeing that her brother was promoted, Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)

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

喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。

Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)

Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)

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

薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。

Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, "my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)

Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, "my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)

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

咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”

“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)

“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)

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

薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”

Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, "the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time."

Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated to Lady King privately, "the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)

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

王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。

Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)

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

另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；

There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)

There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；

During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.

During the day, Precious Hairpin Marshgrass was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)

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

一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。

at the same time he directed servants to go and sweep the apartments of their own house and they should move into them when they were ready.
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)

At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)

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

今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.

Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)

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

三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：

Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)

==Nadia 202011080004==

这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。

==Mahzad Heydarian 玛莎 202021080004==

日后如何，下回分解。葫芦僧判断葫芦案──
What will happen eventually? The monk in the ground temple will abuse the law.

==Mariam Toure 2020GBJ002301==

“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。

==Rouabah Soumaya 202121080001==

指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。

Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.

==Muhammad Numan 202121080002==

女子无才便是德──语出明·张岱《公祭祁夫人文》：

==Atta Ur Rahman 202121080003==

“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”

==Muhammad Saqib Mehran 202121080004==

(又见清·石成金《家训钞》引)
Translation: (See also the quote from Shi Chengjin's "Family Instructions")

==Zohaib Chand 202121080005==

意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。

==Jawad Ahmad 202121080006==

《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。
English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of

virtuous women in past dynasties to publicize the feudal virtues of women.

==Nizam Uddin 202121080007==

《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。

==Öncü 202121080008==

《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。

"Biographies of Exemplary Women": compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)

==Akira Jantarat 202121080009==

纺绩女红(gōng工)──泛指女子应做的家务活计。

Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)

Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。

''Fangji'': "Fang" means to spin silk into yarn, "Ji" means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)

''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)

==Asep Budiman 202111080020==

女红：又作“女工”或“女功”。

Female Red (''gong''): is also known as "female worker" or "female performer". --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)

Female Red: also known as "female worker" or "female performer". --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

是指纺织、缝纫、刺绣等。

Refers to textiles, sewing, embroidery, etc. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw

20211229 homework

2021-12-30T07:11:39Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.

==陈静 Chén Jìng 国别女 202020080595==

心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。

The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,"I heard that a saint has seven hole in his heart." Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)

The heart is one more hole than Bigan. Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, "I heard that the heart of Bigan.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)

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

古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。

病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。

The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)

The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever.
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

故以“病如西子胜三分”形容黛玉病弱而娇美。胜：胜过，超过。下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。
Therefore, Mascara Jade Forest is described as weak and beautiful by "sick as Xizi wins three points". Next, Precious Jade Merchant wrote "Pingping" for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. --[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)

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

教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。

“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：

Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as "Jiuda". Later, the big families followed the suit.
The sentence "flower spirit attacks people" is half of a sentence in "Village Residence Book Xi" by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini

Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.

The sentence "flower spirit attacks people" is half of a sentence in "Book of Happiness Living in Village" by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)

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

“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”

Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。

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

省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)

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

意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。

This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, "introspection" is an abbreviation of "morning introspection". --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)

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

指子女早晨向父母请安问候的礼节。

第四回薄命女偏逢薄命郎，葫芦僧判断葫芦案

It refers to the politeness children greet their parents in the morning.

The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)

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

却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。

Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。

Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)

Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些《女四书》、《烈女传》读读，认得几个字，记得前朝这几个贤女便了；

When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)

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

却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。

She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。

Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)

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

那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；

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

这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。

But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)

But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)

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

小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”

I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!" "This is a scandal!" fumed Rainvillage Merchant. "How can men commit a murder and go without punishment?"--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang

He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)

He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)

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

雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。

Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)

Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)

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

原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。

It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)

The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)

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

便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. "Friendships," Rainvillage Merchant remarked, putting on a smiling expression, "contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?" The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. "Friendships," Yue-ts'un remarked, putting on a smiling expression, "contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down." The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)

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

雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”

Chia Yu-tsun asked, "Why did you not grant me the passport just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? " Yu-tsun was confused and thus continued, "guard officer?".--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)

Chia Yu-tsun asked, "Why did you not grant me the warrant just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? " Yu-tsun was confused and thus continued, "What's the protection charm?".--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！

The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)

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

所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”

“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)

[[Media:Example.ogg]]==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。
On the one hand, while taking out a copy of the "protection charm" from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)
At the same time, he took out a copy of "protecting official Fu" from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)

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

阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: "Wang master came to visit." Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: "the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)

Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : "Wang master come to visit." Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: "the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)

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

今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？

The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)

The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)

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

你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：

You probably know where the murderer is hiding? " The doorman smiled and said, "to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)

==刘薇 Liú Wēi 国别女 202120081507==

这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。

The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei

The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)

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

所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。

So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)

So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；

He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)

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

这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！

human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?" Yu Cun replyed:"How should I know?" Menzi laughed coldly and said, "This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)

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

他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。

She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple." Yu Cun shocked: "So it's her! I heard that she was abducted at five, but why is she being sold recently?" Menzi said:"This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)

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

当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。

When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)

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

偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’

The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that "I don’t remember what happened when I was a child".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)

The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)

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

这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。

There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)

There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。

I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)

I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)

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

只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。

Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)

You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)

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

若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。

If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)

It would be better if Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)

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

这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？

“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)

“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)

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

这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。

Finally, Pity Zhen could get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)

Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)

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

这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？

It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?" The servant said with a smile, "Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?"--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)

It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)

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

小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”

I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)

I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)

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

雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：

Rain Village Merchant says: " What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable."The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)

Rain Village Merchant said:" What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable." Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)

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

“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”

“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)

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

雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。

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

凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。

Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a "violent illness" and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)

The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a "violent illness" and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)

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

老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：

The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)

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

今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。

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

众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。

The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)

The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)

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

老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。

The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)

What about this plan, Master?" Yu Cun laughed, "No, it's not good. I'll have to think about it again, so that I can convince them." The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)

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

果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.

Seeing Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)

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

冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。

The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said "nephew has finished, do not have to worry about" words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)

The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said "things about your nephew has been finished, do not need to worry about" words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)

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

此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。

It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)

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

且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；

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

且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。

In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.

In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)

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

虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。

Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)

Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)

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

寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。

Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .

Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。

His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)

ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。

Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)

Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。

Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)

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

薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。

Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)

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

便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。

Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)

Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”

No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:" I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!"

No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: " I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan

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

因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”

So he discussed with his mother, "Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up." His mother said, "Why do you have to be so flashy? "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan

So he discussed with his mother, "Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, "Why do you have to be so flashy? "--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)

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

咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”

Now we go to the capital Beijing, and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)

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

薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。

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

况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：

In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)

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

守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”

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

薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.

Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”

Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)

Seeing that her brother was promoted, Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)

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

喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。

Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)

Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)

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

薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。

Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, "my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)

Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, "my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)

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

咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”

“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)

“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)

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

薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”

Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, "the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time."

Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated to Lady King privately, "the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)

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

王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。

Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)

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

另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；

There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)

There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；

During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.

During the day, Precious Hairpin Marshgrass was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)

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

一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。

at the same time he directed servants to go and sweep the apartments of their own house and they should move into them when they were ready.
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)

At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)

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

今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.

Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)

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

三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：

Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)

==Nadia 202011080004==

这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。

==Mahzad Heydarian 玛莎 202021080004==

日后如何，下回分解。葫芦僧判断葫芦案──
What will happen eventually? The monk in the ground temple will abuse the law.

==Mariam Toure 2020GBJ002301==

“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。

==Rouabah Soumaya 202121080001==

指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。

Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.

==Muhammad Numan 202121080002==

女子无才便是德──语出明·张岱《公祭祁夫人文》：

==Atta Ur Rahman 202121080003==

“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”

==Muhammad Saqib Mehran 202121080004==

(又见清·石成金《家训钞》引)
Translation: (See also the quote from Shi Chengjin's "Family Instructions")

==Zohaib Chand 202121080005==

意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。

==Jawad Ahmad 202121080006==

《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。
English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of

virtuous women in past dynasties to publicize the feudal virtues of women.

==Nizam Uddin 202121080007==

《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。

==Öncü 202121080008==

《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。

"Biographies of Exemplary Women": compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)

==Akira Jantarat 202121080009==

纺绩女红(gōng工)──泛指女子应做的家务活计。

Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)

Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)

==Benjamin Wellsand 202111080118==

纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。

''Fangji'': "Fang" means to spin silk into yarn, "Ji" means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)

''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)

==Asep Budiman 202111080020==

女红：又作“女工”或“女功”。

Female Red (''gong''): is also known as "female worker" or "female performer". --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)

Female Red: also known as "female worker" or "female performer". --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

是指纺织、缝纫、刺绣等。

Refers to textiles, sewing, embroidery, etc. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw

20211222 homework

2021-12-30T07:10:10Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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?" Seeking-Spring Merchant 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。

Precious Jade Merchant 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: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, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant 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 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 smiling, "that you have not turned in as yet？"
Mascara Jade 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 Grandma Merchant, because he came to Lady King. Just as Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing'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 Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 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)

“Honor” 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

2021-12-30T07:07:43Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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)

Rainvillage Merchant, 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 Rainvillage Merchant, 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 Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)

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

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。

Rainvillage Merchant 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 Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant 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)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 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；
Ju-hai 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?" Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village 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 to Ju-hai: "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 Mascara Jade Forest 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 Mascara Jade Forest.--[[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 Rainvillage Merchant 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. Rainvillage Merchant 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 Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when Rainvillage Merchant 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. Rainvillage Merchant 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 Rainvillage Merchant. 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 Mascara Jade 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. Mascara Jade 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 Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade 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 Mascara Jade Forest 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 Forest 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 Mascara Jade entered the room. Realizing that this was her grandmother, she 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 Mascara 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.

Grandma Merchant then introduced them respectively to Mascara Jade Forest: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." She greeted them one by one. Grandma Merchant 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. Mascara Jade Forest 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 Mascara Jade Forest'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, Grandma Merchant couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Mascara Jade.--[[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)

Mascara Jade Forest didn't know 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: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 Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant'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)

Lady King 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 ." Splendid Phoenix King 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。”

Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant 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 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 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)

20211222 homework

2021-12-30T07:02:13Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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?" Seeking-Spring Merchant 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。

Precious Jade Merchant 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: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, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant 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 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 smiling, "that you have not turned in as yet？"
Mascara Jade 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 Dowager Lady Jia, because he came to Lady Wang. Just as Lady Wang and WE Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of Lady 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 Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 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)

“Honor” 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

2021-12-30T06:54:26Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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)

Rainvillage Merchant, 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 Rainvillage Merchant, 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 Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)

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

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。

Rainvillage Merchant 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 Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant 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)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 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?" Rain-Village obeyed,and was very satisfied . Ruhai then took some gifts and walked away, and Rain-Village 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 Mascara Jade Forest 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 Mascara Jade Forest.--[[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 Rainvillage Merchant 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. Rainvillage Merchant 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 Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)

One day, when Rainvillage Merchant 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. Rainvillage Merchant 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 Rainvillage Merchant. 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 Mascara Jade 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. Mascara Jade 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 Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade 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 Mascara Jade Forest 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 Forest 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 Mascara Jade entered the room. Realizing that this was her grandmother, she 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 Mascara 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.

Grandma Merchant then introduced them respectively to Mascara Jade Forest: "This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife." She greeted them one by one. Grandma Merchant 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. Mascara Jade Forest 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 Mascara Jade Forest'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, Grandma Merchant couldn't help being affected painfully. "Of all my chilren I loved your mother best," she told Mascara Jade.--[[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)

Mascara Jade Forest didn't know 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: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 Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant'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)

Lady King 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 ." Splendid Phoenix King 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。”

Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant 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 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 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

2021-12-30T06:47:28Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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?" Rainvillage Merchant 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)
--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:39, 29 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 Rainvillage Merchant 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)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:40, 29 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." Rain-Village 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。
Yucun said: "Last year when I went to Jinlin because I wanted to visit The Remaining Vestiges of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ningguofu, street west is Rongguofu, 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)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:01, 29 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. Treasure Merchant also has a son named Prosperity Merchant who is 16 years old. Now, Lord Honor Merchant 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。

Treasure Merchant would not do any proper thing but to amuse himself. Even if he turns the Ning-Guo House upside down, no one there dares to stop him. Then I will tell you about Rong House 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 Gold Mausoleum as his wife. They had two children: the elder son Pardon Merchant, and the second named Master Merchant. 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 Pardon Merchant, 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, Master Merchant, 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 Pardon Merchant inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Master Merchant, 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 Djia Dai-schan (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 Master Merchant, 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。

Rainvillage Merchant laughed, "It's really strange. I'm afraid this man has a lot of history." Leng Zixing laughed coldly and said, "Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Master Jia 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)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:51, 29 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's mansion aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s eldest 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 Grandma History 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 .Rainvillage Merchant 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 Grandma History 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.” Rainvillage Merchant 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 Family Merchant 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. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)

But how could that the Family Merchant 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. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant.--[[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. Rainvillage pounded the table with a laugh. 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 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

2021-12-27T11:32:17Z

Li Wen: /* 李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500 */

20211229 homework

2021-12-27T11:31:39Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

20211222 homework

2021-12-27T11:30:11Z

Li Wen: /* 李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500 */

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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。”

Grandma Merchant smiled and said, "nonsense again. Have you ever seen her?" Baoyu said with a smile, "although I haven't seen her, 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: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。”

Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, "has your sister ever read?" Daiyu 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)

Baoyu went to Daiyu and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Daiyu 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

==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)

==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 King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 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 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 Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[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 Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen 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)

==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)

==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。

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 Yingchun'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 Yingchun'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 Tanchun. 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 Tanchun'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 Tanchun has a great elegant temperament.
"The third" two sentences ─ thses are the description of the image of Xi Chun.--[[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 Tanchun's elegance.
The two sentences containing “ the third” — are the image depiction of Sichun.--[[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 the Xichun, who is still young and body and appearance are not developed.
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, 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 Xichun, 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。

“Rong” 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 Xue Baochai. 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 Xue Baochai. 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, Zhu xi 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》：

==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。
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

2021-12-27T11:28:55Z

Li Wen: /* 李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501 */

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。”

Grandma Merchant smiled and said, "nonsense again. Have you ever seen her?" Baoyu said with a smile, "although I haven't seen her, 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: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。”

Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, "has your sister ever read?" Daiyu 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)

Baoyu went to Daiyu and sat down. He looked at her carefully, because he asked, "has you ever went to school?" Daiyu 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

==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)

==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 King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 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 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 Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[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 Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen 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)

==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)

==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)

==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。

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 Yingchun'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 Yingchun'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 Tanchun. 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 Tanchun'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 Tanchun has a great elegant temperament.
"The third" two sentences ─ thses are the description of the image of Xi Chun.--[[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 Tanchun's elegance.
The two sentences containing “ the third” — are the image depiction of Sichun.--[[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 the Xichun, who is still young and body and appearance are not developed.
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, 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 Xichun, 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。

“Rong” 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 Xue Baochai. 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 Xue Baochai. 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, Zhu xi 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》：

==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。
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)

Theor App Lit EN 4

2021-12-15T07:36:32Z

Li Wen: /* Chapter Five On the Creative Treason in English Versions of Bian Cheng */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

==Studies of Creative Treason Theory at Home and Abroad==
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

==Studies of Bian Cheng at Home and Abroad==
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

==Definition of Creative Treason==
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

==Significance of Creative Treason==
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

==Bian Cheng and its Author Shen Congwen ==
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

==English Versions of Bian Cheng==
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

==Personalized Translation==
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

===Domestication===
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

===Foreignization===
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

===Free Translation===
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

==Intentional Mistranslation and Omission==
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

===Mistranslation===
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

===Omission===
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:35:01Z

Li Wen: /* Chapter Four Brief Introduction of Bian Cheng */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

==Studies of Creative Treason Theory at Home and Abroad==
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

==Studies of Bian Cheng at Home and Abroad==
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

==Definition of Creative Treason==
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

==Significance of Creative Treason==
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

==Bian Cheng and its Author Shen Congwen ==
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

==English Versions of Bian Cheng==
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:34:25Z

Li Wen: /* Chapter Three Brief Introduction of Creative Treason */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

==Studies of Creative Treason Theory at Home and Abroad==
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

==Studies of Bian Cheng at Home and Abroad==
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

==Definition of Creative Treason==
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

==Significance of Creative Treason==
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:33:33Z

Li Wen: /* Chapter Two Literature Review */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

==Studies of Creative Treason Theory at Home and Abroad==
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

==Studies of Bian Cheng at Home and Abroad==
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:32:57Z

Li Wen: /* 1.2 Research Significance */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:32:28Z

Li Wen: /* 1.1 Research Background */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==1.2 Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:31:28Z

Li Wen: /* Chapter One Introduction */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

==1.1 Research Background==
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

==1.2 Research Significance==
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:30:36Z

Li Wen: /* Chapter One Introduction */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

====1.1 Research Background====
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

====1.2 Research Significance====
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Translation Theories Applied to Literary Translations

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Li Wen: /* 4李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example */

Theor App Lit EN 4

2021-12-15T07:18:56Z

Li Wen: /* 摘要 */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:18:10Z

Li Wen: /* Abstract */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key Words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:17:24Z

Li Wen: /* Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:16:20Z

Li Wen: /* Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=

=Abstract=Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:14:39Z

Li Wen: /* Li Wen, 李雯, Hunan Normal University,China */

=Creative Treason in Literary Translation—Take English Versions of Bian Cheng as Example=
Li Wen, 李雯, Hunan Normal University,China

=Abstract=Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Theor App Lit EN 4

2021-12-15T07:12:34Z

Li Wen: /* 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example */

=Li Wen, 李雯, Hunan Normal University,China=

=Abstract=Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
关键词：《边城》；文学翻译；创造性叛逆

=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.

1.1 Research Background
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

1.2 Research Significance
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.

2.1 Studies of Creative Treason Theory at Home and Abroad
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

2.2 Studies of Bian Cheng at Home and Abroad
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.

3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

3.2 Significance of Creative Treason
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.

4.1 Bian Cheng and its Author Shen Congwen
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

4.2 English Versions of Bian Cheng
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

5.1 Personalized Translation
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.

5.1.1 Domestication
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

5.1.2 Foreignization
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

5.1.3 Free Translation
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

5.2 Intentional Mistranslation and Omission
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

5.2.1 Mistranslation
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

5.2.2 Omission
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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Translation Theories Applied to Literary Translations

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Li Wen: /* 3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory */

Translation Theories Applied to Literary Translations

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Li Wen: /* 4Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example */

Translation Theories Applied to Literary Translations

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Li Wen: /* 4李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example */

Translation Theories Applied to Literary Translations

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Li Wen: /* 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking Le Rouge et le Noir as an example */

Translation Theories Applied to Literary Translations

2021-12-15T06:42:06Z

Li Wen: /* 6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例） */

Translation Theories Applied to Literary Translations

2021-12-15T06:37:04Z

Li Wen: /* 6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例） */

'''Translation Theories Applied to Literary Translations'''

[[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
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=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=
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=Li Wen, 李雯, Hunan Normal University,China=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

===References===
[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月

[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)

[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007

[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018

[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011

[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990

[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Theor App Lit EN 3

2021-12-14T02:18:44Z

Li Wen: /* Cultural Equivalence */

=3 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
Zhan Ruoxuan, 詹若萱, Hunan Normal University,China

===Abstract===
This paper attempts to discuss subtitle translation from the aspect of Nida’s Functional Equivalence Theory by meticulously selecting many fresh examples from a film “Jane Eyre” adapted from the well-known book “Jane Eyre”. Literary works are important subjects for film and TV dramas, and many of them are based on literary works. ”Jane Eyre” has attracted tens of thousands of readers, and its research value has been continuously shown. The subtitle translation of its adapted film“Jane Eyre”also contributes to the literary work’s popularity.

This paper has 3 parts which carefully discusses subtitle translation, Functional Equivalence Theory and the translation methods of functional equivalence in subtitle translation. The research is of great significance to the development of subtitle translation. This paper provides a more scientific reference for film subtitle translation, making the Functional Equivalence Theory more mature in the practical application of subtitle translation, and provides a more effective explanation for the application of Functional Equivalence Theory in subtitle translation. It contributes a lot to promoting the vigorous development of film subtitle translation.

===Key words===
"Jane Eyre";Subtitle trabslation; Functional Equivalence Theory

===摘要===
本文根据奈达的功能对等理论，从电影《简爱》中精心挑选了大量新颖的字幕翻译实例，论述了如何根据功能对等理论进行字幕翻译。文学作品是影视剧拍摄的重要题材，很多影视剧作品都是根据文学作品改编而来的。《简爱》自问世以来，吸引了数以万计的读者，其研究价值也不断地显示出来。字幕翻译也促进了文学作品的传播与受欢迎。

本文分为三个部分，分别对字幕翻译、功能对等理论以及功能对等理论在字幕翻译中的应用进行了详细的论述。本文为电影字幕翻译提供了更为科学的参考，使功能对等理论在字幕翻译实践中的应用更为成熟，并为功能对等理论在字幕翻译中的应用提供了更为有效的解释。

===关键词===
《简爱》；字幕翻译：功能对等理论

===Introduction===
With the implementation of the Chinese economic reform and the development of the trend of global integration, the commerce and trade cultures of different countries have more chances to intermix with each other. Where movies and TV shows have become one of the main art forms in daily life, it makes sense as an important carrier of culture. In recent years, more and more English movies and TV plays have been introduced into China, which not only play the role of entertainment products, but also become a window for Chinese audience to understand English-speaking countries. Because of the language barriers, the audience often needs the help of subtitle translation to understand the dialogue, background and other information of the specific film and TV show, which is the foundation for audience to understand the direction of the plot, characters and other contents. If the translator cannot convey this information to the target audience properly by subtitles, it will make the target audience can not enjoy the same fun as the native audience.(Zou Botao,2019:2)

Nowadays, people are eager to watch more movies and TV series which have their own unique characteristics. And people’s need for subtitle translation is larger both in quality and quantity. The quality of the subtitle translation has large influence on people’s watching experience and their perceptions of the cultural and social connotations the film conveys. Therefore, the importance of film translation is self-evident. Although film translation has a great influence on today's society, it is different from other forms of translation. The history of film and television translation is still very short. While subtitle translation, seen as the most direct way of film translation, has not yet formed the systematic and theoretical system, it still relies on experience and perception in translation.

With the help of Nida's Functional Equivalence Theory, this paper chooses ”Jane Eyre”, a film adapted from the famous English novel ”Jane Ayre”. This paper analyzes the translation strategies by listing many representative practical examples, and concludes whether the translation meets the objectives of subtitle translation and the audience's expectations. This paper hopes to provide some examples to better promote the development of subtitle translation of literary works from the perspectives of Nida’s Functional Equivalence Theory. In addition, this paper also hopes to arouse more scholars’ interests to explore the subtitle translation based on the Functional Equivalence Theory, and this paper also serves to enrich the studies of subtitle translation in E-C translation to promote the cross-cultural communication.(Zou Botao,2019:2)

Suggestions：I think there should be a brief introduction on the article structure there.Such as,this paper can be divided into ~parts.The first parts mainly talks about…….and so on.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:12, 14 December 2021 (UTC)

===Subtitle translation===
This part will present a brief introduction of subtitle translation including its characteristics and strategies.

Suggestions：The transition paragraph is too short.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:14, 14 December 2021 (UTC)

====Characteristics of subtitle translation====
Suggestions：I think figures should be added,like 1,1.1,1.1.1,2,2.1,2.1.1…..In that case,we can more clearly capture the whole article structure.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:16, 14 December 2021 (UTC)

Firstly, subtitles should be easy to be understood because they have to show the main content of the all in a relatively simple way. Zhang Chunbai points out “with rare exceptions, film dialogues must be simple to be understood at first hearing because it is difficult for audience to hear it twice.”[9] Subtitle translation is rarely using very obscure words and complex sentences. In particular, the instantaneity of the film makes the subtitles stay short. Therefore, the subtitles often need to present the plot, the actors’ emotion and the story background in a short time to achieve a clear effect. It includes two parts. On the one hand, choose simple sentence patterns. On the other hand, choose simple words. In addition to simple sentence patterns, words in sentences are usually translated into language easy to be understood.(Zhang ChunBai,2004:184)

Secondly, subtitle translation is supposed to be in accordance with the context and takes the audience's language and cultural background as the standard. Subtitle translation will consider different language, cultural characteristics and make the conversion according to the context. By watching this kind of subtitle translation, audience can have their best watching experience. For example, English language pays more attention to the structural beauty of sentence patterns, long sentences such as conjunctions and master-slave compound sentences, and the overt cohesion of the internal components of sentences, while Chinese language pays more attention to the beauty of artistic conception and the modification of adjectives. The sentences of Chinese are loose but the meaning is not scattered, and the internal components of sentences are mostly covert coherence.

====Strategies of Subtitle translation====
There are two kinds of translation strategies that we often use—domestication and foreignization.
The first one is domestication. Domestication translation advocates putting the audience first and emphasizes the importance of natural and fluent translation of subtitle translation in language, focusing on bringing the source language culture into the target language audience. In the category of culture, it mainly centers on the language of its own nation and makes foreign language as much as possible in line with the national language habits and cultural value system.Nida points out that“The translator must be a person who avoided the linguistics and cultural differences in order that target receptors may find clearly the relevance of the original information．"(Nida，1964：170)[4] He also claims in another statement that‘‘Translation consists in reproducing the closest natural equivalent of the source language message in the receptor language,meaning firstly and then style．”(Nida,1993:116)[2]

The other strategy is foreignization. Foreignization requires the target audience to accept the language expression habits of the source text and cultural differences, leading the audience into the foreign situation. The important representative is Venuti, who advocated that “translation should face the differences and cover up the differences at the same time, and when necessary, differences can be highlighted.” [5] On the whole, in foreignization, translation is necessary to choose one of the original author or the source language as the main axis in order to retain the film atmosphere. The purpose of the original features of the content is to spread the source language culture to the audience of the target language. Especially, to achieve the purpose of translation, the translator can better understand the film works according to the language function of the film. Based on the needs of the audience in the target language, translators do some adjustments to analyze the source information in the film especially when encountering more difficult cultural factors. (Venuti,Lawrence,1995)

=== Introduction to Jane Eyre===
“Jane Eyre” is a 19th century work that was controversial upon its release. The feminist ideas expressed in “Jane Eyre” have been gradually accepted by the world. The main character in this work is a woman with a strong character, pursuing freedom and equality, who has experienced hardships in her life, but she has never given in and had very strong feminist ideas. It not only expresses her dissatisfaction with male chauvinism at that time, but also has a certain inspirational effect on the development of modern feminist thought.(Liu Xiaoran,2019:89-91)

The author Charlotte Brontë was born in poverty. her poor background and the brutal school life she experienced as a child was the source of her inspiration, which she incorporated these inspirations into her characters and created the image of “Jane Eyre”. Jane Eyre seems to be Charlotte Brontë herself, although God did not give her a humorous life, but she still did not yield to fate in her tragic life experience, and was still full of aspiration for freedom and happiness. Her soul is strong and undefeated. This feminist ideology makes the work more This feminist ideology makes the work resonate with women in society.[7](Liu Xiaoran,2019:89-91)

====Characters and story line====
The novel tells the story of Jane Eyre, an orphan girl whose parents died at a young age and who was abused in her aunt's home and then sent to an orphanage by her aunt. The orphanage was a harsh environment, but she survived. Two years after graduation, Jane was hired to earn a living as a governess. The master, Rochester, was melancholy and moody, but after a longer contact, Jane found Rochester kind-hearted, upright and stalwart, and gradually developed feelings for him. When they held a wedding in the church, Jane painfully discovered that Rochester had a crazy wife. Jane left sadly.(Bronte,Charlotte.2008:1-88)

Later, her uncle, from whom she had been separated for many years, died after a long illness and bequeathed her a huge fortune. Because she could not forget her love for Rochester, she returned to her hometown, only to learn that a few months ago the crazy woman died of arson. In order to save her, Rochester became blind due to the fire. Jane immediately went to him to confide in him, and the two finally reconciled. Later, Rochester went to London to heal his eyes, and Jane Eyre gave birth to a boy. In the end, they happily lived together.[1](Bronte,Charlotte.2008:1-88)

====Distictive features of Jane Eyre====
There are several reasons why the author chooses it as the analyzed material.

First. It conveys important educational values. The reason why audiences are so curious about the film version of “Jane Eyre” is that many people had already read the work beforehand, and they had a deep affection for the original. They have a deep attachment to the original work, and are impressed by the image of Jane Eyre in the original work. Many people take Jane Eyre as a role model for her own pursuit of love. After the release of "Jane Eyre", they are very keen to follow the film, because the work itself has strong artistic value. The strong artistic value and effective ideological guide for the pursuit of love in the current era. [10]It has inspired many people who want to pursue love bravely. It expresses some feminist ideas. It tells women to be independent and brave to live for their own. When the society is unfair to women, Jane Eyre educates women to stand up and to fight for their freedom and rights.The film emphasizes that women should be strong and brave to be independent and fight for their own life in audio-visual way.(Zou Botao,2019:2)

Second. The costumes and photography of the film are very beautiful, it can be described as vintage Gothic British fresh style. From the cool tones of the scenes to the mournful soundtrack, it highlights the difficult fate and strong character of the main character, Jane Eyre, in a more powerful way.

Third. In addition, this film has amazing ensemble cast. A successful TV series does not rely on one person, it relies on the combined efforts of all the cast. The performance of characters is the key to success. And each cast’s performance support one specific part of the film. (Zou Botao,2019:2)

===Brief Introduction to Nida's Functional Equivalence Theory===
In this part, the author will give a brief introduction to this important theory including the definition, the major points and principles. And it will provide the theoretical foundation for the next chapter.

====Main ideas of Functional Equivalence Theory====
Eugene A. Nida is American linguist, translator, and translation theorist. Nida was a distinguished linguist who traveled to 96 countries, lectured at more than 100 universities, and came to China 13 times -- until 2003, when, at the age of 89, he still lectured in Africa. As a teenager, Nida became a Christian and received the call of Christ to be his Savior in the Church. But he was a man who strictly separated the academic and religious worlds.”he never talked about anything that wasn't academic.”[8] Professor Ye Zinan(2011), a translation theorist, made a point of Mourning Nida. Because of Nida’s high profile and influence on the academic world, mainstream media in the United States and Britain, such as the New York Times, The Wall Street Journal, The Washington Post, The Daily Telegraph, and so on, reported on his death, and gave a high appraisal to his academic contribution.(Ye Zinan,2019)

Functional Equivalence Theory was first proposed by Eugene A. Nida. The central concept of Nida's theory is "functional equivalence". And it is so-called "functional equivalence", which does not look for literally rigid correspondence, but rather in order to achieve a functional equivalence between the two languages. In order to convert between the source language and the target language, there is a standard to reduce the difference from a linguistic point of view. Nida advanced the famous translation theory of "dynamic equivalence". In this theory he emphasizes that "translation consists in reproducing the information of the source language from semantics to style in the most appropriate, natural and equivalent language". [3](Nida.E. A.& Charles R.Taber,2004:12)

Nida's translation theory has four basic premises:First, the word is truth; second, convey the spirit of the original; third, express naturally; fourth, be able to produce resonance.

Therefore, in the process of translation, the theory can be the guide for different source text types, and translation should serve the readers. All translation efforts must focus on the acceptability of the target audience, which is the ultimate goal of translation. According to Nida's definition of translation, translation is not only lexical equivalence, but also syntactic, stylistic and cultural equivalence. Besides, Dynamic equivalence consists of four equivalences including vocabulary equivalence, syntactic equivalence,textual equivalence and stylistic equivalence.In these four aspects, Nida thinks, "meaning is the most important, form is secondary" (Guo Jianzhong, 2002, P67). [6]The form is likely to conceal the cultural meaning of the source language and hinder cultural exchange. Therefore, in literary translation, according to Nida’s theory, the translator should accurately reproduce the cultural connotations of the source language in the target language with the four aspects of dynamic equivalence as the translation principle.((Guo Jianzhong,2002:67))

In deciding what should be done to produce the closest natural equivalence, Nida (1993: 92-94) proposes six principles which are as follows.(Nida,1993: 92-94)[12]

(1) If a close, formal translation is likely to result in a misunderstanding of the designative meaning, certain changes must be introduced into the text of the translation or the literal translation may be retained and a footnote explaining the likely misunderstanding must be added.(Nida,1993: 92-94)

(2) If a close, formal translation makes no sense, i.e. is totally obscure in designative meaning, certain changes may be introduced into the text unless the source text is purposely
obscure, in which case the obscurity may be retained and a footnote explaining the nature of the obscurity may be very useful and in most instances fully justified. (Nida,1993: 92-94)

(3) If a close, formal translation is so semantically and syntactically difficult that the average person for whom the translation is being made is very likely to give up trying to
understand it, certain changes are warranted, although it may be useful to indicate the nature of such changes in an introduction or in footnotes.(Nida,1993: 92-94)

(4) If a close, formal translation is likely to result in serious misunderstanding of the associative meanings of the source text or in a significant loss in a proper appreciation for
the stylistic values of the source text, it is important to make such adjustments as are necessary to reflect the associative values of the source text.(Nida,1993: 92-94)
NIda
(5) The manner in which a translation is to be used has a significant influence upon the extent to which adjustments are to be made.(Nida,1993: 92-94)

(6) The fact that a source text must be translated in such a way as to occur with accompanying codes usually requires a number of adjustments on all levels: phonology,lexicon, syntax, and discourse.(Nida,1993: 92-94)

====Enlightenments of Functional Equivalence Theory====
To sum up, translation, as a specific form of cultural activity, is characterized by the interaction between two languages, thus resulting in variations in pronunciation, vocabulary, grammar and style, as well as cultural differences among countries. There are also great differences in language translation. Therefore, Functional Equivalence Theory is particularly important in English-Chinese translation, especially in the translation of lexical chunks. In order to achieve functional equivalence, the translator should change the original form, preserve the content of the original, and use the closest and the most natural equivalent of the target language. Besides, the Functional Equivalence Theory is not only effective in language communication, but also in eliminating the problems caused by the cultural differences between China and the west. Correct and scientific translation theories are conducive to the study of linguistics and the communication with world. (Nida,1993: 92-94)

===Application of Functional Equivalence Theory in subtitling "Jane Eyre"===
In this chapter, the author will discuss the translation methods of Functional Equivalence Theory on subtitling “Jane Eyre”. Considering the characteristics and constrains of subtitle translation, this part will present some techniques and strategies in subtitle translation.In the following discussions, the author will list many examples of “Jane Eyre” to support the application of the Functional Equivalence Theory from many levels including the lexical, the syntactic, the cultural, and the stylistic level.

====Lexical equivalence====
Lexical translation is the basic work of all translation activities, and word meaning equivalence is also the most basic requirement for film and movie translation under functional equivalence.(Guan Zhuolin,2017:31)

=====Deletion=====
Deletion means to delete something unimportant from the source content to better convey the prime theme and remain the original atmosphere. And the structure and ways of expression of Chinese and English sentence pattern are very different. In addition, the constraints of space and time on subtitle translation are also another reason that the translator must delete something useless.

Example 1:Well,I think we should call the doctor.
我觉得应该请个医生。
Example 2:I’m afraid you’ve have had a tedious journey.
这一路漫长又无聊。

In subtitle translation, some unnecessary words will be omitted. In order to achieve Nida’s Functional Equivalence Theory, content and form must be adjusted to some extent. Therefore, some meaningless parts such as “well” or “I’m afraid” can be left out to remain the core and important meaning of the source language which can make the target audience understand the original content more lucidly and simply.

=====Amplification=====
Amplification is a translation strategy to add some words, phrases or unknown information to make the subtitle translation understandable to audience. In order to convey the source language and mood, sometimes translators are supposed to add new information to make target audience experience the same reading experience as the source audience.
Similar to deduction, because of the different structure and rule of Chinese and English, Sometimes English will omit some essential parts which can’t be deducted by Chinese. Expansion is important for translators to add essential information which is important to convey original messages.(Guan Zhuolin,2017:33)

Example 3:Nice to get out of the carriage.
旅途真是太漫长了，真想下去走走。
Example 4:The sea is such a barrier.
大海像鸿沟，会让我离开。

The sentence of example 3 is spoken by a passenger who has experienced a long journey. It is reasonable for the translator to add “真想下去走走”to make audience feel the tiresome of the passenger better. In example 4, the conversation happens when Rochester is going to get married and asks Jane to work for another family who lives far away in Ireland. The translator adds”会让我离开” to better express Jane’s sincere feeling for Rochester. In this way, audience can understand the feelings of Jane more clearly.

=====Imitation=====
The definition of imitation in transition is to make the phonetic copy in the target language. And it is often used to translate the name of place and person.To achieve the functional equivalence at phonetic level, the subtitle translation in "Jane Eyre" also makes use of some imitation.(Guan Zhuolin,2017:33)

Example:Yorkshire Herald
约克郡先驱报
Example:Mrs.Fairfax
菲尔法克斯夫人。

In order to achieve functional equivalence at phonetic level, the strategy of imitation is most effectively used in translating some nouns such as place names and people names.

=====Conversion=====
Conversion is a great way to help translators reach functional equivalence. As we all know, the rules of English and Chinese sentences has many differences. Conversion is the formation of new words by conversing words of one class to another class. In translation, we can use this method to make the subtitles of targeted language better understood.(Guan Zhuolin,2017:33)

1.Noun—Verb(n.-v.)
Example：This girl is a liar(n.).
因为她爱说谎(v.)。
Example: It is in defiance of every precept(n.).
这是对学校的训诫(v.)。
2.Verb—Noun(v.-n.)
Example: I know you have suffered(v.) greatly.
我知道，你有过很多苦难(n.)。
3.Adverb—verb(Adv.-v.)
Example:Come. Into(adv.) bed.
来，盖(v.)上被子。
4.Adjective—v(adj.-v.)
Example:Your feet are bare(adj.).
你光(v.)着脚呢。

There are just some examples about the word class conversion in subtitling translation. The translators should pay more attention to the word class conversion in order to meet the maximal equivalence of the targeted language.

====Syntactical Equivalence====
According to different structures and rules of English and Chinese, syntactical equivalence can be achieved by adjusting sentence pattern and order.(Guan Zhuolin,2017:39)

=====Adjusting sentence pattern=====
Sometimes we need to do something to change the sentence pattern of the sentence which can make the subtitling translation better meet the need of functional equivalence. And in this way, the targeted audience can also better experience the TV series as the original audience.

Example: would you follow me, Miss?
请跟我来，小姐。
Example:Oh,how do you do, my dear?
终于见面了，亲爱的。

In this translation, we can easily find that the interrogative sentence is translated into the statement, which can better reach the functional equivalence of sentences between the targeted language and the original language.(Guan Zhuolin,2017:39)

=====Adjusting sentence order=====
What’s more, sometimes the change of sentence order is in need.

Example:You will not be left alone for so long as I shall live.
在我有生之年不再让你感到孤独。
Example: He only inherited Thornfield nine years ago.
他继承桑菲尔德庄园，不过九年时间。

If the two sentences are translated literally, they will be translated as “你不会感到孤独在我活着的时候。”and “他就继承桑菲尔德庄园九年之前。” And they are very strange in Chinese. “在我有生之年不再让你感到孤独” and “他继承桑菲尔德庄园，不过九年时间。” better adapt to the rules of Chinese. In this way, the subtitling translation can better adapt to the targeted audience.

====Cultural Equivalence====
Different countries have different cultures. And the colorful cultures can be found in their different languages. So in subtitling translation, we must pay much attention to the cultural aspects and cultural connotations.(Guan Zhuolin,2017:35)

Suggestions:The transitional part is. Too short.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:18, 14 December 2021 (UTC)

======Domestication=====
Nida, as a representative of domestication believes the translation is dominated by the target language or the readers of the target translation, and the tone is used to please the target readers.Domestication is a common strategy that translators use in subtitle translation. In this film, the translator always uses Chinese proverbs and idioms because they can effectively and accurately express the authentic Chinese. It is needed because Chinese audience can understand the subtitle better and Chinese audience can comprehend it much easier.

Example:I have done what I can for the child.
我对这孩子已经仁至义尽了。
Example:I hope you don’t think I’m being ungrateful.
希望你不要认为我忘恩负义。

=====Foreignization=====
Foreigniztion in translation means that the translator adopts the original way of expression used by the original author to convey the content of the original text and the original text. Translation is a bilingual and bicultural conversion activity. Foreignization believes that translations should retain the foreign cultural features contained in the original text as much as possible. As a quite famous representative of foreignization,Venuti points out that”the translator seeks to build a community with foreign cultures， to share an understanding with and of them and to collaborate on projects founded on that understanding，going so far as to allow it to revise and develop domestic values and institutions.”(Venuti,1992:58)[11]Its purpose is to broaden the cultural vision of the target language readers and enrich the target language expressiveness and promote the integration of different cultures.(Venuti,1992:58)

====Stylistic equivalence====
According to the Functional Equivalence Theory, translators are in pursuit of content firstly and form secondly under the premise of pursuing content and meaning equivalence. The destruction of style is acceptable to a certain extent, but a perfect translation is usually characterized by both content and form equivalence. In other words, if the translator can accurately translate the content and form of the source language at the same time, the translation will meet the specific requirements of Functional Equivalence Theory for translation activities at a higher level.(Guan Zhuolin,2017:43)

=====Formal language and informal language=====
Different languages will be used in different contexts. Formal language is used in formal occasions such as speeches or essays. While informal language is used in some informal occasions such as parties. While the subtitles of Jane Eyre are mainly originated from daily dialogues, the subtitle translation is translated in informal language. Because of this reason, the translation should use many spoken language and even some popular language.

Example: I bid you good night.
我祝你晚安了。
Example:You saved my life.I am in your debt.
你救了我的命。我欠你个人情。

For the example , the conversation takes place between Jane and Rochester. Rochester is the master of the Thorefield while Jane is only a governess hired by Rochester. Their is a big gap between their status and identity.”I bid you good night”is very proper and adapt to social rules of the 19th century British.While the Example , the situation has changed. Rochester said it to Jane after being saved by Jane from a fire. Their relationship has been closer. We can’t judge them by their identity anymore. So the conversation becomes more informal.(Guan Zhuolin,2017:43)

===Conclusion===
The subtitle translation of Jane Eyre has been discussed from the perspectives of functional equivalence. For one reason, Jane Eyre has enjoyed great popularity all around the world. They can convey many important spiritual values to people. People are supposed to pay more attention to the subtitle translation area. Because subtitle translation is important for people to receive different cultures and values. And it also has great influence on the development and formation of People’s mind. For another reason, the Functional Equivalence Theory is important for translators to do a great translation. Through many works and discussion, it is easy to find the advantages of subtitle translation based on the Functional Equivalence Theory. However, the research is still not mature and worth more exploring and discussions. Subtitle translation is a relatively new area which needs more efforts to be promoted.(Zou Botao,2019:2)

For the theory, the author gives thorough definition of Nida’s theory. Functional Equivalence Theory has been used by many translators in their translation. And it also plays an important role in the development of subtitling translation. It aims at making the target audience’s response same as the original audience’s response to the original texts. And it aims to make the target audience have the same feeling and emotions as the original audience as much as possible. Although there are some scholars who have done some researches on this area, there is still a long way to go in this aspect.

Besides, this thesis is an attempt to apply the Functional Equivalence Theory to the subtitle translation based on some specific examples. The examples are all chosen from an adapted film of Jane Eyre which have enjoyed popularity for a long time since its publication all around the world. The author analyzes this paper from several parts including lexical level, syntactic level, cultural level and stylistic level.(Zou Botao,2019:2)

From the detailed examples, the author explains the subtitle translation of Jane Eyre based on the Functional Equivalence Theory comprehensively. However, there are still some limitations. The examples of Jane Eyre are only focusing on the literary subtitle translation from English to Chinese. And different readers and audience have different standards of translation. Great efforts and further research are still needed in the future study to find more mature theories on the subtitle translation. What’s more, more and more films and TV series are supposed to be analyzed based on the Functional Equivalence Theory. And the author hopes that the subtitle translation will gain more and more concerns in the future.

===References===
Bronte,Charlotte(2008).Jane Eyre,Beijing:Foreign Language Press,2008．

Nida,Eugene Albert(1993).Language,Culture and Translating.Shanghai:Shanghai Foreign Language Education Press,1993:92-94,116.

Nida. E. A. & Charles R. Taber(2004). 2004a. The Theory and Practice of Translation [M]. Leiden: E. J. Brill. 12.

Nida,Eugene Albert(1964).Toward A Science of Translating.E.J.Brill:Leiden,1964.

Venuti,Lawrence(1995).The Translator's Invisibility.London and New York:Routledge,1995.

Guan Zhuolin 管卓琳(2017). 功能对等理论视角下《功夫熊猫》字幕的汉译研究 A Research on E—C Translation of Kungfu Panda Subtitles from the Perspective of Functional Equivalenc[D]. 山西Shan Xi :中北大学 North University of China,2017.

Guo Jianzhong 郭建中(2002).当代美国翻译理论 Comtemperory American Translation Theory[M].武汉：湖北教育出版社 Hu Bei:Education Publishing House. 2002.63.67.

Liu Xiaoran刘晓然(2019).论《简·爱》中女权主义思想的表现形式 On the Expression of Feminism in "Jane Eyre"[J].赤峰学院学报 (汉文哲学社会科学版)Journal of Chifeng Academy(Chinese Philosophy and Social Science Edition),2019,40(05):89-91.

Ye Zinan叶子南(2019).高级英汉翻译 Advanced English-Chinese Translation[M].北京:清华大学出版社 BeiJing:Tsinghua University Press,2019.

Zhang Chunbai张春柏（2004）.影视翻译初探 A First Look at Film and Television Translation[J].中国翻译 China Translation,2004:184.

Zou Botao邹柏涛(2019).探讨英美文学作品在影视剧中的艺术价值——以《简爱》为例 Exploring the artistic value of English and American literature in film and television dramas--Take "Jane Eyre" as an example[J].青年文学家 Young Literary Artist,2019(8):2.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:08, 14 December 2021 (UTC)